LogFAQs > #904052205

SwayM posted...

And then a game like this comes out and people hone in on every single nitpicky bullshit flaw they can find in any attempt to paint the game in a bad light.

Being different doesn't automatically give you a pass.

Furthermore, David Cage has had his shot. Multiple times. The fact that we can track his own poor narrative skills this easily is a testament to the fact that, in reference to his own work, this *is* just the same old shit for him.

Dragonblade01 posted...

Detroit should be praised for how it combines gameplay and narrative to create a strong interactive experience for the player.

Could you please elaborate on how DBH succeeds at this. I've often found the gameplay in any given David Cage game to be rather lacking. A combination of a choose-your-own-adventure and following button prompts.

I'm not saying that games shouldn't be made like this, but I'm interested to hear how you think the gameplay, such as it was, was well-combined with the narrative.

For example, when I think of a good combination of gameplay and narrative to create the experience, I think of The Fall, where the very nature of wanting to walk around, explore, and progress to an objective is at odds with the established narrative, and requires an AI to forcibly go against their programming little by little in order to develop them.

In short, I find the best combinations of gameplay and narrative are the ones that play the player. Knowing a player's tendency to certain types of actions and building the narrative around that.

EDIT: And now that I bring it up, The Fall is a FAR better made example of an AI rebelling against its function, whereas in DBH it's simply a matter of getting stressed out, breaking a red wall, and suddenly you're completely human in everything but physiology.
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CyricZ