Aram Zucker-Scharff

Is just one choice all it takes to turn a novel into a video game? Before you say yes, consider when a game is created out of many choices and when we are left with none.

Richard Eisenbeis looks at Katawa Shoujo in an April 24 Kotaku article. Eisenbeis holds up the dating sim/visual novel as proof that one choice is all it takes to turn a novel into a game. It is a shallow analysis and the implication that one can stick a choice in a novel and have a game is just false.

If we step away from the screen with only Eisenbeis’s assertion, we lose out on understanding what developers have to do to take a story and turn it interactive.

Creating a good game means understanding the times when a million choices create an interactive work and the instances where no choices are required.

No matter how many 100s Mass Effect 2 received from the gaming press, it was a deeply flawed game. This post examines the abominable writing.

To prepare for the release of the demo for Mass Effect 3, I’m revisiting Mass Effect 2 in a four part series. Let’s examine 20 instances of the terrible writing in Mass Effect 2. The series will then conclude with the five worst elements of the game.

20: Don’t invent a lame excuse to take away all my stuff.

I think the only reason they killed you in the beginning was so they’d have an excuse not to transfer over your items. Being killed off and coming back to life doesn’t seem to have had any real impact past the first 30 minutes of the story. You don’t struggle with the existential crisis that should come with having been dead for two years and come back. You don’t spend more than perhaps a line or two on thoughts about the afterlife.

You were dead, then you “got better.” This should be a major plot point, in Shepard’s character arc in ME2. At the very least, there should have been more questions about the process.

Instead Shepard walks through the game like an unthinking automaton, stumbling around the edge of this enormous plot hole. They missed an amazing storytelling opportunity.

Shepard’s death in ME2 also negates anything you might have accomplished with multiple play-throughs on the same character in the first game.

As a result, Shepard’s death and unexplained recovery seem only to be an excuse to take away your stuff.

I liked my stuff.

It would be fair to say that Mass Effect 2 received universal acclaim from critics when it was released. It didn’t deserve it. Whatever the reason, the game journalism community gave ME2 a critical pass.

With Mass Effect 3’s demo coming out in less than a week, I’m revisiting Mass Effect 2 in a four part series. This first post will look at some significant flaws with characters in the game.

10: Mordin the geeksploitation.

Mordin’s character is the geek on the team. While the rest of your team have superpowers or are action stars, Mordin’s the guy who spends the time he isn’t in your squad sitting around doing research in the lab. Mordin, “the professor,” is a stand-in for the average video-game-playing audience, or at least the type of person who’s expected to like the RPG-stylings of the original Mass Effect.

How is he characterized then?

At this stage in the evolution of lit apps (if I can call them that), everyone who is not a writer shares the same aim: to work out how to make money from screen-based text.Clipped from www.theliteraryplatform.comSo far, so simple. The first and until now most successful literary adaptation has been the apping of T.S.Eliot’s […]