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Found 8 results

  1. We've covered a lot of games after fifty episodes of this podcast (and a number of fun honorable mentions and extra mini-sodes). Since we are hitting a podcasting milestone, we figured it would be a good opportunity to look back and re-evaluate some of the games we once praised and choose one to kick out of our arbitrary, growing video game canon. Kick back, relax, and enjoy the first of our deathmatch episodes! MUAHAHAHA! Each week we will be tackling a video game, old or new, that at least one of us believes deserves to stand as one of the greatest games of all time. We'll dive into its history, development, and gameplay, while trying to argue for or against the game of the week. Sometimes we will be in harmonious agreement, other times we might be fighting a bitter battle to the very end. However each episode shakes out, we hope that everyone who listens will find the show entertaining and informative. Outro music: Donkey Kong Country 'High Tide' by FoxyPanda (http://ocremix.org/remix/OCR03327) You can download or listen to the podcast over on Soundcloud, our hosting site, and iTunes. A YouTube version is (sometimes) available as well, so you can watch what we are talking about while we talk about it! You can also follow the show on Twitter: @BestGamesPeriod New episodes of The Best Games Period will be released every Monday View full article
  2. We've covered a lot of games after fifty episodes of this podcast (and a number of fun honorable mentions and extra mini-sodes). Since we are hitting a podcasting milestone, we figured it would be a good opportunity to look back and re-evaluate some of the games we once praised and choose one to kick out of our arbitrary, growing video game canon. Kick back, relax, and enjoy the first of our deathmatch episodes! MUAHAHAHA! Each week we will be tackling a video game, old or new, that at least one of us believes deserves to stand as one of the greatest games of all time. We'll dive into its history, development, and gameplay, while trying to argue for or against the game of the week. Sometimes we will be in harmonious agreement, other times we might be fighting a bitter battle to the very end. However each episode shakes out, we hope that everyone who listens will find the show entertaining and informative. Outro music: Donkey Kong Country 'High Tide' by FoxyPanda (http://ocremix.org/remix/OCR03327) You can download or listen to the podcast over on Soundcloud, our hosting site, and iTunes. A YouTube version is (sometimes) available as well, so you can watch what we are talking about while we talk about it! You can also follow the show on Twitter: @BestGamesPeriod New episodes of The Best Games Period will be released every Monday
  3. When Braid released on the Xbox 360's fledgling Xbox Live service, it changed everything for the indie games industry. It broke the barrier between artistic game development and more entrenched industry institutions. Its legacy is hard to ignore. The discussion in this episode gets a bit heated, so you know you're in for something good. Does Braid stand as one of the best games period? Each week we will be tackling a video game, old or new, that at least one of us believes deserves to stand as one of the greatest games of all time. We'll dive into its history, development, and gameplay, while trying to argue for or against the game of the week. Sometimes we will be in harmonious agreement, other times we might be fighting a bitter battle to the very end. However each episode shakes out, we hope that everyone who listens will find the show entertaining and informative. You can download or listen to the podcast over on Soundcloud, our hosting site, and iTunes. A YouTube version is available as well, so you can watch what we are talking about while we talk about it! You can also follow the show on Twitter: @BestGamesPeriod Outro Music: FTL 'Faster Than Rock' by Little V (http://ocremix.org/remix/OCR03137) New episodes of The Best Games Period will be released every Monday View full article
  4. When Braid released on the Xbox 360's fledgling Xbox Live service, it changed everything for the indie games industry. It broke the barrier between artistic game development and more entrenched industry institutions. Its legacy is hard to ignore. The discussion in this episode gets a bit heated, so you know you're in for something good. Does Braid stand as one of the best games period? Each week we will be tackling a video game, old or new, that at least one of us believes deserves to stand as one of the greatest games of all time. We'll dive into its history, development, and gameplay, while trying to argue for or against the game of the week. Sometimes we will be in harmonious agreement, other times we might be fighting a bitter battle to the very end. However each episode shakes out, we hope that everyone who listens will find the show entertaining and informative. You can download or listen to the podcast over on Soundcloud, our hosting site, and iTunes. A YouTube version is available as well, so you can watch what we are talking about while we talk about it! You can also follow the show on Twitter: @BestGamesPeriod Outro Music: FTL 'Faster Than Rock' by Little V (http://ocremix.org/remix/OCR03137) New episodes of The Best Games Period will be released every Monday
  5. Earlier this week, I wrapped up my review of Divinity: Original Sin and one of the minor problems that I briefly mentioned was the lack of narrative direction. I understand why it isn’t there; Larian studios didn’t want to funnel their players into any one predetermined path. Doing so would undermine the entire appeal of their game and diminish the sense of freedom Original Sin allows its players. As I thought about my experience with Larian’s modern take on old-school RPGs, I couldn’t help but feel like this was something of a missed opportunity. Original Sin was certainly entertaining, but will I ever feel compelled to replay it? Will I remember the details of its well-worn plot or the characters in a month or two? The somewhat somber conclusion that I came to was a flat no. I’ve always been a proponent of games as both a vehicle for both narrative and enjoyment. However, it seems that when one sacrifices narrative for enjoyment the entire package suffers as a whole. I still get the itch to play the first Mass Effect and experience the adventure again, despite the fact that the gameplay is clunky at best. On the opposite end of the spectrum, I rarely feel the need to go back and revisit Guitar Hero, though it was amazing amounts of fun when it initially released. And that isn’t saying that all games should have narratives; it is merely an observation that fun seems to be this ethereal and transient thing while well told stories last. I have a running bet with a friend of mine on which game people will still talk about in twenty years: BioShock Infinite or The Last of Us. It is a silly bet with $50 on the line, but if I am completely honest, people will probably still talk about both titles. The dialogue will continue, not because they were both fun (though they are both quite enjoyable to play), but because of the stories they tell and how they go about telling them. I wouldn’t be willing to place