{"id":198,"date":"2012-10-01T10:02:05","date_gmt":"2012-10-01T10:02:05","guid":{"rendered":"http:\/\/blog.daft-ideas.co.uk\/?p=198"},"modified":"2013-08-01T13:46:21","modified_gmt":"2013-08-01T13:46:21","slug":"storytelling-in-spec-ops-the-line","status":"publish","type":"post","link":"https:\/\/blog.daft-ideas.co.uk\/2012\/10\/01\/storytelling-in-spec-ops-the-line\/","title":{"rendered":"Storytelling in Spec Ops: The Line"},"content":{"rendered":"
Warning: This post contains spoilers for Spec Ops: The Line<\/p>\n
In most games,\u00a0 the designers have done all they can to try to disguise the rails. Rails in this case being a metaphor for linear storytelling. Linear storytelling is not inherently bad, but often seems that way when \u201cyou\u201d, or more\u00a0accurately\u00a0the character you control, are forced into a\u00a0decision\u00a0that the player finds to be idiotic. This breaks immersion.<\/p>\n
Good examples of rails can be seen during the Half-Life series, where there are few points that you might feel like\u00a0you’ve\u00a0been forced into making a stupid\u00a0decision. (Well – maybe Gordon\u00a0didn’t\u00a0want to jump blindly into a teleporter and go to\u00a0 hostile alien Zen. But he did anyway…because he was told to).
\nEvery step of your journey is utterly predetermined, but often this goes unnoticed or seems like emergent behaviour. This makes it all the more jarring when you are forced to jump into a prisoner transport pod that immobilizes\u00a0you and you can\u2019t control it\u2019s direction.<\/p>\n