[002]
198.184.5.252
Current Version
Changed line(s) 1 from:
n
I often see the term \
to:
(At work. Posting review-in-progress of something else here to be copy/pasted when I get home.)
I often see the term \\\"art game\\\" being thrown around a lot lately, with the release of such games as Gone Home and The Stanley Parable, both of which received critical acclaim for their deep stories and metafictional narratives, respectively. I\\\'m in no position to disagree with any of the reviews, as I can attest to the fact that they\\\'re worth your time, especially if you enjoy a good story.
Another thing I\\\'ve noticed in the wake is a particularly incomprehensible, nigh-plotless game that was given heaps of praise for being an \\\"art game\\\". Namely, Dear Esther. I\\\'ve played Dear Esther exactly one time, and I have no intentions of playing it again, regardless of the \\\"random generation\\\" that occurs with the narrations. I\\\'ve tried to find something to appreciate about it on some level, but I haven\\\'t found anything.
Dear Esther is a terrible game, a terrible use of the word \\\"game\\\", and a terrible example of fiction in general. It\\\'s almost like the video game equivalent of Prometheus- beautiful to look at, but awful in almost every other area. Except, while Prometheus has entertaining action scenes and some good performances, Dear Esther has a minimalistic display that barely uses what little things it can be said to have.
I can enjoy and appreciate a narrative that has no clear plot, as long as it has some sort of setup, climax and conclusion. Jonathan Glazer\\\'s \\\"Under the Skin\\\" is a film that has no named characters and explains practically nothing, but there is a clear structure of a story to it. Dear Esther, however, has no actual structure. It\\\'s a series of scenes strung together by barely-connected narrations. There is no climax to the game, and even if there were, it wouldn\\\'t matter because there\\\'s barely a setup.
Speaking of the narrations, they\\\'re easily the game\\\'s biggest fault. And that\\\'s in a game chock-full of big faults. Not one line of dialogue gave me any sense of immersion, and every single sentence is strewn with prose to a pretentious degree. But one line of dialogue in particular stands out as the most glaring example:
\\\"And you were rendered opaque by the car of a drunk.\\\"
Maybe I\\\'m being irrational about this, but that line brings me to an elevated sense of anger. This is the kind of line that a first-year Literature student would write when trying to come up with something that sounds deep or profound.
I often see the term \\\"art game\\\" being thrown around a lot lately, with the release of such games as Gone Home and The Stanley Parable, both of which received critical acclaim for their deep stories and metafictional narratives, respectively. I\\\'m in no position to disagree with any of the reviews, as I can attest to the fact that they\\\'re worth your time, especially if you enjoy a good story.
Another thing I\\\'ve noticed in the wake is a particularly incomprehensible, nigh-plotless game that was given heaps of praise for being an \\\"art game\\\". Namely, Dear Esther. I\\\'ve played Dear Esther exactly one time, and I have no intentions of playing it again, regardless of the \\\"random generation\\\" that occurs with the narrations. I\\\'ve tried to find something to appreciate about it on some level, but I haven\\\'t found anything.
Dear Esther is a terrible game, a terrible use of the word \\\"game\\\", and a terrible example of fiction in general. It\\\'s almost like the video game equivalent of Prometheus- beautiful to look at, but awful in almost every other area. Except, while Prometheus has entertaining action scenes and some good performances, Dear Esther has a minimalistic display that barely uses what little things it can be said to have.
I can enjoy and appreciate a narrative that has no clear plot, as long as it has some sort of setup, climax and conclusion. Jonathan Glazer\\\'s \\\"Under the Skin\\\" is a film that has no named characters and explains practically nothing, but there is a clear structure of a story to it. Dear Esther, however, has no actual structure. It\\\'s a series of scenes strung together by barely-connected narrations. There is no climax to the game, and even if there were, it wouldn\\\'t matter because there\\\'s barely a setup.
Speaking of the narrations, they\\\'re easily the game\\\'s biggest fault. And that\\\'s in a game chock-full of big faults. Not one line of dialogue gave me any sense of immersion, and every single sentence is strewn with prose to a pretentious degree. But one line of dialogue in particular stands out as the most glaring example:
\\\"And you were rendered opaque by the car of a drunk.\\\"
Maybe I\\\'m being irrational about this, but that line brings me to an elevated sense of anger. This is the kind of line that a first-year Literature student would write when trying to come up with something that sounds deep or profound.
