Posted on: July 28, 2015
furthest_flung
游戏: 3 评论: 11
The emptiness of choice
You are a peasant girl told to marry a jerk or die. Do you do what you are told (and live), mouth off (die), or run away (probably die)? Choose carefully, because your answer will affect... well, actually not all that much. You see, no matter what you choose, this game's structure isn't really built to handle all the ramifications of what you choose in a scenario, and so it's sort of like your choices in KoToR 1 being moot in KoToR 2 because you visit none of the same places, and the galaxy is in just as much a state of turmoil no matter whether you went Light Side or Dark Side. You play as several characters, but only one actually returns to more than one chapter, and the resolution of all the other character's plots don't actually change anything but a few text blurbs or maybe a cameo appearance. In each chapter, there's basically one BIG choice, and a handful of others that are more window dressing or a lead-up to what you do in your big choice. Hence, the whole of the game really comes down to about three or four choices, and the rest is window dressing. It's frankly a failing of scripting, and the fact that a limited team just plain can't offer the "real choices with real consequences" in a manually scripted setting because they can't handle manually writing out all the permutations of their choices. This is the sort of game that really needs to incorporate emergent or procedural gameplay elements to carry out its promise, but this is obviously a hand-crafted linear narrative storytelling experience that's trying to break out of the linearity, and only partially succeeding. Play-wise, it's more point-and-click and visual novel than RPG. Basically, imagine if BioWare stopped including combat in their games, and had a couple inventory puzzles, instead. In the end, this is just more proof of why choice in games comes down to either hollow choices in linear storytelling, or sandboxes with no written narrative.
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