Sentences with phrase «game narrative still»

I would agree with you that game narrative still has a long way to come though.

Not exact matches

Still he enjoys the poetry of it all, the strategic narrative drama played out in iambic pentameter merging with the din and clamor of the game.

It's disappointing that the Rockies weren't able to build on their 14 - 3 start to June, sure, but they're still in a great place as the month nears its close, and taking their next series — a three - game set against a D - Backs that recently leapfrogged them — will turn that narrative right around again.

It also frees up more game time for promising youngsters who have time on there side to still make it and change the narrative (gibbs, ox, iwobi and ramsey) looking for more responsability and consistent minutes 4 - Probably involve both Sanchez and Özil in recruiting pitch and ask for input of who they like (doesn't mean you go with what they say bit just showing a different approach and the commitment to do better.

Liverpool and Manchester United are still probably the two biggest clubs in England in terms of history and tradition as well as trophies, Manchester City are now serious players at the European level, Everton possess narrative in spades including not a few national titles and even the likes of Preston North End (The Invincibles, Tom Finney), Blackpool (Stanley Matthews, Jimmy Armfield), Blackburn Rovers (Alan Shearer et al.) and others have a position in the upper consciousness of the game.

There's a reason that despite games like The Last of Us, The Witcher 3, and Minecraft prove that games can have a gripping narrative, expansive worlds, and the tools to create anything and everything, people still refuse to call games art.

Bioshock 2 may not be as grand of an experience like the outstanding original but it does everything a sequel should do and it is still the best game ever in terms of narrative richness.

Even if you don't care about the poor storytelling and juvenile understanding of the noir genre, Metropolis is still a supremely bland and uninteresting match - 3 game; one that doesn't integrate the gameplay and narrative together in a particularly interesting way and yet somehow also wants people to play it four times to experience all the endings.

It's far from innovative as other games feature superior narratives and better multiplayer modes, but it's still an edge of your seat and bullet riddled extravaganza that begs to be experienced by anyone with a PS3.

The narrative is arguably not as memorable this time around, but it's still a wonderful excuse to spend more time with characters you've already spent a hundred hours with and see the mysteries from the previous game resolved.

There's still potential for an expansion of narrative scope as the game progresses, however, so I'm keen to see where exactly that goes.

Though, even those who have played through Wings of Liberty and Heart of the Swarm might still be confused, if only because of the complex and confusing nature of the game's lore - heavy narrative.

Subject Matter: The third PS3 Ratchet is still an action game, but has a stronger than normal narrative, as Ratchet discovers he's not the last of his species, while Clank discovers his origins.

While a decent story isn't a particularly pressing prerequisite for a good survival based horror game on iOS, I still enjoyed the narrative techniques used by Foursaken in setting the tone for the rest of the game.

Call of Duty 4: Modern Warfare is still one of the best video game stories of all time, and although the quality of COD single - player narratives have tended to fluctuate in recent years, there's still that sense of drama and action that I crave.

It is also the first game in the series that lacks a traditional story mode however there might still be some narrative to tie the story in the game.

The narrative is excellent, and you're still given stellar voice acting in the game.

However what is clear from playing the past two games is that the developers need to have a much stronger focus on the story and narrative, and this is unfortunately one of the area which is still lacking in their new game.

For all its narrative and thematic simplicity, Elimination Game is a reminder that while their big - budget cousins have gone all - in on spectacle, the B movie is still a creature of ingenuity by necessity.

This means there's value in bringing certain games to the movies: to a non-game playing audience, it's fresh material based on sophisticated game storytelling (relatively sophisticated, anyway: games, even good ones, are still often frustratingly puerile in their find - the - object, kill - everything - in - the - room narrative mechanisms).

With modern technology and massive budgets, it's still an impressive feat when a game can create memorable narratives, nuanced characters, and layered storytelling.

Ultimately it's still a game worth playing, though, if you have any sort of interest in the subject material or experiences driven heavily by the narrative.

And while the open world and the wealth of riddles, side missions, and challenge rooms mostly make up for any narrative shortcomings, I still don't think this game is a true classic like its predecessor.

That said it is still a game worth playing if you are looking for a good, if short narrative experience.

Exposition is still there, as that's how we learn about the world and narrative of Cave Story, but it's never inane, trite, or obtrusive to the game, as the story is layered and feels meaningful as it quickly puts forth a mystery of what's happening and why, and sets up a dark tone to the proceedings that contrast quite heavily with what many may see as cute visuals.