Changed line(s) 1 from:
n
topic
to:
I often see the term \\\"art game\\\" being thrown around a lot lately, with the release of such games as Gone Home and The Stanley Parable, both of which received critical acclaim for their deep stories and metafictional narratives, respectively. I\\\'m in no position to disagree with any of the reviews, as I can attest to the fact that they\\\'re worth your time, especially if you enjoy a good story.
Another thing I\\\'ve noticed in the wake is a particularly incomprehensible, nigh-plotless game that was given heaps of praise for being an \\\"art game\\\". Namely, Dear Esther. I\\\'ve played Dear Esther exactly one time, and I have no intentions of playing it again, regardless of the \\\"random generation\\\" that occurs with the narrations. I\\\'ve tried to find something to appreciate about it on some level, but I haven\\\'t found anything.
Dear Esther is a terrible game, a terrible use of the word \\\"game\\\", and a terrible example of fiction in general. It\\\'s almost like the video game equivalent of Prometheus- beautiful to look at, but awful in almost every other area. Except, while Prometheus has entertaining action scenes and some good performances, Dear Esther has a minimalistic display that barely uses what little things it can be said to have.
I can enjoy and appreciate a narrative that has no clear plot, as long as it has some sort of setup, climax and conclusion. Jonathan Glazer\\\'s \\\"Under the Skin\\\" is a film that has no named characters and explains practically nothing, but there is a clear structure of a story to it. Dear Esther, however, has no actual structure. It\\\'s a series of scenes strung together by barely-connected narrations. There is no climax to the game, and even if there were, it wouldn\\\'t matter because there\\\'s barely a setup.
Speaking of the narrations, they\\\'re easily the game\\\'s biggest fault. And that\\\'s in a game chock-full of big faults. Not one line of dialogue gave me any sense of immersion, and every single sentence is strewn with prose to a pretentious degree. But one line of dialogue in particular stands out as the most glaring example:
\\\"And you were rendered opaque by the car of a drunk.\\\"
Maybe I\\\'m being irrational about this, but that line brings me to an elevated sense of anger. This is the kind of line that a first-year Literature student would write when trying to come up with something that sounds deep or profound.
Another thing I\\\'ve noticed in the wake is a particularly incomprehensible, nigh-plotless game that was given heaps of praise for being an \\\"art game\\\". Namely, Dear Esther. I\\\'ve played Dear Esther exactly one time, and I have no intentions of playing it again, regardless of the \\\"random generation\\\" that occurs with the narrations. I\\\'ve tried to find something to appreciate about it on some level, but I haven\\\'t found anything.
Dear Esther is a terrible game, a terrible use of the word \\\"game\\\", and a terrible example of fiction in general. It\\\'s almost like the video game equivalent of Prometheus- beautiful to look at, but awful in almost every other area. Except, while Prometheus has entertaining action scenes and some good performances, Dear Esther has a minimalistic display that barely uses what little things it can be said to have.
I can enjoy and appreciate a narrative that has no clear plot, as long as it has some sort of setup, climax and conclusion. Jonathan Glazer\\\'s \\\"Under the Skin\\\" is a film that has no named characters and explains practically nothing, but there is a clear structure of a story to it. Dear Esther, however, has no actual structure. It\\\'s a series of scenes strung together by barely-connected narrations. There is no climax to the game, and even if there were, it wouldn\\\'t matter because there\\\'s barely a setup.
Speaking of the narrations, they\\\'re easily the game\\\'s biggest fault. And that\\\'s in a game chock-full of big faults. Not one line of dialogue gave me any sense of immersion, and every single sentence is strewn with prose to a pretentious degree. But one line of dialogue in particular stands out as the most glaring example:
\\\"And you were rendered opaque by the car of a drunk.\\\"
Maybe I\\\'m being irrational about this, but that line brings me to an elevated sense of anger. This is the kind of line that a first-year Literature student would write when trying to come up with something that sounds deep or profound.
