Judging by the feedback, he wrote too chaotic and incomprehensible. Accepted, gentlemen – I am also a person and have the right to join. Rewrote the conclusion to make more clarity.

The main charm of the New Year holidays is that even if you owe something to someone, then the employer, for sure, will not access the number of up to the 5th. Therefore, there is a time that simply needs to be meaningless to waste. I decided that it was time to close the holes in education and finished off in a few days Vanishing of Ethan Carter, Last of US, Far Cry 4, Banner Saga and a few more less significant Jazzpunk.

The most vivid impression, of course, left the adventures of Joel and Ellie. Naughty Dog They did incredible work – at first I was sure that this is the biggest achievement of the video game as a genre and as art today. But, at some point, killing the addition Left Behind, I thought that, I look at all this in the format of the series (or five -hour movie on YouTube) would not have lost so much. It seems that for the developers of games today the question becomes correct:

But do we have a video game?

Do not understand bad, gameplay Last of us Beautiful. I was with great pleasure through the maximum difficulty, saving each cartridge and repeating the episodes impassable at first glance ten times. But, playing, I was completely distracted from history. Tears that are full of in the finale, this is not the merit of the gameplay – this is the merit of magnificent directing, an excellent game of actors, an ideal script. Similarly, all the hatred that I experienced for smelly special forces at the last levels was not related to the plot: it was determined by gameplay. These Bedrils extinguished me every three minutes in one wrong movement!

This, of course, is not a problem Naughty Dog. The whole industry, starting with Assassin’s Creed And finishing Fez, Does the same thing: tells the story, interspersing it with some gameplay elements. Remember the most religious blockbusters of the last five -year plan: and Bioshock Infinite And Mass Effect At the forefront, they keep the production, directing, script. Well, some RPG make the script non -linear. But is it all that the games are capable of? Variant cinema?

The entertainment itself is not a vice. For example, thanks to amazingly realistic battles Last of us For all the time I did not have a question: “How a little girl could kill so many adult men?!". This is because the director intervened in each skirmish, and, passing the levels under his control, we very reliably answered this “how”. However, not a single person in the industry has yet been able to bring interaction to a deeper level of perception: no one managed to use the emotions of players for their purposes.

In essence, I have nothing against these guys. But if I had, the conversation would have gone at a completely different level.

An interesting thing was turned by the authors Far Cry 4. We all know about an alternative ending: at the very beginning of the game, the main antagonist asks: “You came here to dispel the ashes of the mother or for some reason more?". The charm of the situation is that Adai, the character, came for one. And a person sitting with a gamepadm – obviously after another. If you do the way the main character would (sit and do not growl), then the ashes will be scattered in 15 minutes and the game will show honest credits.

The developers tried to play with this question: not to tell the story (as it was in the third part), but to make the player a full -fledged participant. Link the motivation of a gamer with the motivation of his hero. In some points it succeeded. For example, in the final scene, an unbroken spoiler is revealed (remove from the screen of women, children and non-passing): your father, the folk-loving legend of Kirat, killed your sister and shot himself. Nothing is said more on this topic. In this situation, the authors manage to combine my curiosity with the logical line of character behavior: I begin to fly throughout the continent and collect my father’s scattered letters to figure out how it happened.

But the authors did not have enough strength to bring the approach to mind. I saw a funny comment in one of the discussions: “The plot in Farraka shit! Why does the main character go to drug addicts yoga and Reggie, who constantly pump him with drugs?! Again and again?!". It is funny that from the point of view of developers, the player goes to drug addicts, and not Adai. If the author of the comment does not understand this, then something works wrong.

Developing thought, the last part completely falls on this field Tomb Raider – What, of course, is the merit of Rihanna Pratchett with her mediocre scenarios. The gameplay there to idiocy is torn away from Kitszen: you can run through the forest and kill deer, but when the same will have to be done within the framework of the plot mission, the heroine will cry and will regret. After that, she will heal a thousand bullet wounds with a first -aid kit and in the next Katszen will terribly suffer from the reinforcing sheet of her. And while she is terribly suffering, the player does not feel discomfort in the gameplay sense: which means that he does not believe in what is happening. Swan, cancer and pike The player, mechanics and plot are pulled in different directions: forces to kill, he immediately offers to regret, but I want to shoot only.