a similar bet on there being ongoing discourse about the narratives in Divinity: Original Sin, Crackdown, The Elder Scrolls: Skyrim, Dark Souls, or Grand Theft Auto 4. The greatest strength that these games provide, player agency, seems to diminish the effect their stories might have otherwise exerted. This brings me to what I feel is a valid question: Why? Why is it that open world games seem to have fewer stories that connect with players? The first conclusion that I find myself drawn toward is that open world game design clashes with traditional narrative structure. There is a concept in Joseph Campbell’s ‘The Hero With A Thousand Faces’ that stipulates many stories have a ‘call to adventure’ wherein the narrative beckons the protagonist to begin their quest. There is also an addition to that idea referred to as a ‘refusal of the call’ where the protagonist for various reasons declines the initial appeal. Though ‘The Hero With A Thousand Faces’ was written with traditional, linear narratives in mind, these two ideas are useful when talking about open world structure. An open world completely destroys almost any attempt to create a similar type of story, and yet many of the narratives we find in open worlds cling to a linear structure. Since the players in most video games are the protagonist, this means that the hooks meant to invest them into the story must be effective or else most players will find various reasons to ‘refuse the call’ while going from initial plot point A to important plot point B. This was exactly my problem while playing Skyrim. I sank over one hundred hours into Bethesda’s open world and never made much progress on the main storyline. There was always a new cave to explore, a new sidequest, a new dragon shout clue. Any dramatic tension that might have been built up disappeared the instant an unexplored map marker appeared. I’d guess that many of you have similar experiences with open world games. The opportunities and incentives to refuse the call simply win out through sheer numbers over the singular call to adventure. You might argue that this is a problem that could be solved through design by including more motivations to follow the core storyline. I’ve heard ideas thrown around ranging from providing a timer to create tension like those found in The Legend of Zelda: Majora’s Mask or Dead Rising. Another idea would be to incentivize the main quest with better loot or various other digital rewards. That sounds all fine and dandy, but when you bring the idea of curbing or influencing player behavior in an open world game to the players themselves, you are met with a resounding, “LOL, NOPE.” Creating effective drama in a narrative is like shooting a bow and arrow. The string of the bow tenses as it is pulled further and further. If you hold the arrow back for too long your arm begins to get tired and there is the possibility that the string or bow will break. Releasing the arrow after it has been fully drawn causes it to shoot far and fast, but if you let the string go slowly slack, the arrow will just clatter to the ground harmlessly. Drama demands a certain amount of tension; tension which most players in open world games dislike because it makes them feel like they are ‘on the clock’ so to speak. This gives people a sense of being rushed or forced down certain paths, which they then resent. On the opposite end of the spectrum are the people who don’t care and do what they want anyway, which has the effect of deflating tension until it is non-existent, killing the drama. At this point, it might be fair to question the point of having a narrative in an open world experience at all. Perhaps it is best to look at how narrative in the genre has evolved to its current state for additional insight. Open world games began as text adventures in the 70s, but the first graphical attempt at an open world came in the form of 1979’s Adventure on the Atari 2600. While the game itself gave few clues as to what story, if any, was being told, the instruction manual provided players with the tools to contextualize the collections of shapes on-screen. In 1986, The Legend of Zelda refined the idea of an open world by adding engaging combat and puzzles, though the narrative was still largely contained within the game’s manual. Then, in 1998, Ocarina of Time released and became the go-to example of how to pull off an open world. To this day Ocarina is considered one of the greatest games of all time, lauded for its tight gameplay, exploration, and narrative. For the first time, an open world game had a narrative that was not only successful in a functional sense, but also in a way which seemed like it captured the essence of adventure. That part of the game might seem tired and less revelatory over a over a decade and a half later, but when it released people were amazed by the cheeky Princess Ruto, the odd society of the Gerudo, and the journey of a young boy to save the world. Ocarina of Time managed to tread a very thin line; one that encouraged and rewarded exploration while also minimizing distractions from the player’s pursuit of the narrative. Have you ever noticed how a lot of the areas you initially pass by in Ocarina of Time have paths and secrets you can only access with gear later on; gear that you only acquire by progressing through the story? Ocarina manages to gate various areas in this manner, but it never feels distracting or irritating. I’d guess that’s because it provides incentives to proceed, both in terms of new gadgets, but also by using what has become one of the most iconic gaming annoyances: “HEY, LISTEN!” Players who get overly sidetracked are reminded that they’re supposed to be saving the world and not wasting quite so much time competing in fishing challenges or fighting chickens. These gates and mechanics result in a tightly controlled story which funnels the player from dungeon to dungeon. While players might have accepted this in ’98 and have come to accept it as a staple of The Legend of Zelda series, they certainly wouldn’t appreciate such tactics in a game like Far Cry 4. Ocarina balances the openness of its world against its narrative needs very well, but it isn’t perfect, something that has become more apparent to me over time. It is a classic hero-saves-the-kidnapped-princess story, a tale we have all heard more than a few times. Sure, it has a few unique twists, but that isn’t enough to make the narrative feel completely new. It is an old story told very competently, which is high praise for a video game, but it isn’t Shakespeare, Dickens, or Dumas. Unfortunately, it seems that a lot of developers at the turn of the century took the success of Ocarina of Time to mean that bigger open worlds with more things to do was what players truly wanted, not recognizing the need for a change in storytelling tactics. That leads us to the current day. Rapidly advancing technology has given developers more tools with greater power than ever before, ballooning the costs of development for open world games and causing more developers to play it safe by sticking with providing larger and larger worlds. Many gamers and developers seem to be stuck in the idea that bigger is better when it comes to open world video games, while forgetting the lessons of Ocarina of Time. With a