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Two Years After The Wolf Among Us.

The Wolf Among Us is a remarkably dense game, even by Telltale standards. By the end of the game, ideas of community, identity, storytelling and even more have been dealt […]

The Wolf Among Us is a remarkably dense game, even by Telltale standards. By the end of the game, ideas of community, identity, storytelling and even more have been dealt with and examined in ways that other games aspire to. More than any other video game out there, it takes a huge advantage over the idea that videogames are more akin to TV than film. As we approach two years since its release, I can’t help but miss its presence on a monthly basis on my console/PC, in a way that a lot of games simply can’t fulfill.

Once you get down to it, massive video game releases don’t really focus a lot on writing. By this I mean, dialogue and structure. This isn’t to say that video games are not good at story (atmosphere and tone complement dialogue and structure, and good story games, such as MGS or Silent Hill manage to compensate for clunky dialogue and messy structure with those)  but rather that games often treat writing, as in the creation of dialogue and structure that help convey powerful characterization, as secondary to the world building. Execution vs. concept, essentially.

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