History Main / SlidingScaleOfGameplayAndStoryIntegration

24th Sep '16 12:33:18 PM Yora
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* The ''VideoGame/DarkSouls'' games (as well as ''VideoGame/DemonsSouls'') go to great lengths to design the whole worldbuilding about the multiplayer elements and unlimited character lives. The Souls games are set in cyclical universes consisting of infnite paralel worlds and at the end of the cycle time flows in irregular ways and people constantly move between different worlds. The player characters are also undead so they never really die but only find themselves back in the same place they were in a few minutes ago. Which also makes it possible that some characters appear in multiple games even though apparently thousands of years have passed.
** ''VideoGame/{{Bloodborne}}'' is less explicit about it but is still set in a world where the dreams and the waking world are almost indistinguishable and forces are at work that are transcending reality.
20th Sep '16 10:36:15 PM Hobbie
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** Obsidian turned "I have a bad feeling about this" (a CatchPhrase used in every ''Franchise/StarWars'' movie) into a gameplay mechanic--namely, signifying that you should save your game at that point.

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** Obsidian turned "I have a bad feeling about this" (a CatchPhrase used in every ''Franchise/StarWars'' movie) into a gameplay mechanic--namely, signifying that you should save your game at that point. [[spoiler: It's integrated even further than that. Atton, the person who says it the most, is Force-sensitive.]]
11th Sep '16 6:23:12 PM CountDorku
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* Most characters in ''VideoGame/DragonAgeOrigins'' can take two [[PrestigeClass specializations]], but [[TheBigGuy Sten]] can only take one. Sten is Qunari - the culture he comes from upholds CripplingOverspecialization as a key virtue. He can't learn two specializations because doing so is, effectively, against his religion!
26th Aug '16 7:05:10 AM Jgamer
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** If you look closely durring the final boss of the first game, you'll notice that [[spoiler: most of Kessler's attacks are more powerful versions of Cole's attacks, acting as a last bit of {{Foreshadowing}} before the big reveal of Kessler's true identity.]]

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** If you look closely durring during the final boss of the first game, you'll notice that [[spoiler: most of Kessler's attacks are more powerful versions of Cole's attacks, acting as a last bit of {{Foreshadowing}} before the big reveal of Kessler's true identity.]]
26th Aug '16 7:05:01 AM Jgamer
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** If you look closely durring the final boss of the first game, you'll notice that [[spoiler: most of Kessler's attacks are more powerful versions of Cole's attacks, acting as a last bit of {{Foreshadowing}} before the big reveal of Kessler's true identity.]]
3rd Aug '16 5:07:54 AM longWriter
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* ''VideoGame/Fallout2'' provides an interesting example. The combat system was clunky and un-intuitive even for its time; Players should expect to be hounded by a conspiracy between the RandomNumberGod and their own [[StopHelpingMe inability to control their minigun-loving party members.]] Also, as a western RPG, the dialogue system and emergent weirdness are arguably the whole point of the game. Speaking of which, the [[PlayerCharacter Chosen One's]] dialogue choices change the further south (Read: further in the main story) s/he goes. Initially an innocent inexperienced savage, the Chosen One gradually evolves into a [[DeadpanSnarker sarcastic jackass]] who's SeenItAll. Assuming you're a first time player and aren't SequenceBreaking, the change in tone will mirror your growing familiarity with the game.