smaller game world than most open world games since, Ocarina of Time is more successful on a narrative level than Skyrim’s massive realm. I feel the need to clarify that I don’t mean to talk smack about Skyrim. There are many, many things that it does much better than Ocarina of Time and its scale is utterly gorgeous, but on a narrative level it calls flat for me. The problem is that when a game touts its massive game world and sells millions of copies, many other developers attribute the success, at least in part, to how large the game world was. That’s the reason we see CD Projeckt hyping The Witcher 3: Wild Hunt as having a game world larger than Skyrim and 30 times as large as The Witcher 2. As a side note, it seems a bit backward to me to tout how large a title’s in-game world is before players have gotten their hands on it. What if the general reception of the game is terrible? Doesn’t that just mean there is more of it to find unenjoyable? A great parallel of this mindset can be seen in the film industry. On the one hand we have Transformers, a series of films that trots around the world with giant robots beating the crap (oil?) out of each other that succeeds in being huge, loud, and flashy, with each film trying to be bigger than the last; and it is all so incredibly boring. On the other hand, we have 12 Angry Men a classic film from 1957 about a jury arguing over the guilt of a young man on trial for murder. Almost the entire film takes place in a small jury room and it is riveting. The film makes good use of the small space, shooting from interesting angles while dramatic tension is created between the various members of the jury. The size of the set isn’t what makes a film interesting, and neither is the size of a game world. It seems kind of like we are stuck when it comes to storytelling in open world games. Developers can attempt to tell a story that our players can completely ignore, which leads to lazy, uninspiring narratives; they could lightly sprinkle the narrative into the game in such a way that it is both unimportant to the player and the game itself; or we can tightly control the gameplay options to restrict the open world and tell our story appropriately. All of these options seem to come up a bit short if a developer wants to tell a meaty, interesting narrative in an open world. It might seem odd to look for a solution in linear titles, but that seems to be the only recourse to find a moderately comparable solution, since there are nothing quite like open world games in any other form of media. Observing some of the most interesting narrative titles from the last decade or so reveals what could be an interesting answer and possibly the future of video games: Game mechanics as storytelling tools. There is a tendency to view mechanics in games as simply a means to an end; that they are just how games work. It is a shame that we look at the basic means by which this medium functions and just shrug them off. But those underlying mechanisms are one of the characteristics that set video games apart from other mediums. Perhaps that is why some of the best games of our time have made use of mechanics to aid in storytelling. Look at Jonathan Blow’s Braid which uses its core time reversing mechanic to devastating effect. It completely turns the tables on the accepted theme of princess rescuing that many games have adopted as a shorthand for adventure. It reveals a troubled protagonist who has created his own version of events while ignoring the truth of what happened; someone who desperately desires to rewind the clock and take back what they did, but ultimately finds that this is one thing that can’t be fixed. For a more blatant example, look at this year’s Transistor from Supergiant Games. The mechanics of the combat contain several layers of meaning. On a surface level, they build the world of Transistor and reflect the digital nature of Cloudbank. Each combat ability stems from a person who has been absorbed into the Transistor and must be combined in different ways to unlock each individual’s history. Using these abilities, these souls, naturally brings up questions about humanity and the moral questions of what you, and by extension the characters around you, are doing. These mechanics are both core to how the game is played and compose the heart of their respective games. This is what open worlds need to strive to do. Developers can escape the confines of linear storytelling if they ingrain the mechanics with weight and meaning. *spoilers for Shadow of the Colossus ahead* The melding of mechanics and story was a concept that Shadow of the Colossus (one of my favorite games of all time) understood very well. In fact, I’d be willing to argue that it is the only open world game that has succeeded in doing so in a nearly flawless manner. Every single mechanic in Shadow of the Colossus tells us something important. What’s that? Wander swings the sword clumsily? That makes sense since it is revealed later that he stole the sword. He rides his horse Agro very competently and it comes when whistled for? They probably have a deep bond that will be exploited later for dramatic effect. He shoots arrows very well? He was probably hunter or an archer of some kind. Within the space of several minutes with no dialogue the player can make some accurate assessments of Wander’s character. As the player progresses through Shadow of the Colossus, they slay enormous magical beasts for a mysteriously imprisoned entity in exchange for the soul of a deceased loved one. For every colossus that Wander kills, the game makes it clear that this is a sinister task with grave consequences via inescapable dark energy which pierce Wander’s body. At first the change is so subtle many players don’t notice, but after several of the creatures are dead, Wander begins to change, both on the outside and the inside. Small horns begin sprouting from his head, his hair turns black, and his skin goes white, eventually taking on the look of someone near death. But as these changes occur, he also gains more stamina and health, tangible things in the game that help the player overcome the remaining colossi. Wander’s willingness to give up his humanity over the course of Shadow of the Colossus speaks to the lengths to which he will go for the sake of his love, a sacrifice that becomes all too clear in the final moments of the game. Though the world is open, the minimal design ensures that there aren’t many distractions beyond the beautiful views encountered en route to the next colossus’ location, thus naturally overcoming the player’s urge to wander and break dramatic tension. It seems to me that in order to tell a completely successful narrative in a video game, developers need to embrace the things that make video games different and use them to tell their story. For too long, open world games have relied entirely on player agency while neglecting to consider the importance of what their mechanics are saying. And this isn’t just a problem for open world games, but something that a lot of linearly designed games also get wrong. Integrating mechanics meaningfully into the narrative will be what brings video games into their own. The industry is on the cusp of a change in design philosophy and I can’t wait to see what comes next.