The discrepancy between the script, game and emotions of Gamer turn the huge work of hundreds of people into an incoherent hodgepodge.

In fact, it is easier to connect the state of the player with the plot than it seems. This does every first horror movie: both the hero and the player are afraid of a huge crap that runs after them and can kill. IN Shadow of Mordor you hate every bastard orc, who kills you over and over again. In the final Fahrenheit You are so tired of the keyboards on the keys that it seems that the epic monster itself has won. Elementary, c Portal You are attached to Cube-Companion simply because the gameplay forces you to take care of him. Okay, not the best example, but, I hope, intelligible.

There are other ways to work with the player and his perception. For example, none of the users understood why critics praised last year Gone Home (she was called a breakthrough, revolution, someone even made a game of the year contrary to Last of us And GTAV). I will explain now.

This is a game in which you walk around an absolutely empty house and collect notes. Through these notes, it becomes clear why the house is empty and where all the tenants. Contemplatively research gameplay. What is amazing here: closing the game in three hours, you know by heart the whole biography of each family living there.

GH reaches this due to fantastic work with the interior and filling rooms. Just looking around and paying attention to the details (which are served in a certain order), the player promotes the story. For example: newspaper clippings, where it is said that the book written by the father is sold by millions of circulations. Further: the table of the father, on which lies a pile of textbooks "How to find inspiration". A dozen dusty boxes clogged with the second book of the father. CHECT from the newspaper for work: Writing reviews of household appliances.

Every book, every drink on the table, each unevenly lying pillow in this room is certainly talking about something.

An absolutely clear story consists of tiny elements, and no other format can never tell you it with such unobtrusive. The book and the film are required to talk about it literally, to show and explain – and in Gone Home These are optional decorations that are perceived instinctively. The player’s own perception becomes a history designer. By the way, the same trick Last of us Turning excellently: the industry is still studying something.

Interesting experiences can offer Hotline Miami: I do not fully understand how it works, but a surreal atmosphere, ultranasy in each frame, a repetitive gameplay, music beating a point and a strict punishment for each error practically introduced into a state of light trance: the gameplay is for the benefit of the rest of everything else.

Only one of twenty films and one of a dozen books can cause me as many emotions as each bonfire in Dark Souls. No sports drama can compare in the intensity of passions with screaming playing in FIFA Ultimate Team. No death in any work forced as many people to sob as the dead Tamagochi! But, at the same time, the most mediocre stupid militant tells the story a more coherent, interesting and intelligible story than the plot Call of Duty.

Games still do not know how much: 30 years are not so many. Having passed Last of US, I was delighted with what smooth stories we learned to tell using the techniques of literature and cinema. But, at the same time, exclusively gaming mechanics and specifics remain completely uninitiated. The gameplay gives pleasure and cheerful, but is too torn off the narrative, often requires effort and work on two fronts at once.

And this is what the modern industry lacks: the ability to predict the player’s sensations. Bring me to white heat during the level of level! Exhaust! And after – show the same exhausted and tired hero. Incup in me the same desire that is in my character: not because the script says “yes, Peter wants to steal a tractor”, and so that I myself understand, without a hint that this tractor is very necessary right now right now. And he, as a character, and me, like a guy sitting with a gamepad.

“Eh, it’s a pity, they have not yet learned this,” I thought, having achieved the addition of Left Behind. But then he began to sort through: Hotline Miami, Dark Souls and Heavy Rain do just that – and do excellent. All of them have excellent grades, the highest degree of immersion and millions of fans. So I think in the right direction, and this is exactly the technique that should be mastered.

Of course I wonder what I could forget. What other cool things were turning with you games? This War of Mine, they say, presses very much on the brains. But I haven’t played yet.

Tomb Raider

The Last of Us

Gone Home

Far Cry 4

The best comments

Manul, you did not understand the nifiga. And learn to answer with one post, and not shoot the answers to the answer with a wagon.

