(03-01-2012, 03:36 AM)Kein Wrote: Lee
I never said or act in a way of any of your implications trying to imply. You are making things up on your way trying to support you point and position and moved from the subj to the personalities. This is a weak and cheap tactic. Shame.
As for the game - how much interactivity you have seen in visual novels? The only interactivity there is a dialogue choice yet they do counts as a games. See, this is a problem, it seems that you don't understand the concept of DE, you can't see that you have a choice - choice of exploration. By exploration. This is the reason why people don't like the game - they don't understand it, they don't accept it. You and other member act like an arrogant kids, making a point and implying the fact that developers didn't develop their concept in new storytelling, but rather pretending they did, like made a cheap advertisement. How can I take you seriously then (no offense, just being honest)?
But it does not matter. Let's back to the main point. I ask again - how is the fact that TCR working on Amnesia sequel will make it bad automatically? I want argumentative answer, not just "because I didn't like DE and game was shit".
I'm pretty sure the topic of conversation
was personality. You and SquigPie were getting a little snippy so I decided to clarify who got snippy first.
Don't pretend that the Dead Space comment wasn't an expression of your unfounded belief that he does not understand it. It's something I've experienced on far too many occasions with DE fans already.
I've never seen a sane person call a visual novel a game. It is a visual novel, as in a piece of text with visuals to go along with it. That is a perfect classification for visual novel: visual novel. I've heard testimony that visual novels have choices to make on occasion, but this is little more than what happens in a regular novel in the choose-your-own-adventure vein, but with imagery applied.
I fully understand that you have a choice to look at more things than are on the rail you go down, but this is hardly exploration. There is little reward for going off the path apart from more snippets of text and pretty pictures, and there's no feeling of being special for having "explored," since every branch off is so obvious. Just about everything that might be interesting to inspect up close, such as the beached boats or some prettier parts of the cave, is kept away from you by invisible walls. Hell, by the time you get in the caves, there are almost zero monorail stops because you're in a
fucking cave. Going off the path has no effect on
They didn't develop a new form of storytelling at all, either. They devolved into an
older form of storytelling that gaming had moved on from. The story itself is much better than what almost all games have tried, but the storytelling is also much more shallow than what almost all games have tried. I like books, but I don't like a book that masquerades as a game because the movement around a 3D environment is a completely unnecessary addition that reeks of unrealized potential. I
love DE's writing, but that doesn't excuse the fact that you have to walk through a static environment for minutes at a time to, essentially, turn a page.
I never said that A Machine for Pigs will be bad automatically, but rather that I would be very surprised if it's anywhere near the quality of The Dark Descent. If you think my entire argument against Dear Esther and other thechineseroom titles amounts to "because I didn't like DE and game was shit," then you might have a problem understanding my points, but generally I'm apprehensive because
none of their titles have had quality or scope anywhere near as high as any Frictional Game. They haven't made a game that features puzzles, stealth, horror, resource management, or many other things, and I have no idea how such an inexperienced developer will be able to cope with the tremendous weight of an
Amnesia title, of all possible things, on their shoulders.
Of course it can be the next gaming messiah, as can any game coming out soon, but my hopes for it will not cloud my expectations. It's best to have low expectations about everything, though, so as to never be disappointed. It was quite nice to find out, for example, that Jason Rohrer, the guy who made fucking
Passage, could make something as mesmerizing as Inside a Star-filled Sky. That's what I want to happen with thechineseroom, and I'll reserve my judgement of A Machine for Pigs until I actually play it. I'm just filled with realistic doubt.