  6. Earlier this week, I wrapped up my review of Divinity: Original Sin and one of the minor problems that I briefly mentioned was the lack of narrative direction. I understand why it isn’t there; Larian studios didn’t want to funnel their players into any one predetermined path. Doing so would undermine the entire appeal of their game and diminish the sense of freedom Original Sin allows its players. As I thought about my experience with Larian’s modern take on old-school RPGs, I couldn’t help but feel like this was something of a missed opportunity. Original Sin was certainly entertaining, but will I ever feel compelled to replay it? Will I remember the details of its well-worn plot or the characters in a month or two? The somewhat somber conclusion that I came to was a flat no. I’ve always been a proponent of games as both a vehicle for both narrative and enjoyment. However, it seems that when one sacrifices narrative for enjoyment the entire package suffers as a whole. I still get the itch to play the first Mass Effect and experience the adventure again, despite the fact that the gameplay is clunky at best. On the opposite end of the spectrum, I rarely feel the need to go back and revisit Guitar Hero, though it was amazing amounts of fun when it initially released. And that isn’t saying that all games should have narratives; it is merely an observation that fun seems to be this ethereal and transient thing while well told stories last. I have a running bet with a friend of mine on which game people will still talk about in twenty years: BioShock Infinite or The Last of Us. It is a silly bet with $50 on the line, but if I am completely honest, people will probably still talk about both titles. The dialogue will continue, not because they were both fun (though they are both quite enjoyable to play), but because of the stories they tell and how they go about telling them. I wouldn’t be willing to place a similar bet on there being ongoing discourse about the narratives in Divinity: Original Sin, Crackdown, The Elder Scrolls: Skyrim, Dark Souls, or Grand Theft Auto 4. The greatest strength that these games provide, player agency, seems to diminish the effect their stories might have otherwise exerted. This brings me to what I feel is a valid question: Why? Why is it that open world games seem to have fewer stories that connect with players? The first conclusion that I find myself drawn toward is that open world game design clashes with traditional narrative structure. There is a concept in Joseph Campbell’s ‘The Hero With A Thousand Faces’ that stipulates many stories have a ‘call to adventure’ wherein the narrative beckons the protagonist to begin their quest. There is also an addition to that idea referred to as a ‘refusal of the call’ where the protagonist for various reasons declines the initial appeal. Though ‘The Hero With A Thousand Faces’ was written with traditional, linear narratives in mind, these two ideas are useful when talking about open world structure. An open world completely destroys almost any attempt to create a similar type of story, and yet many of the narratives we find in open worlds cling to a linear structure. Since the players in most video games are the protagonist, this means that the hooks meant to invest them into the story must be effective or else most players will find various reasons to ‘refuse the call’ while going from initial plot point A to important plot point B. This was exactly my problem while playing Skyrim. I sank over one hundred hours into Bethesda’s open world and never made much progress on the main storyline. There was always a new cave to explore, a new sidequest, a new dragon shout clue. Any dramatic tension that might have been built up disappeared the instant an unexplored map marker appeared. I’d guess that many of you have similar experiences with open world games. The opportunities and incentives to refuse the call simply win out through sheer numbers over the singular call to adventure. You might argue that this is a problem that could be solved through design by including more motivations to follow the core storyline. I’ve heard ideas thrown around ranging from providing a timer to create tension like those found in The Legend of Zelda: Majora’s Mask or Dead Rising. Another idea would be to incentivize the main quest with better loot or various other digital rewards. That sounds all fine and dandy, but when you bring the idea of curbing or influencing player behavior in an open world game to the players themselves, you are met with a resounding, “LOL, NOPE.” Creating effective drama in a narrative is like shooting a bow and arrow. The string of the bow tenses as it is pulled further and further. If you hold the arrow back for too long your arm begins to get tired and there is the possibility that the string or bow will break. Releasing the arrow after it has been fully drawn causes it to shoot far and fast, but if you let the string go slowly slack, the arrow will just clatter to the ground harmlessly. Drama demands a certain amount of tension; tension which most players in open world games dislike because it makes them feel like they are ‘on the clock’ so to speak. This gives people a sense of being rushed or forced down certain paths, which they then resent. On the opposite end of the spectrum are the people who don’t care and do what they want anyway, which has the effect of deflating tension until it is non-existent, killing the drama. At this point, it might be fair to question the point of having a narrative in an open world experience at all. Perhaps it is best to look at how narrative in the genre has evolved to its current state for additional insight. Open world games began as text adventures in the 70s, but the first graphical attempt at an open world came in the form of 1979’s Adventure on the Atari 2600. While the game itself gave few clues as to what story, if any, was being told, the instruction manual provided players with the tools to contextualize the collections of shapes on-screen. In 1986, The Legend of Zelda refined the idea of an open world by adding engaging combat and puzzles, though the narrative was still largely contained within the game’s manual. Then, in 1998, Ocarina of Time released and became the go-to example of how to pull off an open world. To this day Ocarina is considered one of the greatest games of all time, lauded for its tight gameplay, exploration, and narrative. For the first time, an open world game had a narrative that was not only successful in a functional sense, but also in a way which seemed like it captured the essence of adventure. That part of the game might seem tired and less revelatory over a over a decade and a half later, but when it released people were amazed by the cheeky Princess Ruto, the odd society of the Gerudo, and the journey of a young boy to save the world. Ocarina of Time managed to tread a very thin line; one that encouraged and rewarded exploration while also minimizing distractions from the player’s pursuit of the narrative. Have you ever noticed how a lot of the areas you initially pass by in Ocarina of Time have paths and secrets you can only access with gear later on; gear that you only acquire by progressing through the story? Ocarina manages to gate various areas in this manner, but it never feels distracting or irritating. I’d guess that’s because it provides incentives to proceed, both in terms of new gadgets, but also by using what has become one of the most iconic gaming annoyances: “HEY, LISTEN!” Players who get overly sidetracked are reminded that they’re supposed to be saving the world and not wasting quite so much time competing in fishing challenges or fighting chickens. These gates and mechanics result in a tightly controlled story which funnels the player from dungeon to dungeon. While players might have accepted