#Your favorite game’s “awesome story” robs the player of a basic sense of agency
It is generally not awesome for the player character to join a cult, agree to assassinate their boss’s boss, cheat on their life partner, pick a side in a major power struggle, voluntarily inject themselves with an experimental nano-fluid, etc, without the player’s consent.
Right, so…please tell me a narrative medium that allows this. Somehow movies, books, comics, manga, and literal storytelling all get a pass on this?
I can sort of nod along with everything else, agreeing that there is some truth in the spewing. This statement is so pants-on-head foolish that every other assertion you make gets dragged beneath the water and drowns with chains made of the last page of shitty choose-your-own-adventure book. And for that level of strength in the chains to work, those assertions have to be pretty crappy.
Sorry, but no medium of media allows for agency. I don’t care if you have some of the best writing in a game (whether that means Planescape: Torment, Baldur’s Gate II, Disco Elysium, whatever), or if you want to go with the old choose-your-own-adventure books, but there is ultimately little to no player agency. If you want player agency in a game, you have one choice, and it isn’t a video game: TTRPGs. Even ChatGPT can’t match what a good GM can do, because they can allow you to break the mechanics of the game or add mechanics on the fly to fit what a player wants to do. A GM can literally respond to something a game creator never imagined within seconds. I want to see Planescape or Disco Elysium react to a player doing something they thought of that the game creator didn’t imagine. Buuuulllllshit. Player agency my ass.
Also, as the OP obviously fails to mention any games that he thinks is worthy of being an ‘awesome story’, I’m calling this as a troll/bait post.
Soooo… you’re telling me there’s a game whose story you really love that avoids all these tropes completely? Hmmm… How about Stardew Valley? The premise isn’t entirely unrealistic (leaving a boring corporate job for a dream hobby farm), the story unfolds on its own, you get to decide who you side with, who you become close to and hang out with. Or perhaps you only enjoy franchises that have volumes and volumes of lore behind them to make up for game campaign plots that are too straightforward (Lord of the Rings, Starcraft for example).
Or (like me) your favourite games have little to no story at all. American Truck Simulator, Bloons TD, Age of Empires, Satisfactory, Cities Skylines, Transport Fever are a bunch of my favourite games to play.
If you believe everything you wrote in this post, you are quite hard to please. A game’s plot can’t be too straightforward, yet any surprise twist seems shoehorned in the game. Telling the story through the environment is walking simulator, telling the story through quests is MMORPG Simulator, telling it through Textboxes/Cutscenes is Reading Simulator. Someone hiding something about their character until later in the game is unrealistic, being taken for a ride in a fantasy world is “losing your basic sense of agency”.
Are you playing to try to have fun, escape real life for a bit, or are you playing just to tell people you beat the game? I like games over films and books because you are part of the action and the story, but it’s also part of the game design how far your choices ultimately take you in the world, sometimes they affect everything, sometimes it has no bearing and you’re doomed with what the game has in store.
I just finished Trails in the Sky SC at just over 90 hours playtime. I didn’t even 100% it. I have to admit. I didn’t even much enjoy the first half or so. It mostly ended strong, but I was starting to get a little sick of kicking the same bad guys’ asses over and over only to have them declare they’re not even using their full strength in the post-fight cutscene before they mysteriously disappear to inevitably come back later.
In addition to the many amazing games already mentioned, I’ll throw in the 1995 gem “Ascendancy” from The Logic Factory. The user interface is a bit rough by modern standards but, for its time, it was a fascinating 4X turn-based strategy game (despite the broken “AI”) with an impressive array of alien races with unique art and music for each. It’s been in-and-out of the “abandonware” classification over the years, so there may not currently be any legitimate way to acquire a copy of the game–which is a real shame for those who might want to experience a nearly 30-year-old game that I think was groundbreaking for its time.
I have it installed through Lutris in the same way you have, running on Arch instead but that should make no difference really. I don’t have those problems at the moment.
Perhaps your setting within Lutris are not right? Which version of proton are you running?
Depending on your puzzle solving abilities, Outer Wilds (not Outer Worlds!) should only take around 15-20 hours.
Extra bonus, it can be played in very short sessions very easily and has a great in-game log of events in case you have to put it down for a little while.
Guild Wars 2 is the only one that ever really hooked me. Didn’t find any pressure to spend in that to keep up, that said I haven’t played it in a while so it may have changed.
Honestly being dismissive of these concepts as trite rather than recognizing the implicit value of tropes as a means of conveyance for a good story reads as contrived criticism attempting to convey an understanding of media broadly.
Tropes don’t make a story ineffective. Simple story structure doesn’t make a story ineffective. Contrivances don’t make a story ineffective. Did a story make you feel? Did it make you think? It did it’s job. This is non-constructive at best and an active effort to not understand media at worst and I’m really not sure what you’re trying to even get across given you gave zero examples of productive, fruitful storytelling that is more worth engaging with.
your examples are so weirdly vague I think this post would get a proverbial “mega-boost” from some actual examples of video games.
And I can agree with a few of these but some of them seem so weird. Like, assuming that an episodic story automatically means each episode is self-contained with 1 major conflict is a really archaic way of thinking about episodes. In television, that all but died out in like 2002. And a fixation on things as opposed to people is actually what makes a lot of dystopic writing great. The removal of the “self,” can lead to a feeling of nihilism and can lead the viewer to appreciating how much of the world has lost its life.
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