Tears that are full of in the finale, this is not the merit of the gameplay – this is the merit of magnificent directing, an excellent game of actors, an ideal script. Similarly, all the hatred that I experienced for smelly special forces at the last levels was not related to the plot: it was determined by gameplay. These Bedrils extinguished me every three minutes in one wrong movement!

Maybe the problem is not so much in the game as in the player? Shouldn’t the player himself go to the meeting of the game that he launches?

For me, the problem of binding gameplay to the plot, the author of the article.

All the hatred that I experienced for smelly special forces at the last levels was not connected with the plot

– The plot gave you the reasons rolletto-casino why you must kill. Like a little fragile girl, she managed to survive in the most dangerous situations for the sake of the goal that should die, so Joil had reasons to kill everyone, especially special forces in the final. But descending into the thought about what the games are short-lived, you forgot to look at the gameplay and cut-scene at one angle and find answers to questions.

Praising Gone Home, you do not see that this game is extremely empty and simple. All this game, with your own words, is a set of notes – just everything. And what is behind these notes? I will answer for you – nifiga. You learned the story of a family, a story that you have already written, which you did not affect while playing. But whether your character you played?

Having recalling your passage, you will say a loud “yes” – after reading notes, you were imbued with the plot and created the relationship of the character/player with your emotions to the events of the game. Here are just such thoughts bullshit and do not cost anything, because they have no results for the game itself. After a ton of the read -read, the game shows the plot of the plot and instantly throws to the credits, according to the result of which you are not a character, they have not achieved anything – although if the riding of genius is a swing of someone else’s linen, through an extremely obvious gameplay, then yes, the game is ingenious.

And let me ask: in Dark Souls, through a brief description of objects, a few dialogs and gameplay, capable of demonstrating the life of the world, a huge, full of characters interacting with each other, a plot rich in details – why the plot and the narrative of this game, critics do not sing praises as gone home?

It seems to me that the answer is simple: those critics of which you have focused to gamers and you yourself, there were downbreaks for simplicity. Gone Home poked in you with pieces of paper and parts of the interior – and you halt it because it was simple and obvious, because the game itself pushed you to it, and not you.

Alan Wake, Bioshock Infinite, The Last of Us, Fez, Dark Souls, Gods Will Be Watching – these games do not poke the player with how to perceive the world, they do not bring the whole story in the form of the rest of the notes that can be read by the fireplace – these games give only the ligamentKeys, which you and other players, throw in the toilet, because the game does not speak openly, which key and for which door.

We need a rigid correlation between what I feel during the game and what I should experience during the rollers.

– You wrote your article as if developers should bring it to you, as obvious and simple as in Gone Home, when you yourself cannot experience feelings if you are not pulled by the hand. And therefore, this article is only nagging a person who looks with closed eyes.

Of course, maybe if we start arguing about each game separately, you know me shit and prove that stagnation has come in game creativity and only chosen works that were unnecessary except notes with the plot can give absolute contemplation. But something I doubt that your meager perception of games is enough to discredit my perception.

Of course, to me, as a burned indie-chatter (parallel with a shit, hmm?), I would like to now resume that there are people such as Tale of Tales, Icepick Lodge (and many others) who are trying to dig, developing interactive techniques for the player, and not just thump with a book -killed plot. In this sense, the same Dybovsky on all kinds of Cree already spoke an incredible number of extremely correct things in my opinion, but the trab was that so far from these words is not so and a large percentage has been embodied in something material.

It is still difficult to navigate in this direction, because it is stupidly dangerous. You will darken, make a bell – but the people "do not" do "yet. Therefore, the share of entuzazists is all given.

In addition, I personally believe that the fact that the industry is 30 years old – suggests that she is young.

In general, if it is completely clean, then not every film (well, from deserved in the sense) uses some exclusively cinematic chips that are impossible in the literature. And often the film completely and completely fits into the script framework. So even cinema still grow and grow. And games and even more so.

Thanks to the author for the work done.

This article told me about two things. The first is an emotional relationship between the player and the character and the docking of their goals. The second is the formation or disclosure of the plot through the gameplay (I understand the example with Gone Home, since I was mistaken, then, Dmitry, point out a mistake. Please).