this in ’98 and have come to accept it as a staple of The Legend of Zelda series, they certainly wouldn’t appreciate such tactics in a game like Far Cry 4. Ocarina balances the openness of its world against its narrative needs very well, but it isn’t perfect, something that has become more apparent to me over time. It is a classic hero-saves-the-kidnapped-princess story, a tale we have all heard more than a few times. Sure, it has a few unique twists, but that isn’t enough to make the narrative feel completely new. It is an old story told very competently, which is high praise for a video game, but it isn’t Shakespeare, Dickens, or Dumas. Unfortunately, it seems that a lot of developers at the turn of the century took the success of Ocarina of Time to mean that bigger open worlds with more things to do was what players truly wanted, not recognizing the need for a change in storytelling tactics. That leads us to the current day. Rapidly advancing technology has given developers more tools with greater power than ever before, ballooning the costs of development for open world games and causing more developers to play it safe by sticking with providing larger and larger worlds. Many gamers and developers seem to be stuck in the idea that bigger is better when it comes to open world video games, while forgetting the lessons of Ocarina of Time. With a smaller game world than most open world games since, Ocarina of Time is more successful on a narrative level than Skyrim’s massive realm. I feel the need to clarify that I don’t mean to talk smack about Skyrim. There are many, many things that it does much better than Ocarina of Time and its scale is utterly gorgeous, but on a narrative level it calls flat for me. The problem is that when a game touts its massive game world and sells millions of copies, many other developers attribute the success, at least in part, to how large the game world was. That’s the reason we see CD Projeckt hyping The Witcher 3: Wild Hunt as having a game world larger than Skyrim and 30 times as large as The Witcher 2. As a side note, it seems a bit backward to me to tout how large a title’s in-game world is before players have gotten their hands on it. What if the general reception of the game is terrible? Doesn’t that just mean there is more of it to find unenjoyable? A great parallel of this mindset can be seen in the film industry. On the one hand we have Transformers, a series of films that trots around the world with giant robots beating the crap (oil?) out of each other that succeeds in being huge, loud, and flashy, with each film trying to be bigger than the last; and it is all so incredibly boring. On the other hand, we have 12 Angry Men a classic film from 1957 about a jury arguing over the guilt of a young man on trial for murder. Almost the entire film takes place in a small jury room and it is riveting. The film makes good use of the small space, shooting from interesting angles while dramatic tension is created between the various members of the jury. The size of the set isn’t what makes a film interesting, and neither is the size of a game world. It seems kind of like we are stuck when it comes to storytelling in open world games. Developers can attempt to tell a story that our players can completely ignore, which leads to lazy, uninspiring narratives; they could lightly sprinkle the narrative into the game in such a way that it is both unimportant to the player and the game itself; or we can tightly control the gameplay options to restrict the open world and tell our story appropriately. All of these options seem to come up a bit short if a developer wants to tell a meaty, interesting narrative in an open world. It might seem odd to look for a solution in linear titles, but that seems to be the only recourse to find a moderately comparable solution, since there are nothing quite like open world games in any other form of media. Observing some of the most interesting narrative titles from the last decade or so reveals what could be an interesting answer and possibly the future of video games: Game mechanics as storytelling tools. There is a tendency to view mechanics in games as simply a means to an end; that they are just how games work. It is a shame that we look at the basic means by which this medium functions and just shrug them off. But those underlying mechanisms are one of the characteristics that set video games apart from other mediums. Perhaps that is why some of the best games of our time have made use of mechanics to aid in storytelling. Look at Jonathan Blow’s Braid which uses its core time reversing mechanic to devastating effect. It completely turns the tables on the accepted theme of princess rescuing that many games have adopted as a shorthand for adventure. It reveals a troubled protagonist who has created his own version of events while ignoring the truth of what happened; someone who desperately desires to rewind the clock and take back what they did, but ultimately finds that this is one thing that can’t be fixed. For a more blatant example, look at this year’s Transistor from Supergiant Games. The mechanics of the combat contain several layers of meaning. On a surface level, they build the world of Transistor and reflect the digital nature of Cloudbank. Each combat ability stems from a person who has been absorbed into the Transistor and must be combined in different ways to unlock each individual’s history. Using these abilities, these souls, naturally brings up questions about humanity and the moral questions of what you, and by extension the characters around you, are doing. These mechanics are both core to how the game is played and compose the heart of their respective games. This is what open worlds need to strive to do. Developers can escape the confines of linear storytelling if they ingrain the mechanics with weight and meaning. *spoilers for Shadow of the Colossus ahead* The melding of mechanics and story was a concept that Shadow of the Colossus (one of my favorite games of all time) understood very well. In fact, I’d be willing to argue that it is the only open world game that has succeeded in doing so in a nearly flawless manner. Every single mechanic in Shadow of the Colossus tells us something important. What’s that? Wander swings the sword clumsily? That makes sense since it is revealed later that he stole the sword. He rides his horse Agro very competently and it comes when whistled for? They probably have a deep bond that will be exploited later for dramatic effect. He shoots arrows very well? He was probably hunter or an archer of some kind. Within the space of several minutes with no dialogue the player can make some accurate assessments of Wander’s character. As the player progresses through Shadow of the Colossus, they slay enormous magical beasts for a mysteriously imprisoned entity in exchange for the soul of a deceased loved one. For every colossus that Wander kills, the game makes it clear that this is a sinister task with grave consequences via inescapable dark energy which pierce Wander’s body. At first the change is so subtle many players don’t notice, but after several of the creatures are dead, Wander begins to change, both on the outside and the inside. Small horns begin sprouting from his head, his hair turns black, and his skin goes white, eventually taking on the look of someone near death. But as these changes occur, he also gains more stamina and health, tangible things in the game that help the player overcome the remaining colossi. Wander’s willingness to give up his humanity over the course of Shadow of the Colossus speaks to the lengths to which he will go for the sake of his love, a sacrifice that becomes all too clear in the final moments of the game. Though the world is open, the minimal design ensures that there aren’t many distractions beyond the beautiful views encountered en route to the next colossus’ location, thus naturally overcoming the player’s urge to wander and break dramatic tension. It seems to me that in order to tell a completely successful narrative in a video game, developers need to embrace the things that make video games different and use them to tell their story. For too long, open world games have relied entirely on player agency while neglecting to consider the importance of what their mechanics are saying. And this isn’t just a problem for open world games, but something that a lot of linearly designed games also get wrong. Integrating mechanics meaningfully into the narrative will be what brings video games into their own. The industry is on the cusp of a change in design philosophy and I can’t wait to see what comes next. View full article
