It’s very difficult to explain. I don’t like the puzzle games (like 7th guest). It’s a style of puzzles I don’t like.
Edit: I got it. It’s because I only like those puzzles where it is not clear what is a clue and what isn’t. The clue must be dissimulated to look like something else (e.g. a joke, or a detail put there for realism…).
I remember there was a printed book of the Day of he Tentacle story! Maybe not official and maybe German only. I couldn’t find any online traces though…
Hm, puzzles like those in 7th Guest are completely unrelated to each other or even the game world. Like arbitrary sliding tile puzzles, or a chess game puzzle.
Maybe that’s a reason?
Maybe. Or maybe that all the information to solve them is given in the same screen. They are isolated, self-contained. (actually it’s the same thing you said :))
Most (if not all) video game stories are shallow and (IMHO) not very good (including mine), but they are held up by the game play, it’s what makes that OK and allows them work. Movies and Books are the stories, but for games, story is just one piece.
The first PotC movie is a better story than MI’s story, but MI is a better overall experience because of the game play.
Fire Watch was a good game, but not a very good story if you took it in isolation, and the same is true for any game I can think of.
This is interesting. It’s the first time I know a player of PnC adventure games who doesn’t care much about the story or the characters.
Both when I was a teenager and in modern days all the people that I have met who enjoyed adventure games considered the story and the characters very important. They also enjoyed the puzzles but puzzles were considered just a way to advance the plot and see what happens next.
In other words, the story, the plot and the characters were always the major driver. I think that these people considered adventure games a kind of narrative games.
Yeah, I’ve always considered them puzzle games where the story is there only because otherwise it would be obvious what are the clues and what aren’t. Story as a means to dissimulate clues. However I admit I was very much into the Loom story, and also a little into the Indy4 story. And the Dig. And probably others I forgot.
It may sound strange to you, but I am surprised by the opposite view. That someone might be interested in the Full Throttle story or characters, for example. I mean, it has the same quality of a Bud Spencer and Terence Hill story, but without the fun
I think it’s true that the stories behind video games are rarely very good, because they come second to gameplay. Not many stand out for me but one I did enjoy was Portal. Maybe it’s because the story is so closely linked to the gameplay. Without wanting to ruin it for anyone who’s yet to play it, the way in which the tone changes and the twists occur is really entwined in the puzzle solving in the test chambers.
I haven’t articulated that very well because I can’t quite put my finger on it, but something along those lines!
Also in TWP I think the use of flashbacks to explain some of the back story was pretty effective, and helped to balance the story:gameplay ratio a bit.
Well, I think that some games would provide a good story for a movie. I don’t know about the one that you cited because I’ve not finished it yet (nor I know if I will ever finish it).
The environment is important as well. It’s not just a story. A player spends most of the time exploring what’s in the game. The better the connection between the environment, the story, dialogs with NPCs and the gameplay mechanics the better the outcome.
Most people don’t worry about the story in WoW. But it’s there and it fits the environment. Till it lasts. Then you have this giant multichat with your acquired new connections.
I have to disagree here. I have played MI several times. And the (distilled) story in MI is far better than the first PotC movie.
Of course these are two different mediums. But in an adventure game the players “dives deeper” in the story - because he is part of the story and decides how the story goes.
That’s just because a lot of video game makers don’t pay attention to the story. They write bad stories and invest more time and budget in better graphics, more blood and tiny little trees…
btw: Only a few films are really good - the rest has a weak and shallow story too.
Greetings to everyone; this is my first post here.
I understand that leaving holes in the plot is a powerful resource and not only helps in finally giving the game an ending but also triggers the eager in the community for more!
However, there are some things that still bug me (spoilers ahead):
What’s with the cutscene in which Reyes is laying down on the coroner’s stretcher and where he is not playable for some time? What is Ricki Lee doing there??! I concluded this was only to confuse and to open a door that could be used further on in the game and that was not exploited later on.
What was Boris even doing there? I understood this was only an excuse for the game to begin, for the team to reunite, and for them to accomplish their personal quests.
Why no one cared about Franklin disappearence, even in such a small community and being him a such distinguished person?
Who, in fact, was the killer? Why this killer only knocked Reyes out being able to also kill him as he/she did with Franklin and Boris?
All in all, I really loved the game. It made me remember of the first time playing the Hercules version of Maniac Mansion and I laughed at how it ACTUALLY frightened me (being 10 years old or less, in the 90’s), even more when years later I read that it was supposed to be cheesy and funny.
Note: I apologize for my English, I’m not a native speaker
Note2: I double apologize if my questions are too plain; I just ended playing the game and I couldn’t stand the anxiety of getting answers!
Well, It’s unlikely that you are getting answers because the developers doesn’t know the answers to some of your questions either. TWP is an homage to Twin Peaks and David Lynch movies, that are known to have random generated mysterious things in it. (Shitstorm coming up in 3,2,1 …)
Of all the fan hypotheses read by Ron, he has stated that only one player got the meaning of this scene correctly. Of course, he didn’t say who that player was nor what the correct interpretation was.
Boris was there for business and he was probably one of the investors contacted by Franklin. Boris had to give one of Franklin’s pillow bear prototypes to the person who lured him in that place. In his journal, Chuck writes that he will have to deal with the investors contacted by Franklin. The general consensus is that Chuck didn’t want anyone to discover that the pillow factory was transformed into something else.
We don’t know. We don’t know even if the person/thing that killed Boris was the same person/thing that killed Franklin.
“Thimbleweed Park 2™” that could be amazingly wonderful - if done right. I love the topic of TWP and mostly the abrupt ending which is extremely dramatic from the point of view of the characters. What is the sense of life? Should I finish the goals and dreams of the characters even if in a few minutes their existence and that of all people in their world will end anyway? TWP is a great basis that can be used to elaborate on different philosophical topics in further games. Ob boy, if I wouldn’t be so busy at work I would take the initiative to create TWP2, 3, and 4.