The gameplay elements and
narrative design here intertwine in spectacular fashion, egging each other on in a bid to confuse and disorient.
Not exact matches
On the other hand, «You Were Never
Here» has the
narrative structure of shattered glass,
designed to put the audience in the shoes of a character whose mind is unraveling under the cascade of traumas — flashbacks of his abusive father, PTSD from combat and the disorientation of a revenge mission that forces Joe to navigate a hazy world of men with their hands on the levers of power and an under - age sex ring.
But stories are an underused component of Learning and Development;
here we explore
narrative driven Instructional
Design, what we can learn from serious games, and how to weave stories into your
designs.
Beyond that, the game would benefit from more visual detail and polish, and a coherent
narrative that placed the matches in context or part of an arc and while the levels are well
designed and the weapons and toys are satisfying to use, the game wildly and incongruously strays
here and there from its realistic roots.
The original Watch Dog's
narrative design strategy shines through
here: Horatio is used up by the game.
The campaign could've been something unique and pretty damn good, but ultimately it's the
narrative that fails
here; the solid voice acting, gritty feel, and overall excellent sound
design (pro-tip: Make sure to turn on the audio setting «War Tapes») that Battlefield games excel at can't save the mediocre final product.
I'm Edwin McRae, an Indie veteran
narrative design, and
here's some things that I've found useful.