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I do think that this means the game is a success: it accomplishes what you would expect such a game to accomplish. “It just also means that the very premise of a game like this set in the Game of Thrones universe is maybe not as enticing as you might think.” But constant depression doesn’t exactly make for enjoyable gameplay. Maybe that’s a good thing, since the television series (and the books, of course) have also not done much to make Westeros and Essos look like inviting vacation destinations. It’s not particularly fun being in Game of Thrones, it turns out. And so about a third of the way through the series, when it starts to become clear that things are headed in a pretty solid direction whether you want them to or not, you start to rebel against the world you’ve been dropped into. By forcing you to click on various mundane objects and actually walk the characters around the screen and decide how they react in many many dialogue trees, you feel like you actually are the characters. Martin’s fantasy universe succeeded in capturing the endless futility that is so characteristic of the series and, through the intense identification that comes with controlling and making choices for the characters in the game, actually makes you as hopeless as everyone else.
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