I talked in one of the last blog posts I wrote about making interactive stories and a few of my thoughts on how they work. I mentioned, in that post, about the game ‘To the Moon’, which is one of my favourite games, along with its sequel, ‘Finding Paradise’. Continue reading
So now that I got that rant from last week out of my system, let’s spend some time on the topic I actually wanted to talk about. Interactivity and Pacing.
I’ve been doing a lot of thinking about pacing in the past couple of days, because I’ve been editing, and editing means fixing up the horrendous pacing errors I made in the first draft. Continue reading
This started as a post about interactivity in fiction. I will still write that post. I’m just … going to write about this one first because it turned into a Whole Rant. Continue reading
I was at Continuum Convention all weekend, so I’ve been talking to people about all sorts of things literary and interpretation-related. And then I got home, had my traditional bout of con flu, and therefore played games for a couple of days. So hold onto your hats, kids, this is an esoteric one. Continue reading
Ok, so I’m writing this with reference mainly to Little Nightmares, but it’s also worth having the discussion about games in general – since games are pretty unique when it comes to how to think about the ‘canon’ of the story. Continue reading
Recently a friend asked me to play a game called Little Nightmares.
This request has been one of the best arguments I have for peer pressure occasionally being a good thing, because it quickly rocketed to ‘best video game I’ve played all year’ and definitely holds a place in my top five games of all time. I’ll add some qualifiers to that, because just because I love something doesn’t mean I think it’s flawless, but it definitely qualifies for one of my top five slots. Continue reading
You know the drill by now. I like being opinionated about things, and I like analysing stories. This is yet another blog post about how I like to do it. Continue reading
As mentioned in the intro post, this is one of my pet topics so hold onto your hats, kids. Please note: Later I say that I am about to spend a paragraph spoiling the original Mass Effect trilogy. This did not end up being the case. As of writing this edit, I’m about 1,000 words into that particular rant, so if you don’t want the original Mass Effect trilogy spoiled, it may be best to skip this post altogether. Continue reading
One of the most important aspects of writing a story is to understand the scope of what you’re writing. In order to create a compelling story, you have to have a balance of goals and threats, so that everything feels right to the readers. If you have, say, a slice-of-life type story, the threats to your character’s goals will be normal, mundane things, and your character should react accordingly. If you’ve got a high fantasy story about a villain who wants to destroy the world, on the other hand, you’re going to have much bigger threats, and your characters will react accordingly to that instead. This applies also to the secondary threats. At least to my eye, high fantasy romance arcs often fall flat because I’m often left thinking ‘why is this as important as the world-shattering plot that’s going on in the background?’ Continue reading
I remember when I first played Dragon Age: Inquisition, on the recommendation of a friend, and that friend told me that the devs had had to tell people to move along from the first section to advance the plot, because there was such a huge volume of side quests in the first area that people were hanging around there and getting frustrated that the story wasn’t advancing. Continue reading