Il Divo wrote... Just to highlight:
I’ll be honest, right now I have a stack of games that’s up to my knee that I haven’t played because I’ve been so busy with Mass Effect 3. So I’m excited to see what other people have been doing while I’ve been making a game. But I do know that between Mass Effect 2 and Mass Effect 3, one of the things I looked at was—I don’t know if I’d call it the writing, but the cinematic style and delivery of Uncharted 2 really drew my eye. I look at that and say, “Wow, those are some very compelling people.” I’m happy to sit there and watch what’s going on in that scene—I don’t even need interactivity in that scene because it’s so well done. And that was part of the game that I really wanted to strive for in Mass Effect 3 as well. And so I’m looking forward to playing a lot of other games as well. I’ve seen a bit of other ones out there—things like L.A. Noire, they had some interesting ideas of what they were doing for things like facial capture. Who knows where that could go.
Bioware's distinctive strength never lay in writing, but in their ability to construct a cohesive narrative in the face of overwhelming player agency. It is this that has so engaged hardcore-fans and can evoke such vivacity, awe, entitlement and vitriol.
Now it seems Mac Walter's has unceremoniously perched a polyester beret on his head and considered that the rpg in fact limits his artistic horizons, and ergo with the streamlining of dialogue he will create some manner of a literary masterpiece, at the cost of what he evidently considers a mere trifle; player immersion.
Poor deluded fool. Bioware's forgotten what made them stand out with such clarity from the masses. Immersion; the creation (as opposed to the suspension in linear text) of belief; is/was at Mass Effect's core and is intrinsically what attracted such a rigorous popularity base.
Modifié par Comsky159, 04 mars 2012 - 05:27 .
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