I will say a little from myself regarding both points.

As for the first.
I think. that emotions are not least dependent on faith in what is happening. Therefore, the transfer of the character through gameplay is a rather correct thing. For example, in the Resident Evil 4, Leon’s hands shaking when aiming. I have never been firing from real weapons and therefore I don’t know if they should shake with a more or less prepared fighter, but for me this rather simple gameplay element added a solid piece to faith in the character.

Such work with the formation of faith in characters and in what is happening on the screen creates a huge field for playing with the emotions of the player. After all, if we do not believe in the drama, then tears from our eyes will not flow.

In my opinion, one of the ways to strengthen faith is an explanation of game assumptions. For example, the authors of Dead Space were able to enter the game interface into the game world, and the Enslaved interface: Odyssey to the West was explained by the rim that was put on the hero’s head. In both cases, the gaming assumption was not tied to the instrument through which the world is submitted, and there was part of this world. True, this is far from a chapel and the authors, if desired and opportunities, can go further.

It seems to be the only goals for the player and for his hero. Here, realization can again bury in faith and emotional attachment. If a certain heroine likes both the player and the hero, then both will try to save her from impending danger. For greater tension and reality of what is happening, the heroine’s death can be made in the event of a sluggishness of the hero of the irrevocable. Something similar was done in Deus Ex Human Revolution.

When Jenkensu (the main character) is ordered to go on a mission to save hostages, the player can do it right there or a little wait a little. As a result of the player’s delay, the hostages will die.

You can also note any more or less significant action of the player through the script and gameplay. For example, in Far Cry 4 (since I’m mistaken, sorry: I haven’t touched this part, and I am only starting from the material of this article) The connection of the adoption by a drug player could be noted in the plot (some dialogs could change, new scenes can be changed), and through the gameplay it could be supplied with a breakdown from prolonged abstinence (hands are shaking, mumper vision).

This idea comes down to the fact that if you perceive the hero and the player as one whole, then the approach to creating the script for this should be more extensive.

About the second.
The idea of ​​such a plot is interesting. Offhand, I cannot remember games where such an idea would go through the whole game. But from the works that partially implement such an approach, I remembered Silent Hill 2. The ending of the game was determined not by the player’s definitions at certain moments of the game, but directly depended on his game style.

Caring for your character (trying to avoid damage, immediately treated when applying them), you showed the protagonist a desire to live if you often re -read your wife’s letter and looked at her photo, then showed that she was not indifferent to the hero. For a more detailed description, you can go to a thematic site or see the story of a series from Vasily Galperov.

When it comes to playing out the role, I mostly put myself in the place of the character. For this reason, my repeated passages are not too different from each other)). Similar was in the first witcher.

At the end of the first chapter, we are offered to choose who to force to be responsible for the appearance of ghostly dogs in the village. According to one version, dogs are punishment for greed, cowardice, self -interest of the esteemed residents of the village. According to another, they were not caused by the witch’s purest in the hands of the inconvenience that the inhabitants of the village showed her. With all my previous passages, I took the side of the witch, but it seems that with the fifth I decided to see the result of other actions. I always considered my standard choice to be correct and still adhere to it, but, once starting to go through “not as always,” I decided to adhere to this beginning. A new choice was given to me with great difficulty. It seems to be rebooted three times, cursing his decision, but still stopped at it.

With further passage, the memories of the choice began to weaken, and with them the severity of it was weak. But the load of consequences again fell on me in the fourth chapter.

Going into the house where the same witch lived in my previous passages, I knew that I would not see her. Once in the house, I slowly and slowly began to turn the camera, looking for the one who became the new owner of the house. It turned out to be a little old-worker-grass. I reluctantly approached her and started dialogue. Honestly, I don’t remember exactly what she told me, but what I remember. Perhaps it is only the result of my imagination.

“What are you looking at me, good traveler?" She said. —“I have a feeling that you were hoping to see someone else here. Someone who suffered from your choice. You still think that you did the right thing?"

