There are about a dozen named characters in Need for Speed: The Run, but aside from some incidental cops and gangsters, only two characters are actually voiced: Jack and Sam, the protagonist and his sidekick. Despite the marketing for the game, it’s clear that The Run doesn’t really care about the story of The Run, yet it still manages to hit one right chord. The characters that don’t have a voice still have a name and a back story, and those simple bits of story make it more fun to race against them than against the other nameless drivers.
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Be it writing online user guides for software programs or writing news articles, I’ve come to accept that the majority of what I write is disposable. An article for the newspaper will soon become the liner for someone’s bird cage. Another article will be quickly skimmed over and then forgotten as yet another article gets someone’s attention. It’s all part of the profession.
I could have worse jobs. As for others in the writing profession, I can’t think of a less enviable task than the writers for the 300-plus books that are scattered throughout the vast land known as Skyrim, the latest in the Elder Scrolls series. Last month, Bethesda’s massive, immersive role-playing game racked up more than $400 million in first week sales.
A good menu can set the tone for the rest of the game to come, or when done poorly, it can be a nuisance that players try to skip as fast as possible every time that they boot up a game. I’ve written twice before about some innovative menus, and since then, I’ve played three more games that I feel deserve special mention for how they handle this normally bland part of a game.
A lot of games this year have had great writing, from Portal 2 to L.A. Noire to (of course) Uncharted 3. But last year’s Enslaved: Odyssey to the West remains one of the best written games I’ve ever played. Much of that stems from a script that goes out of its way to avoid exposition, always making sure to imply more than it explains. Two moments in particular stand out, and I still remember them vividly even a year after playing the game.
Call of Duty 4: Modern Warfare did a lot of things right, and many of those things have gone on to become staples of the military shooter genre. One such staple is “the AC-130 level” or some equivalent, a level that places you high in the air, above the action, away from danger, and enables you to rain down detached and impersonal destruction on your enemies. It was a wonderfully innovative level when it was first done and innovation can’t be copied, though many have tried. Most recently, Ace Combat: Assault Horizon and Battlefield 3 both tried their hand at this kind of level. One of them succeeds because it knows imitation can only take you so far, the other one fails because it copies all of the aesthetics but none of the substance from Call of Duty 4.
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"What a time they had, Charlie and Rosie. They'll never lack for stories to tell their grandchildren. And what a time we had at Double Take discussing the spiritual and romantic journey of the African Queen.READ the article