This article is a continuation of the last article on Detroit: Become Human. In it I explore the game’s controversial relation with references to historical forms of oppression, as well as the lead developer’s (lack of) answers to this situation.
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In this third installment of How Games Tell Tales, I will discuss games that offer a large amount of player input. Using Detroit: Become Human as an example, I will explore how such choices can work, how most choices are not as meaningful as they seem, and how this intertwines with the concept of intended play.
Paladins: Learn History is an app that is done with you as soon as you have paid. While it’s ostensibly a history learning app, the promise of learning history is actually just bait for the app’s hook...
Marcel recently revisited a game he had played seven years ago: Heavy Rain. Back then, it's ability to have players choose how the story would unfold was very new and revolutionary. Skip to seven years later, and there have been more and more narrative driven games where the player gets to influence the narrative. How does Heavy Rain hold up to modern standards? Before you read: Heavy spoiler alert. We've tried to hide the biggest plot-twists, but we cannot hide them all. Don't say you haven't been warned!
While video games are a unique narrative medium, they have plenty in common with media like movies and books. So much in common, in fact, that they can tell the same stories, in a style of storytelling that is referred to as transmedia. But what is transmedia storytelling?
If you have followed us for some time, you will already know we love Old World, a 4X game developed by Mohawk Games (who you might know from games such