  7. If there is one thing that I’ve learned from writing in the video game industry it is that people go bananas for top ten lists. Since console generations don’t come along every day, I thought I would take this opportunity to reminisce on the past few years of gaming history and write a list. Ladies and gentlemen, without further ado, I present to you the top ten video games of the previous console age. 10. The Stanley Parable The strength of The Stanley Parable isn’t in its gameplay, which consists only of movement, or aesthetic, which is that of a bland office building. No, the strength of The Stanley Parable lies in the high-caliber writing and the fantastic voice acting by Kevan Brighting as the Narrator. The Stanley Parable explores the issues of game design in a hilarious fashion and makes its points by responding to whatever the player does. The difficulties of creating for an interactive medium are so clearly illustrated by what players decide to do that it is hard, or even impossible, to imagine The Stanley Parable in any other medium because so much of what it has to say is told through a player’s interaction with it. And that is something that I have never experienced to such a degree with anything else in this medium. 9. Sid Meier’s Civilization V It is by no means an overstatement to say that Civilization is one of the best turn-based 4X strategy franchises on the market. While Civilization IV also came out during this generation, the dramatic shift away from squares in favor of hexagons and the elimination of unit stacking opened up more interesting combat scenarios and paths to victory. The end result of revising these mechanics was a much more fluid and exciting game relatively free of massive stacks of units entrenched against each other. Smaller empires became more viable and more mechanics were added later through hefty expansions that deepened the gameplay and added unique paths to victory such as espionage and faith. Civilization V strikes a great balance between the various methods of victory: combat, culture, diplomacy, and science. Other turn-based 4X games that follow in Civ V’s footsteps will surely be taking cues from this shining example of strategy for the foreseeable future, which earns Civilization V a place on this list. 8. Red Dead Redemption One of the biggest problems inherent to the design of open world games has always been effectively conveying impactful stories. Allowing players to goof off or pursue side quests between important plot points often diminishes the effectiveness of an open world game’s storytelling. Red Dead Redemption seems to be the exception to the rule. While there are sidequests and plenty of distractions to keep the completionists busy for years, the main focus of Red Dead Redemption never wavers from protagonist John Marston’s quest to escape the specters of his checkered past and save his family. That dedication to story eventually pays off with what ranks as one of the best video game endings ever that is shocking, sad, anger-inducing, and ultimately satisfying all at once. The ending alone would be enough to elevate red Dead Redemption to a position on this list, but toss in solid third-person shooting mechanics and leaving it out would be a crime. 7. BioShock Infinite I’m just going to come out and say it: BioShock Infinite had the most interesting narrative of any first-person shooter released this generation. Some people might argue that the first BioShock was better in some respects, but Infinite had so much more to offer on a narrative level that it makes the original look like a pale reflection. Themes of racism, isolationism, overzealous nationalism, religious persecution, predestination, and more pervade the game and open it up for interpretation on numerous levels. Furthermore, carrying on BioShock’s tradition of meta-comments on gaming and gamers, the ending of Infinite not only takes into account all of the players of BioShock Infinite, but also retroactively the players of the first BioShock and provides a new perspective on the material in both games. On top of that, Infinite’s city in the clouds was astoundingly beautiful which provided a great contrasted with the horrific violence and bigotry that lurked just beneath the surface of Columbia. Remember, there is always a lighthouse. 6. Mass Effect 3 The culmination of the Mass Effect trilogy was the ultimate payoff for players who had spent years of their lives, two games, and several packs of DLC building up to the final conclusion of a galaxy in peril. After carrying over the same Commander Shepard from game to game along with the baggage of all the difficult decisions made along the way, the finale carried so much meaning for players. Mass Effect 3 was better for all the time spent developing the characters in Mass Effect 1 and 2. The ending left people so vehemently divided because they cared so deeply about the universe of the series and the ending wasn’t what they expected. Was it bad? Personally, I enjoyed the game before the extended ending was released and I enjoyed it afterward. The game was more than its ending, though. Mass Effect 3 was a vast improvement over the first and second entries in the series: the story was more focused, the sidequests were more interesting, and combat was drastically improved to the point that an enjoyable multiplayer could be built around it. More than any of that, though, I loved Mass Effect 3 because after all of the choices I made as a player over the course of five years, the story came to feel personal, like it belonged to me. And, well, that was special. 5. Braid Jonathan Blow’s masterpiece was one of the first big indie hits and became a symbol for what indie developers could achieve in a modern market via digital distribution. What many people found appealing about Braid isn’t hard to see: fantastic art design, interesting time warping mechanics, and an abundance of clever puzzles. At first glance, Braid appears to be a traditional 2D platformer in the vein of Super Mario Bros. However, anyone who believes Braid to be nothing more than a pretty game with cunning mechanics is sorely mistaken. Tim, Braid’s protagonist, becomes the most interesting element of the game by shrewdly playing with the commonly accepted conventions of the platforming genre. By the time the credits roll, Braid has introduced the concept of the unreliable narrator to video games (or would that be the unreliable avatar?) and left a feeling of uncertainty. I’ve played through Braid multiple times and I’m not sure I’ll ever fully understand it, but I am sure that it is one of the most influential games of this generation. 