For a game with such a great ambiance, able to illicit a darkened intrigue in the splattered scenary, macabre imagery and imaginative reality bending, the game shows that it has a clear vision for itself in some aspects. The problem is that this clarity is only in its presentation, but the game’s execution is all over the place.
Load up a game, any one that is story driven, and find yourself in a world where your main character is either a mercenary/soldier, a camera vehicle for a larger story, or a single white male father/ex-father figure type.
Call of the Battlefield is a vehicle for set pieces.
Ambiguous man is a vehicle for some story that you’re just a bystander in, watching the main actors propel the story forward. You go from scene to scene where the other actors talk to you, but are giving you the plot points that they’ve enacted at this point in the story. Sometimes you impose some driving force, but the story isn’t necessarily centered around you.
Continue reading “Game Design: Always with the Family Issues”
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