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This is also an interesting thread that I am in turn quote-RTing a thread so I can talk about it and the original thread (which is about the effects of repeated dialogue in games, and says that that reduces immersion) @mcclure111/1074701371172098048Permalink Look on archive.org
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both of these threads, to a greater or lesser extent, take it for granted that the aim is to make the fictional world of the game real for a player. I don't think this is a bad goal, but I don't think it's the only one.Look on archive.org
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I am thinking (although videogames are, in a great many ways, not games, so you can take this too far) of children's playground games, which are often more about chanting and ritual than they are about fiction, or even the interplay of rules.Permalink Look on archive.org
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but I can think of videogames where the drilled-in repetition of lines, or speech, or acts was a primary pleasure. the over the top delivery of "STREET FIGHTER EX (plus alpha)". Francis York Morgan tapping his chest, his tics and asides to Zach. The yah-ha! when you find a Korok.Permalink Look on archive.org
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do these things make me feel like the fictional world is more real? not really? maybe? are they a pleasurable part of the game experience? yes, for sure. there's something about expectation and payoff, repeated elements at particular intervals that is a particular pleasure of vgsPermalink Look on archive.org
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(which I think is connected to, but not quite the same, as Andi's point about abstraction & compression as techniques when telling stories)Permalink Look on archive.org
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but yeah; this is an aspect of videogames probably best described by musicians : thinking about Pilgrim In The Microworld and David Kanaga's writings. folks have an intuitive sense of it, but still lots of charting out to do.Permalink Look on archive.org