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* ''VideoGame/Fallout2'' provides an interesting example. The combat system was clunky and un-intuitive even for its time; Players should expect to be hounded by a conspiracy between the RandomNumberGod and their own [[StopHelpingMe [[AnnoyingVideoGameHelper inability to control their minigun-loving party members.]] Also, as a western RPG, the dialogue system and emergent weirdness are arguably the whole point of the game. Speaking of which, the [[PlayerCharacter Chosen One's]] dialogue choices change the further south (Read: further in the main story) s/he goes. Initially an innocent inexperienced savage, the Chosen One gradually evolves into a [[DeadpanSnarker sarcastic jackass]] who's SeenItAll. Assuming you're a first time player and aren't SequenceBreaking, the change in tone will mirror your growing familiarity with the game.
2nd Aug '16 1:53:50 PM Woggs123
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* ''VideoGame/Fallout2'' provides an interesting example. The combat system was clunky and un-intuitive even for its time; Players should expect to be hounded by a conspiracy between the RandomNumberGod and their own [[StopHelpingMe inability to control their minigun-loving party members.]] Also, as a western RPG, the dialogue system and emergent weirdness are arguably the whole point of the game. Speaking of which, the [[PlayerCharacter Chosen One's]] dialogue choices change the further south (Read: further in the main story) s/he goes. Initially an innocent inexperienced savage, the Chosen One gradually evolves into a [[DeadpanSnarker sarcastic jackass]] who's SeenItAll. Assuming you're a first time player and aren't SequenceBreaking, the change in tone will mirror your growing familiarity with the game.
28th Jul '16 7:17:07 AM Koveras
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Another definition would be that the gameplay ultimately revolves around numbers and is governed by mathematical rules, while the story revolves around words and symbols and is governed by the rules of emotional narrative. Either way, it is highly rare for a video game [[NoPlotNoProblem not to have any story whatsoever]] (think ''VideoGame/{{Pong}}'' level of storylessness) and, even more so, to not have any gameplay (though this depends on whether you count {{Kinetic Novel}}s as games), and these two aspects are usually integrated at least a little -- after all, you can hardly put pony-breeding gameplay against the backdrop of a galaxy-spanning war story. Similarly, it is often impossible to extricate the "gameplay" part from the "story" part for some game elements: for example, level design serves a practical function for gameplay, but also conveys information about the game's setting to the player -- and attempting to avoid this by setting one's gameplay in an environment comprised entirely of featureless white cubes would still tell the player ''something'' about the game's setting. Additionally, while it is virtually impossible for a game to have ''no'' story at all, story is not the only aspect that evokes an emotional reaction in the players, and "raw" gameplay can have the same effect in its own right, independent of the context it is placed in.

Since a gap between gameplay and story exists, despite the medium's relative youth, video games have already developed a rather standardized set of general and genre-specific [[VideoGameTropes gameplay-only conventions]]. While definitely not as old as storytelling conventions, [[TropesAreTools they are not fundamentally different and game designers borrow from them]] without considering how they fit InUniverse. Indeed, very few players [[FridgeLogic stop to ponder why]] the PlayerCharacter's well-being seems to be [[HitPoints divided into numbered chunks]] but [[CriticalExistenceFailure the only one that matters is the last]], because it's an established gameplay convention and most developers no longer feel the need to {{justif|iedTrope}}y it. This becomes even more obvious when the game's gameplay rules are adapted from an external source, such as TabletopGames.

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Another definition would be that the gameplay ultimately revolves around numbers and is governed by mathematical rules, while the story revolves around words and symbols and is governed by the rules of emotional narrative. Either way, it is highly very rare for a video game [[NoPlotNoProblem not to have any story whatsoever]] (think (i.e. the ''VideoGame/{{Pong}}'' level of storylessness) and, even more so, to not have any gameplay (though this depends on whether you count {{Kinetic Novel}}s as games), and these two aspects are usually integrated at least a little -- after all, you can hardly put introduce pony-breeding gameplay against the backdrop of a galaxy-spanning war story. Similarly, it is often impossible to extricate the "gameplay" part from the "story" part for some game elements: for example, level design serves a practical function for gameplay, but also conveys information about the game's setting to the player -- and attempting to avoid this by setting one's gameplay in an environment comprised entirely of featureless white cubes would still tell the player ''something'' about the game's setting. Additionally, while it is virtually impossible for a game to have ''no'' story at all, story is not the only aspect that evokes an emotional reaction in the players, and "raw" gameplay can have the same effect in its own right, independent of the context it is placed in.

Since a gap between gameplay and story exists, exists and despite the medium's relative youth, video games have already developed a rather standardized set of general and genre-specific [[VideoGameTropes gameplay-only gameplay conventions]]. While definitely not as old as storytelling conventions, [[TropesAreTools they are not fundamentally different and game designers often borrow from them]] without considering how they fit InUniverse. Indeed, very few players [[FridgeLogic stop to ponder why]] the PlayerCharacter's well-being seems to be [[HitPoints divided into numbered chunks]] but [[CriticalExistenceFailure the only one that matters is the last]], because it's an established gameplay convention and most developers no longer feel the need to {{justif|iedTrope}}y it. This becomes even more obvious when the game's gameplay rules are adapted from an external source, such as TabletopGames.



