It's official, nobody gets the point of your joke
All of my friends keep embarrassing me and it's pissing me off
Wow this thread is an embarrassment for every single person involved ...Wait FUCK
WE GOIN' HERO ［✓］Go after him!!
AT LAST... THE TIME HAS COME [✓] MANIFEST: PHOENIX PICKLE
Now that's more like it >:D Also Quoted for posterity
uHH... OK I GUESS...?
Wait what? What the fuck happened in this thread I only read the first page
You are NOT allowed to copulate
I have a feeling 'Loading' basically means 'Voting over get ready suckaz' so maybe don't post commands after that Also All characters appearing in this work are fictitious. Any resemblance to real persons, living or dead, is purely coincidental.
Summoning will immediately go wrong, because such things always do Clairvoyance will ruin someone's life because something will eventually go wrong tonight and they'll probably see it Manifestation sounds hilarious but will also probably scatter shit all over our house, and nobody wants to clean that up ［✓］Truth Spell for maximum chuckled-to-fuckled ratio And what say we take a cursory glance at the I N V E N T O R Y and see what kinda starter kit we got
#FUN #BUZZWORDS #TRIGGERED Das funni cuz mine's Garen
Just beat Disgaea D2. Got the True Ending WITHOUT EVEN TRYING. BOW TO YOUR OVERLORD.
"Why does 02 sound kinda like me" [~Nobody picks 02] HEH ［✓］04
psh dun step 2 dis homequrl hop u dont hav a favrit charactor cuz dey'll be shit tier 2 updaets from nowe
Guess you're bilingual
Mother of god we finally did it We corrupted the source WE SHOULD NOT HAVE PLAYD GODE
You're choosing to view it that way. That does not make you right, nor your stance more valid. A story is a form of art, and art is broadly defined as something which evokes a response from its observer. In the case of a game, this takes on a co-operative element - where the writers and designers do some of the work and the players contribute the rest. They experience both what the developer has set forth for them to experience, and what they derive from the framework of the game and dictate with their own actions. The unique element of a game is the ability for its player to generate further experiences for themselves and others, all of which may inspire or discourage them, elicit joy, sadness, rage, excitement, surprise, fear... and, moreover, all of which form a persistent chain of events in the player's mind. You're seeing story as pure plot, something with a singular architect and a singular purpose - but that's exceptionally limited, and in many cases downright untrue. Not to mention, a story that only had plot would be rather boring. "What happened next" cannot sustain a good story by itself. A race is not its checkpoints; it is the racers reaching them that defines them, gives them purpose. Later chapters mean nothing until the reader reads that far. Thusly does the player uncover the story by playing the game. Until then, plot is just a distant flagstaff. You are deliberately avoiding the point I'm trying to make, that all of these things together have the same effect on the player of the game as the goings-on of any other form of less interactive media. They're pieces building up to the conclusion. Together they become more than the sum of their parts. They equal, roughly, the experience in any other medium of having a story dictated to its observers: one of discovery, of absorbing a potent message or coming to a personal realization, of experiencing strong emotions and acting on them in a meaningful way. A game may inspire a painter to paint, an engineer to build, a writer to write, or a martial artist to train. If they had not done these things, they would not have risen to prominence. You're getting part of what I'm saying, but you're not getting the whole thing. Gaming abstractions can be used to tell a story, if utilized correctly, and the players can be guided to certain experiences or emotions - in equal measure as they are given the freedom to dictate these things on their own. Both are forms of the unique storytelling strength that games display. For a brilliant example of the former, I'd advise you to take a look at the first link in that batch I posted a while back. Then stop behaving as if the highest and most venerable goal is to imitate another medium. Let games be games. I'm not ignoring it, I'm saying you're wrong and providing examples upon examples upon carefully constructed persuasive argument. Are you ignoring me? All right, now you're just being crude. Of course you can't take a part of something away; it was created to function optimally as it is presented. That's like saying draining the color out of the Mona Lisa proves that the only reason it's a popular painting is because it's not black and white. It's like a form of "correlation equals causation:" in the absence of a component part, if the machine ceases to function properly, the part was the most important part. There are so many factors that go unaccounted for. Whether you choose to acknowledge it does not change the fact that gameplay plays an equal part in the telling of the tale to the hands-off content, and I wager if you removed that from Ico, the story would suffer far more. And to use the other example we've been kicking around: Without the "tactical espionage action" MGS is so eager to advertise on its box art, the player would not be able to identify with Snake at all. The sneakery and subterfuge is a chance to dig into the mindset that the player character inhabits, to go through the motions of traversing dangerous facilities, avoiding detection, escaping danger through the shadows and eliminating problem targets. One of the things it does for the plot of the original MGS is to provide a counterpoint against Snake's reluctance to take part in the bloodshed; while he shows a disdain for war and murder, as a part of the gameplay one is expected to kill for a cause, and on some level to enjoy the role of the soldier. Furthermore, the player has the option to eschew violence for the most part or freely gun down anyone they see in the halls, which would ultimately alter their perception of Snake's character. The cutscenes provide the context You seem to operate under the assumption that the opposite does not hold true. You are repeatedly strawmanning the argument and it's getting on my nerves. You took second in Master Debater, act like it. I don't know how you got that, but clearly there's been a misunderstanding. Typically the goal of a game is not simply to be playable; if it's being sold on store shelves or on an online market, typically it is setting out to achieve a certain sales goal, appeal to a certain audience - and most importantly, in the realm of storytelling, deliver a certain message or elicit certain responses from its players. Its goals are more nuanced, the conditions for success or quality more complicated, thus a book being legible is not equivalent. Trying to compare them is only twisting the point you're arguing against to make it easier to deconstruct. You say it's a combination of elements, then immediately imply that it is done solely or primarily through one of those elements. From here I could either say that you clearly don't believe that or understand your own point, or that you misrepresented it and I still disagree with the notion that it all rests on the presentation of the plot, for above stated reasons. Is the rest of this not compelling to you? Please tell me now if you're just screwing around so I can get on with my life.
There's a sword in this game called Berserker and the desc. reads "Its love for you is ticking clock" Game of the Existence
I kinda... hate League tho... :x I mean I know moba jargon but now that it's an official sport so will everyone else I'll be around bb = 3=
