Seria Ludo - Ep. 07: Mechanics of Narrative Pt. 3

Ep. 07: Mechanics of Narrative Pt. 3

08/06/20 • 72 min

In this episode, Tim and Joel discuss emergent systems storytelling in games like Dwarf Fortress and Rimworld, as well as Sea of Thieves and reasons why that game world sometimes feels so empty. We discuss frame stories in games like Outer Wilds, Gone Home, and Return of the Obra Dinn, and how these stories are uniquely suited to being told in the medium of a game. We finish by discussing story itself as a gameplay mechanic in Where the Water Tastes Like Wine, and what might be possible (and not possible) down the road there.

Mentioned: the interview with Obra Dinn designer Lucas Pope on the Designer Notes podcast.

Previous Episode

Ep. 06: Mechanics of Narrative Pt. 2

In this episode, Joel and Tim continue to discuss the mechanics of storytelling in games. We look at some of the specifics of why mechanics are important with an in-depth look at FTL vs. Some Distant Memory and Long Journey Home (25:15). We look at the way the deep and engaging gameplay of Return of the Obra Dinn makes the story that much more engaging (40:00). We discuss how Far Cry 5 has good gameplay undermined by an actively bad story and setting (46:00). And we begin discussing the "anthology" style of storytelling and the narrative branching mechanic in the Witcher 2 and 3 (54:00). We close with a plug of Riot Ribs and Trump's federal assault on Portland. Update: the organizers behind Riot Ribs have requested that donations instead be forwarded to Don't Shoot PDX -- if you're local go here, otherwise check out this list of where they recommend sending donations.

Next Episode

Ep. 08: Politics and Morality Systems

In this episode, Joel and Tim discuss some of the ways politics interact with games, and some of the ways different games have portrayed morality, through systems and narrative.

Topics Discussed:

Morality in narrative branching choices (KOTOR, Jedi Academy)
Gradient / reputation systems (Fallout, RDR)
Frostpunk's assumption that survival requires -- and is worth -- moral compromise
Restorative Justice (wherein we miss the opportunity to say, "He repented but it was something of a Tolkien gesture") and RDR2
Unapologetic storytelling by Bethesda in Wolfenstein 1 and 2 vs cowardly corporate hedging by Ubisoft in Farcry 5 and the Division 2
Does a game have a moral responsibility to tell the truth? If so, is that more or less than any other art form?
"Liberal" impulse to censore vs conservative impulse to erase