Mama's story with her twin sister and BT baby is the most horrific example of this - clearly started with "omg what if someone was having a baby during hte apocalypse" and just did not move anywhere comprehensible after that initial bong hit. So much of the babble here is either a nonsensical attempt to explain the game's own essentially magical phenomena, or repetition of something very obvious that a child would have understood on the first go-around. That aesthetic doesn't work here, in my opinion. It had a unique aesthetic that made it feel like our own reality, with all of its dry, boring, mostly irrelevant details.
HIGGS DEATH STRANDING FULL
But since MGS is set in a world analogous to our own, a lot of the extraneous codec conversations or long cutscenes full of characters doing nothing but talking were still interesting because they were often connected to real-world concepts, historical events, laws or procedures. I understand, all too well, that Hideo Kojima leans toward verbosity. This is coming from a lonnnnngggg time hardcore Metal Gear Solid fan, too. I shouldn't need to read a book to understand the story your video game is telling, just like I shouldn't need to play a video game to understand the story your book is telling. No plot reveal is interesting enough to transcend the fact that you're reading it instead of experiencing it. If it can't fit in a cutscene or a scripted real-time story sequence, and there's no other way to subtly imply it via the design of the gameplay, characters, or environment.throw it out. If you can't fit a critical part of the story into the game, it is time to rewrite the story you are telling. could have made room for 30,000 words of backstory on why this plumber is fighting a giant firebreathing turtle.
It almost makes me long for the days when games couldn't be stuffed full of text logs because they literally could not fit on the disc - there was no way Super Mario Bros. I've seen this trend grow and grow in recent years, and it's.baaaaaad. Sorry but this is the worst possible way to tell a video game story. and found that the additional materials (interviews, secret room) gave context for his actions
Honestly a lot of what I said might be wrong because I'm still really confused but that's the feeling I got when I finished the game. She we saw her she was all "come find me we can save the world yada yada" and behind the victim when she was seen with Higgs, but behind the scene she was giving Higgs his power and telling him what to do ect. I kinda wish we got his ending scene as another nightmare instead so we saw the full story.Īnd honestly it just felt like Amelie was playing both sides the entire time. Like in the third nightmare he just suddenly didn't hate us, on Amelie's beach it looked like we were gonna get the closure of the story but Amelie pushed us into the water. He also had an obsession over Sam and I still have no idea why.Ĭlifford came out of nowhere and then his ending was sudden. Higgs barely had any screentime and I never really got his motivation. The three big bads felt a bit weird to me.
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