4. Portal Portal is the textbook example of near perfect game design in the modern era of video gaming. Its simple-yet-complex gameplay slowly escalates in difficulty along with a gradually revealed antagonist who is delightfully sadistic and entertaining. The game world similarly reflects the gameplay design by going with a deceptively simple aesthetic. Sterile environments surround the player initially, but eventually cryptic warnings in nooks and crannies start to peel away the benign façade. One of the best parts about Portal is that it knows not to overstay its welcome. The game is long enough to be satisfying and feel like an adventure, but short enough so that the mechanics of the portal gun don’t start to feel overused or gimmicky. Portal isn’t just one of the best games of this generation, but it can hold its own as one of the best video games ever made. 3. Journey The minimalistic, “less is more” approach to game design has always appealed to me since Ico made waves back in 2001. Thatgamecompany has taken a similar design philosophy to heart with fantastic titles like Flow, Flower, and ultimately in their Opus, Journey. Journey is a simple platformer with some minor points of open exploration and only the barest hints of online play, yet its sophistication and subtlety set it so far ahead of most games that it feels transcendent. The animations and art direction are so well crafted that every time you jump you can feel the joy radiating from your character or the tense fear of being hunted. The musical score of Journey can touch even the stoniest of hearts and dredge up considerable emotion. All of these are great, but one of the most remarkable aspects of Journey is the inclusion of drop-in online co-op. Other players online can walk into and out of your game, drastically altering the experience with their presence. Some people are friendly and helpful, others lone wolves with no time to spare. Journey can be funny, sad, angry, lonely, and joyful all at once. Quite simply, Journey is a beautiful game in every sense of the word; a game that everyone should play at least once in their lives. 2. Bastion Developer Supergiant Games is one of the most amazing developers to spring into being this generation. They have a knack for crafting amazing games with a signature artistic and musical flair. Bastion’s quality is obvious from the first minute of gameplay. Playing through the shattered fragments of Bastion’s world is like stepping into a fantastical storybook unlike anything you’ve ever read. The similarities to a story book are further reinforced by the compelling narration that follows players’ every move, emphasizing the simultaneously wonderful and sad fairy tale feel. The amazing soundtrack by Darren Korb is a huge credit to Bastion and works with the other audiovisual components to enthrall players. The story takes unpredictable turns as it gradually unfolds and ultimately leaves players with a heartbreaking choice. Bastion is a fairy tale that spellbinds players and doesn’t let go until the credits roll. 1. Minecraft The sheer genius of Minecraft is that it gives players a set of tools and then unleashes them within a world that is practically infinite. That world, and by extension the game, can become pretty much anything the player wants it to be. Feel like building something without having to worry about pesky things like deadly monsters or dangerous falls? You can play in a creative world where you have the ability to fly and have access to infinite resources. Do you want a more adventurous experience? Start a survival world and brave the horrors of night and Nether to find the gateway to The End. Content update after content update have been added to the game for free since its release, leading to more blocks, more monsters, more… everything. While offline Minecraft certainly shines, playing online with friends and tackling a colossal project or deciding to journey together into the unknown begets a spirit of camaraderie and excitement unrivaled by many triple-A releases. On top of that, Minecraft’s simplistic aesthetic strikes me as incredibly beautiful, to say nothing of the endless supply of texture packs which add new visual effects. The massive popularity of Minecraft speaks to how much it resonates with its players, and while popularity doesn’t necessarily indicate quality in any form of media, in this case it is not hard to see why so many people have fallen in love with the title. No other games this generation come remotely close to what Minecraft offers its audience: The chance to unlock pure imagination. Feel free to tell me how wrong I am, agree with me, or even better share your own lists in the comments. View full article
  8. If there is one thing that I’ve learned from writing in the video game industry it is that people go bananas for top ten lists. Since console generations don’t come along every day, I thought I would take this opportunity to reminisce on the past few years of gaming history and write a list. Ladies and gentlemen, without further ado, I present to you the top ten video games of the previous console age. 10. The Stanley Parable The strength of The Stanley Parable isn’t in its gameplay, which consists only of movement, or aesthetic, which is that of a bland office building. No, the strength of The Stanley Parable lies in the high-caliber writing and the fantastic voice acting by Kevan Brighting as the Narrator. The Stanley Parable explores the issues of game design in a hilarious fashion and makes its points by responding to whatever the player does. The difficulties of creating for an interactive medium are so clearly illustrated by what players decide to do that it is hard, or even impossible, to imagine The Stanley Parable in any other medium because so much of what it has to say is told through a player’s interaction with it. And that is something that I have never experienced to such a degree with anything else in this medium. 9. Sid Meier’s Civilization V It is by no means an overstatement to say that Civilization is one of the best turn-based 4X strategy franchises on the market. While Civilization IV also came out during this generation, the dramatic shift away from squares in favor of hexagons and the elimination of unit stacking opened up more interesting combat scenarios and paths to victory. The end result of revising these mechanics was a much more fluid and exciting game relatively free of massive stacks of units entrenched against each other. Smaller empires became more viable and more mechanics were added later through hefty expansions that deepened the gameplay and added unique paths to victory such as espionage and faith. Civilization V strikes a great balance between the various methods of victory: combat, culture, diplomacy, and science. Other turn-based 4X games that follow in Civ V’s footsteps will surely be taking cues from this shining example of strategy for the foreseeable future, which earns Civilization V a place on this list. 8. Red Dead Redemption One of the biggest problems inherent to the design of open world games has always been effectively conveying impactful stories. Allowing players to goof off or pursue side quests between important plot points often diminishes the effectiveness of an open world game’s storytelling. Red Dead Redemption seems to be the exception to the rule. While there are sidequests and plenty of distractions to keep the completionists busy for years, the main focus of Red Dead Redemption never wavers from protagonist John Marston’s quest to escape the specters of his checkered past and save his family. That dedication to story eventually pays off with what ranks as one of the best video game endings ever that is shocking, sad, anger-inducing, and ultimately satisfying all at once. The ending alone would be enough to elevate red Dead Redemption to a position on this list, but toss in solid third-person shooting mechanics and leaving it out would be a crime. 