This dialogue left a much deep cut on the heart than many others.

Well, I am a little offended by people who condemn the player’s unemotional involvement when these people are in reality;not at the games (at least not everyone).

You changed the final of the article, but did not change your judgments. You did not tell everything chamber, you just dumped the Meshinin of disagreed arguments. Almost every thought of your thought, destroys in my eyes the health of your judgments. And yes – I was offended by your conclusions.

And this is what the modern industry lacks: the ability to predict the player’s sensations. Bring me to white heat during the level of level! Exhaust! And after – show the same exhausted and tired hero. Incup in me the same desire that is in my character: not because the script says “yes, Peter wants to steal a tractor”, and so that I myself understand, without a hint that this tractor is very necessary right now right now. And he, as a character, and me, like a guy sitting with a gamepad.

– seriously? But it does not bother you that Hotline Miami, Dark Souls and Heavy Rain gave you similar reasons?

Hotline Miami, Dark Souls and Heavy Rain do just that – and do excellent. All of them have excellent grades, the highest degree of immersion and millions of fans. So I think in the right direction, and this is exactly the technique that should be mastered.

– Why do you have a sheet about obviously no Tomb Raider (2013), the dubious value of Gone Home (you didn’t even say that I am wrong with this game), but there is no unfolded description than Heavy Rain and Dark Souls, it turned out to be better than Last of US? Most likely, you have no sound answer to this question. You are ready to make a fire of hatred for a game in which you have not seen the connection between gameplay and plot, although this game is not inferior to Hotline Miami not by directing (which by the way you praised in Last of US), not by gameplay (praised in Last of US) and the plot (praised in Last of US). And if you have examples of your “ideals”, why then the article has a title:

However, not a single person in the industry has yet been able to bring interaction to a deeper level of perception: no one managed to use the emotions of players for their purposes.

– you are sure? Playing Valiant Hearts, I performed the final action with a shovel, not because the game asked me, but because I wanted it so much – at that moment I was completely immersed in the world of the game, I thought like Emil – I was them. Yes, and long before the final, I felt every moment – my tears had a boomed, from the drama of the Emil family;Even optional collectors describing the life of a soldier of that time, touched me by. Reading the description of the objects, following the fate of the main characters, looking at the thresher of the First World War, which was spinning right before my eyes, in buy with my knowledge about those years that I have already accumulated, I revealed the world of the game for myself. There were no soldiers languishing in the trenches in the game, who collected all sorts of trinkets from the garbage of war, the game did not say what the Emil was worth the burial of still living Germans, and the ending would remain an unsolved casket if I had not opened up the game.

I had the same thing with Amnesia, Last of US, Spec Ops: The Line, Dark Souls, Alan Wake and many others – if the game could give me threads on which you could build a bridge between the plot, gameplay and my personal feelings, I immediately took work for work. I do not expect the developers forcibly flattened to my soul, I myself, if I want, open up the game.

So in order not to be loud, I can give you a vivid example, my words – Konstantin T. will be the same example.

Look at his stream on Dragon Age: Inquisition, in which Kostya introduced the audience to the story of his character. In this stream, Kostya told in detail how he acted in the previous parts, according to what reasons he placed flags on his castle, which prompted him to make a specific hairstyle to the character … Hairstyle!
I hold a bet that there are no objective and so personal reasons in the game to wear this or that hairstyle. Kostya himself came up with these reasons. It was he who involved himself in the gameplay so that he gave an excuse even a regular hairstyle that does not affect anything at all.

So again: you are sure that games cannot emotionally involve the player? Maybe it’s all the thing about the player? Although, according to the converted ending of the article, it is no longer clear what judgments you adhere to.

And immediately I parry the argument that Dragon Age: Inquisition is RPG and it is necessary to play the role in it, otherwise the game loses – and why then you can’t play a role in a linear story, where the main character was registered with scriptwriters?

– It was you under the opinion of Ivan Loev? In the first version of the article, you condemned the industry that she could not get to your "sand" ideals. Although this is so, the lyrics ..