The degree of story and gameplay integration in a particular game is always relative to the "mean level" of it in its genre. Story-driven genres like {{adventure|Game}}s and {{Role Playing Game}}s, for instance, traditionally feature a much higher level of integration than {{Racing|Game}} and {{Fighting Game}}s. Note, however, that a particular game's StoryToGameplayRatio does not imply anything about the extent to which its gameplay is integrated with its story. Ultimately, deliberate gameplay and story integration is all about recognizing a [[StrictlyFormula particular genre's gameplay or story formulas]] and interlocking them in a way that is not expected in that genre. Off the above scale lie the aforementioned games that lack [[NoPlotNoProblem either a story]] or gameplay of any kind, as well as the phenomenon known as "Emergent Storytelling" -- the metaphorical Holy Grail for some developers, wherein the game's generic ruleset facilitates the players inventing and enjoying stories all on their own. Some would argue that this is what the Perfect Integration sector of the scale is all about, but then again, so are non-kinetic VisualNovels.

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The degree of story and gameplay integration in a particular game is always relative to the "mean level" of it in its genre. Story-driven genres like {{adventure|Game}}s and {{Role Playing Game}}s, for instance, traditionally feature a much higher level of integration than the competitive {{Racing|Game}} and {{Fighting Game}}s. Note, however, that a particular game's StoryToGameplayRatio does not imply anything about the extent to which its gameplay is integrated with its story. Ultimately, deliberate gameplay and story integration is all about recognizing a [[StrictlyFormula particular genre's gameplay or story formulas]] and interlocking them in a way that is not expected in that genre. Off the above scale lie the aforementioned games that lack [[NoPlotNoProblem either a story]] or gameplay of any kind, as well as the phenomenon known as "Emergent Storytelling" -- the metaphorical Holy Grail for some developers, wherein the game's generic ruleset facilitates the players inventing and enjoying stories all on their own. Some would argue that this is what the Perfect Integration sector of the scale is all about, but then again, so are non-kinetic VisualNovels.
28th Jul '16 12:20:32 AM Kahran042
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** At a later point when the party is on route to attack the villians at their base, Virginia gets struck by a poison by the main villian during a cutscene event. She is treated for it, but her Vitality gague is drained and cannot be refilled due to the poison's lingering effects. After they beat the villians, Virginia gets time to fully recover from the poison, and as such restore her Vitality gague.

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** At a later point when the party is on route to attack the villians villains at their base, Virginia gets struck by a poison by the main villian villain during a cutscene event. She is treated for it, but her Vitality gague is drained and cannot be refilled due to the poison's lingering effects. After they beat the villians, villains, Virginia gets time to fully recover from the poison, and as such restore her Vitality gague.
29th Jun '16 3:23:33 AM Koveras
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[[folder:First-Person Shooter]]

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[[folder:First-Person [[folder:First/Third-Person Shooter]]



* SpecOpsTheLine, appropriately for being a deconstruction of pretty much everything in big-budget 7th and 8th gen video games, allows its players to face every moral choice or narrative decision in the game without at all deviating from its default third-person cover-based shooter controls and gameplay. For example, the player can choose one ending by refusing to shoot a particular target. If they choose not to do so, they will eventually be confronted by some of the toughest enemies in the game. They can surrender for one ending, fight and win for another ending, or be defeated by those enemies for a third ending. In another scene, as a mortally wounded character begs for a MercyKill, the player can use the normal controls to deliver the coup de grace, to shoot and miss, to simply walk off, or to watch the bastard die horribly. The NPC reacts appropriately to each choice.

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* SpecOpsTheLine, ''VideoGame/SpecOpsTheLine'', appropriately for being a deconstruction {{deconstruction|Game}} of pretty much everything in big-budget 7th and 8th gen video games, allows its players to face every moral choice or narrative decision in the game without at all deviating from its default third-person cover-based shooter controls and gameplay. For example, the player can choose one ending by refusing to shoot a particular target. If they choose not to do so, they will eventually be confronted by some of the toughest enemies in the game. They can surrender for one ending, fight and win for another ending, or be defeated by those enemies for a third ending. In another scene, as a mortally wounded character begs for a MercyKill, the player can use the normal controls to deliver the coup de grace, coup-de-grace, to shoot and miss, to simply walk off, or to watch the bastard die horribly. The NPC reacts appropriately to each choice.
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