While I appreciate the careful detail and thought put into the narrative of Quantum Break, this is still a video game at its core, and how a game plays will always be the most important aspect when determining its overall fun factor.

Fated is a narrative based adventure that plays out more like an interactive movie than a game, and it's still a treat.

The result is still a game that often feels like a stunningly confident, competent shot across the bow of the open world genre, folding in an incredibly strong narrative and a good sense of consequence to the decisions that present themselves throughout, presenting a fun bit of combat creativity into a genre that desperately needs it.

But for those who are still unconvinced, I spoke with Lead Narrative Designer Paul Crocker of developer Rocksteady at E3 about the newest Batman game, including Play as the Joker exclusive to PLAYSTATION 3.

As a result, The Adventure of Link feels like the black sheep of the series and has had little influence on the play of future games in the franchise (it borrowed much from platform games and the newly - popular JRPG lineage, kicked off primarily by Dragon Quest), although it still contributed significantly to the still - developing lore that shapes the narrative space of each Zelda game.

It is also the first game in the series that lacks a traditional story mode however there might still be some narrative to tie the story in the game.

I worked on a dying form — the point - and - click adventure — but as a result had the entirely enviable experience of having a not - yet - knighted Terry Pratchett as my first (and still utterly unparalleled) script editor, which I suspect did much to tie my career to game narrative, despite my certainty I was going to be known as a game designer.

A few examples, in my opinion, of good gameplay - narrative relationship: - The Swapper: the basic game mechanics are engaging and still suit perfectly with the story and its main theme.

While Final Fantasy VII and Square's subsequent games were an assertion of the value of developing and designing a game with a story at the center of the experience, and using that story to assert ideas about politics economics, and philosophy, Dragon Quarter was a statement in return that similarly intelligent engagements of political ideas could be built into games of minimal narrative that still focused primarily on gamers» engagement with mechanics.

Even though this game is geared at a younger audience who might not care all that much about compelling narrative, it's still a tired trope.

Though the game may feature some narrative elements that won't be a total surprise to longtime MegaTen fans, it'll still sink its hooks into you pretty quickly and refuse to let go.

But the game's ever - changing tone, confused narrative, and undercooked gameplay elements still leave room for improvement.

These levels are still fun and help to add some depth to the game's narrative, but they consistently break the tension that its sister campaign tries to create.

I'd still much rather be able to venture where I want at any time in Skyrim, but for the likes of Tomb Raider, a character and narrative driven game, the concept of ludonarrative dissonance is an important one.

I still loved Tomb Raider despite the very clear divide between its story and gameplay, but on the flipside it was Bioshock Infinite's marriage of its themes, narrative and mechanics that helped completely immerse me into the game.

Now, to be clear using well - worn idea isn't too much of a problem provided it's done well, after all there's plenty of games, books and movies that use incredibly well - trodden narrative routes that still turn out to be great, but as we've already discussed the quality of the writing here is average, making the use of such a cliché a shame.

It didn't for Witcher 3, and that game could span hundreds of hours, and was still very narrative - driven.

Still, the fact that the game does facilitate so many restarts with different narrative progressions is pretty impressive.

Virginia is a First Person, narrative based, noir adventure game set in the early 1990's with an evident inspiration from 90's television shows such as The X-Files or Twin Peaks, yet developer Variable State still manages to tell a rich and engaging story in their own unique way.

I'm still playing it, which should be a testament of the strength of the dialogue system and narrative, but the game could be so much better.

In a time where video game narratives like Nier Automata take a look at the video game medium and use it to say powerful things about life itself or how my last reviewed game the Last Guardian showing big budget games can still have heart.

In the first episode alone, there are disjointed moments when the situations and narrative make jumps based on previous decisions, so while the ambition of the game's model is to be commended, right now it still feels a little rough around the edges.

It's far from innovative as other games feature superior narratives and better multiplayer modes, but it's still an edge of your seat and bullet riddled extravaganza that begs to be experienced by anyone with a PS3.

Instinctively I'd say no, but even as someone who prized the narratives of previous games I still found myself going back to 15's early stages to seek out new challenges after I'd concluded the main campaign.

Masquerada: Songs and Shadows is a really fun game narrative - driven game that doesn't feel too heavy as an RPG, but still provides that tactical experience -LSB-...]