Hm. I can take a bag of mint gingerbread, a mug of fresh, custard tea, turn on the Battle City and imagine a whole plot. The story of how the Third World War has unfolded, how millions of people are thrown into a bloody, disgusting meat grinder. Like on one piece of land, left by his government and brothers in arms, a lonely soldier with his faithful iron horse fights for his home. How five pixels hides his only five -year -old daughter, suffering from the disease slowly killing her. How he looted and destroys enemy tank divisions alone, just to protect her and collect tooth gold crowns from defeated enemies to sell them in rare minutes of calm and buying medicines for his daughter. I can imagine how a tank crawling out from behind the corner is a crew that burst into his hometown in the early days of the war. That it was these twelve pixels that blew up the hospital in which his wife worked. That the soldier, seeing them, is furious charging the gun and with a desperate cry shoots at them over and over again, taking in response the waves of steel and fire. And that when his tanchik explodes with a small sprite, his bloodied hand sticking out of the burning skeleton will squeeze his family photo.

But … why imagine if I want to play the game and see what professional scriptwriters wrote? What professional actors played?

Be that as it may, but the very fact of the presence of a variable scenario in competent implementation, when a player, for example, would constantly pushed to an increasingly complete immersion in the role of a character, may well leave far behind both books and cinema. In my opinion, this is still a good direction for future development.
Yes, I would also like to recall the amazing one, which has torn over the lack of a choice, the Stanley parable, in which the gameplay and narration are built exclusively on communication with the player. Eh, this is straight indescribable sensations.

For example, the authors of Dead Space were able to enter the game interface into the game world, and the Enslaved interface: Odyssey to the West was explained by the rim that was put on the hero’s head

So you can still like deus ex. At the beginning of the game, we had no interface, but after we became awesome prostheses, the living indicator and TD were visible (even failures are when everything peacefully), and all this is observed plot. Then you believe in what is happening, which will and the game is wonderful.

I, apparently, are a very fig writer, if you did not understand anything at all.
I’m not talking about the atmosphere, not about the combination of "cool gameplay + plot".

I’m talking about the fact that during the game you experience emotions: irritation, fear, anger. You eat to the team in the dopet, you freak out when you are killed a step away from the checkpoint.

And all these experiences can be directed to the creation of the atmosphere, to empathy with heroes, to the perception of the world. And, if it is possible to fully attach to the script, the game will be brighter than any movie.

He is a bore of fashion
There was no AK-47 assault rifle, was AK, AKM, AK-74 and others, with, etc.D.
Zanuda Mode Off

I, as a person who knows the sopromat, cannot come to terms with the fact that Armaturina breaks into three strokes on the head of ordinary people.

And I, as a historian, say with all responsibility that there is no historically reliable film. Of the 1000 people who are interested in military-historical epics about the epic zarubs of Roman legionnaires, only 100m will be interested in the correct order of the troops and only 10 of them will pick up how the legionnaire holds the weapon correctly or makes the sword a sword. Therefore, films, where absolutely every historical fact was true and verified, is not filmed. After all, with the budget, like the Avengers, no one will make a movie that is interesting to two and a half enthusiasts.

And look out the window – your life is interesting for you? All this "household" about everyday walking/study/home;Life, devoid of those most acute conflicts, moral dilemmas and contradictions that we see in any artistic work? The overwhelming pain of "their life" is not interesting. And it is trying to leave him, a person invents books, films and video games.

I know me now shit, but I just can’t help but speak out. There is such a wonderful game turgor. This is just the example when you should imbue the idea, because it seems to be simple, but it is more difficult to describe it than to understand. This is what you understand not by logic, but rather feelings. And in my personal stupid opinion, this game was spoiled by exactly what the creators made the game. They introduced these strategic elements with a garden, action, hardcore. Personally, I just wanted to roam this dying and damn beautiful world, but these battles prevented me from imbued with the atmosphere. I understand this harsh, dying world, there is no time for excursions, but I personally would be closer to the turgor more like dear Esther.
And the same thing with the pestilence: utopia is an idea that you will not see anywhere else, and again this unnecessary (in my opinion is still dull opinion) the action. For me these are examples when the gameplay ruined just a brilliant idea.