It was sad but not that sad. Now Dom's death...That was sad.dreman999
I wouldn't say it was sad, it was hilarious. Seriously, the flashback,s Dom's constant 'wah wah my wife, my wife, my wife'; it was like watching space marines partaking in a highschool drama production.I haven't played Gears 3's campaign, and I've only seen the infamous 'Daaaaaaaad' cutscene, but I've heard good things, and interviews with the writer that I read in Edge were absolutely fantastic - she seemed to get it. The problem with a game like Gears, is that there's only so much you can do with it; the mechanical premise and narrative context are pretty thick boundaries to write a story with characters that reach outside of the predictable lines; or carry emotional gravity.
Personally I liked Gears 1's no nonsense approach to story almost well aware it doesn't matter, but hey, I'll give 3 a go eventually.
I love me some Catherine. jg4xchamp
Ah but how about some Katherine? So just played the trial version of To the Moon..... and oh boy is the dialogue terrible. It feels like it's written by either a high school wannabe or a college freshman trying to get a sitcom going. I feel like the entire game simply aims to be emotionally manipulative, but if there's any merit, it's playing through the actual premise, which is quite similar to Eternal Sunshine of the Spotless Mind, though a bit more simple and saccharine. Yeah, I do want to play Catherine, it looks absolutely legit from everything I've seen. Deadly Premonition too. What did you think of Thirty Flights of Loving?FrozenLiquid
Gaaah that's a shame. Maybe it picks up over time? I've found that can be the case often enough, but still that doesn't bode well. Had a feeling it would be like Enternal Sunshine, which is a great premise to tackle; but still I like to think it does something a bit more interesting with those ideas, without straying too deep into basic emotional manipulation. Who knows, it might work like that and be better for it. Interestingly enough I started playing through Gemi Rue again properly, and there's that same stigma; some just cringeworthy writing here and there - and why of all things did they name the protagonist Azriel Odin. But still, it can be overlooked.Hopefully To the Moon turns out to be the same.
You really should, I think you'll get a kick out of them. Also, if you're interested in a pretty ballsy, unique approach to game narrative, that's full of glorious cheese (like a Saturday morning cartoon), and well aware of it - Driver San Francisco. I still haven't played much of it, but the way it's written in combination with the game mechanics is surprisingly sublime, and interestingly enough it had the writer Tom Jubert onboard who has a pretty excellent blog about this kind of thing. It's more or less a cartoon Life on Mars meets Bullit / X car chase film.
I thought Thirty Flights was pretty good. Didn't quite have the same kick as Gravity Bone, but it was trying to do very different things. Ireally like how it fragmented the story, and added in the jump cuts, but the finale didn't quite add up to Gravity Bone's climax in terms of how the story wrapped up (the whole end bit of Gravity Bone isgodamn sublime). That and I really didn't like the whole 'this is how flight works' thing at the end. I adore Brendan Chung's work and all, and know he's doing it justbecause for a chuckle, but gah, didn't gel.
That and the removal of game mechanics, despite having so much about the action and movement seemed to do more harm then good. I never got an impression of what my characterdid. The other twodid things you didn't. You weren't the guns and mechanical dude, or the sniper who bakes, or even a super sneaky super spy - like in Gravity bone. You just walk; which considering the whole spy premise and all the rushing and action didn't gel to me. Ain't a Dear Esther in that regard.
But otherwise I enjoyed it, quite a bit! Have you given it a burl? What did you think?
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