7. BioShock Infinite I’m just going to come out and say it: BioShock Infinite had the most interesting narrative of any first-person shooter released this generation. Some people might argue that the first BioShock was better in some respects, but Infinite had so much more to offer on a narrative level that it makes the original look like a pale reflection. Themes of racism, isolationism, overzealous nationalism, religious persecution, predestination, and more pervade the game and open it up for interpretation on numerous levels. Furthermore, carrying on BioShock’s tradition of meta-comments on gaming and gamers, the ending of Infinite not only takes into account all of the players of BioShock Infinite, but also retroactively the players of the first BioShock and provides a new perspective on the material in both games. On top of that, Infinite’s city in the clouds was astoundingly beautiful which provided a great contrasted with the horrific violence and bigotry that lurked just beneath the surface of Columbia. Remember, there is always a lighthouse. 6. Mass Effect 3 The culmination of the Mass Effect trilogy was the ultimate payoff for players who had spent years of their lives, two games, and several packs of DLC building up to the final conclusion of a galaxy in peril. After carrying over the same Commander Shepard from game to game along with the baggage of all the difficult decisions made along the way, the finale carried so much meaning for players. Mass Effect 3 was better for all the time spent developing the characters in Mass Effect 1 and 2. The ending left people so vehemently divided because they cared so deeply about the universe of the series and the ending wasn’t what they expected. Was it bad? Personally, I enjoyed the game before the extended ending was released and I enjoyed it afterward. The game was more than its ending, though. Mass Effect 3 was a vast improvement over the first and second entries in the series: the story was more focused, the sidequests were more interesting, and combat was drastically improved to the point that an enjoyable multiplayer could be built around it. More than any of that, though, I loved Mass Effect 3 because after all of the choices I made as a player over the course of five years, the story came to feel personal, like it belonged to me. And, well, that was special. 5. Braid Jonathan Blow’s masterpiece was one of the first big indie hits and became a symbol for what indie developers could achieve in a modern market via digital distribution. What many people found appealing about Braid isn’t hard to see: fantastic art design, interesting time warping mechanics, and an abundance of clever puzzles. At first glance, Braid appears to be a traditional 2D platformer in the vein of Super Mario Bros. However, anyone who believes Braid to be nothing more than a pretty game with cunning mechanics is sorely mistaken. Tim, Braid’s protagonist, becomes the most interesting element of the game by shrewdly playing with the commonly accepted conventions of the platforming genre. By the time the credits roll, Braid has introduced the concept of the unreliable narrator to video games (or would that be the unreliable avatar?) and left a feeling of uncertainty. I’ve played through Braid multiple times and I’m not sure I’ll ever fully understand it, but I am sure that it is one of the most influential games of this generation. 4. Portal Portal is the textbook example of near perfect game design in the modern era of video gaming. Its simple-yet-complex gameplay slowly escalates in difficulty along with a gradually revealed antagonist who is delightfully sadistic and entertaining. The game world similarly reflects the gameplay design by going with a deceptively simple aesthetic. Sterile environments surround the player initially, but eventually cryptic warnings in nooks and crannies start to peel away the benign façade. One of the best parts about Portal is that it knows not to overstay its welcome. The game is long enough to be satisfying and feel like an adventure, but short enough so that the mechanics of the portal gun don’t start to feel overused or gimmicky. Portal isn’t just one of the best games of this generation, but it can hold its own as one of the best video games ever made. 3. Journey The minimalistic, “less is more” approach to game design has always appealed to me since Ico made waves back in 2001. Thatgamecompany has taken a similar design philosophy to heart with fantastic titles like Flow, Flower, and ultimately in their Opus, Journey. Journey is a simple platformer with some minor points of open exploration and only the barest hints of online play, yet its sophistication and subtlety set it so far ahead of most games that it feels transcendent. The animations and art direction are so well crafted that every time you jump you can feel the joy radiating from your character or the tense fear of being hunted. The musical score of Journey can touch even the stoniest of hearts and dredge up considerable emotion. All of these are great, but one of the most remarkable aspects of Journey is the inclusion of drop-in online co-op. Other players online can walk into and out of your game, drastically altering the experience with their presence. Some people are friendly and helpful, others lone wolves with no time to spare. Journey can be funny, sad, angry, lonely, and joyful all at once. Quite simply, Journey is a beautiful game in every sense of the word; a game that everyone should play at least once in their lives. 2. Bastion Developer Supergiant Games is one of the most amazing developers to spring into being this generation. They have a knack for crafting amazing games with a signature artistic and musical flair. Bastion’s quality is obvious from the first minute of gameplay. Playing through the shattered fragments of Bastion’s world is like stepping into a fantastical storybook unlike anything you’ve ever read. The similarities to a story book are further reinforced by the compelling narration that follows players’ every move, emphasizing the simultaneously wonderful and sad fairy tale feel. The amazing soundtrack by Darren Korb is a huge credit to Bastion and works with the other audiovisual components to enthrall players. The story takes unpredictable turns as it gradually unfolds and ultimately leaves players with a heartbreaking choice. Bastion is a fairy tale that spellbinds players and doesn’t let go until the credits roll. 1. Minecraft The sheer genius of Minecraft is that it gives players a set of tools and then unleashes them within a world that is practically infinite. That world, and by extension the game, can become pretty much anything the player wants it to be. Feel like building something without having to worry about pesky things like deadly monsters or dangerous falls? You can play in a creative world where you have the ability to fly and have access to infinite resources. Do you want a more adventurous experience? Start a survival world and brave the horrors of night and Nether to find the gateway to The End. Content update after content update have been added to the game for free since its release, leading to more blocks, more monsters, more… everything. While offline Minecraft certainly shines, playing online with friends and tackling a colossal project or deciding to journey together into the unknown begets a spirit of camaraderie and excitement unrivaled by many triple-A releases. On top of that, Minecraft’s simplistic aesthetic strikes me as incredibly beautiful, to say nothing of the endless supply of texture packs which add new visual effects. The massive popularity of Minecraft speaks to how much it resonates with its players, and while popularity doesn’t necessarily indicate quality in any form of media, in this case it is not hard to see why so many people have fallen in love with the title. No other games this generation come remotely close to what Minecraft offers its audience: The chance to unlock pure imagination. Feel free to tell me how wrong I am, agree with me, or even better share your own lists in the comments.
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