{"version":"1.0","provider_name":"Rainbow Dash Network","provider_url":"http:\/\/rainbowdash.net\/","type":"link","title":"Narwhal (narwhal)'s status on Tuesday, 23-Feb-16 21:48:27 UTC","author_name":"Narwhal (narwhal)","author_url":"http:\/\/rainbowdash.net\/narwhal","url":"http:\/\/rainbowdash.net\/notice\/4090338","html":"@scribus<\/span><\/a><\/span> @tiffany<\/span><\/a><\/span> The "why not make it x medium" is an interesting route of discussion too, and one I also think is situational. I think that while the writing in games are the conventional plot elements we've become privy to identifying, the "text" of a game exists in more Derrida-esque sense (which is to say things like small world details found through exploration, minor NPC conversations, and vicarious player experiences among other things exist as part of a game's identifiable "story"). Perhaps my favourite example of a very functionally flawed game that still works best as a game is Silent Hill 2, where many of its mechanical faults end up reinforcing the very helpless and paranoid atmosphere the writing in the game emanates. It works specifically as a game very well because even in spite of its messy gameplay every component of the game's text works on the foundation of the player's distinguished agency, something that would lost in translation if adapted to a film screenplay."}