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GCDC (the catchy abbreviation for the even more catchy Games Convention Developers' Conference) is under way, as people get their chatter on in preparation for Leipzig's Games Convention proper later this week. Bear with us, and read on for Ken's thoughts on the legacy of System Shock, how Little Sisters were formerly insects, the nature of superheroes, objectivism and, of course, much more. We start at a fairly obvious point, but I was fishing for quotes for the more general-readership Wired feature. Oh – and this feature was written before I'd played the finished game, having only experienced the first couple of levels in preview. I've included narrative bridges for the bits which have gone into the other pieces to give context. In the days leading up to Bioshock's release, Rock Paper Shotgun seems the perfect place to share them. However, even with all that, there were still several thousand words of interesting material left spare. And I've edited the PCG one in now too - Ed).
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If they come online, clearly, I'll be linking to them – the PC Gamer one has lots of stuff on designers’ ethics and needs, while the Edge one is a making-of look at System Shock 2 (The Wired one's up now, and you've just wandered past its link.
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If Bioshock does anything short of changing our world, he's failed.Īnyway – Bits of the interview end up being cannibalised for features in PC Gamer UK, Wired and Edge. It has to do what none of its peers and precursors (The Thiefs, The System Shocks, The Deus Exes) have done – become not just a hit, but a enormous HIT. It was only possible because of the Faustian deal, and he needs to make the best of it. Irrational no longer exist in name thanks to selling it to 2K, but without their money Bioshock wouldn't have been made in a recognisable way. Levine sold the company he co-founded in order to get this game done. He's played the PR machine on Bioshock enormously hard, clearly very aware of the enormous stakes he's playing for. Levine – a major developer – mailed me for no other reason than that he wanted to talk. ( Denial’s not pretty – Ed) It's worth stressing how this interview came about. And, no, I don't want to have sex with him. Levine's a fascinating figure – articulate, driven, passionate. When Ken Levine, the main man behind Bioshock and System Shock 2, drops you a line asking if you want to do an interview, you say "yes." But leave the story in the hands of the storyteller. And for most elements of a game, from killing to constructing, this interaction is necessary. Games find themselves in a more awkward position, as progression becomes rather dependent on the player interacting in some way. Frankly, if you've got a story worth telling, the last thing you should be doing is letting anyone else get in the way. But books, television and film have always survived rather well without letting the consumer dictate the story for them. In the world of storytelling, non-linearity has only ever existed as a novelty, perhaps a choose-your-own-adventure, or idiotic stunt on the BBC to let viewers call in and "decide" what happens next. Which is, essentially, an argument against non-linearity in games. It’s so difficult to make a genuinely complex dramatic choice," in the words of Rolston.
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Say the writers of stories in games.īethesda's Ken Rolston and adventure veteran (and man responsible for the frattish Spellcasting series in the early 90s), Bob Bates, both agreed that, "our inability to pay off on all the choices that there should be available.
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Specifically, that games shouldn't even try to make them more complex, as they're simply no good at it. GCDC provides another interesting debate, this time on the subject of story in games.