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Not sure what the year has to do with anything. Every other genre has (by definition) been following the same formula, and mostly for a lot longer than TCR has even existed. Do you question every other genre this way - call out all those other developers for "having a bit of an ego" for the terrible crime of...putting a product on the market?
For you, sure. Other people don't share your views, your truth - I, for instance think both Dear Esther and AMFP are wonderful games (and I don't mean to agree with you that they're purely story, either, but this is not that discussion). So I can buy TCR's games, and you can choose not to. Not seeing the problem.
http://www.eurogamer.net/articles/2013-11-27-how-the-sausage-was-made
"Despite this minimalist design philosophy, Pinchbeck maintains that he likes mechanics-based games, but only if the mechanics are justified. "We've been misinterpreted a bit recently as being this rabidly anti-mechanics company. It's not that," Pinchbeck states. "Initially it was a more mechanics-driven game. It really was a long conversation in the team and with Frictional as well kind of going back to scratch and going 'Well, why are they there?' [If] we can't really answer that question in a way which makes sense in terms of the overall player experience, then they probably shouldn't be there.""
I love this line. I actually had a lot of questions like that playing TDD.
Things like, "Why does the ceiling always collapse to keep me from progressing? Why does this castle/mansion have its own alchemy lab? Why is each ingredient for this bomb I need to make stored in its own seperate hallway? If I can make bombs with this stuff, what did the original castle goers use it for? Why is it even here? Couldn't they have someone in the town make explosives for them?
I'm glad TCR actually made the/their game/s like they did/do. From a gameplay perspective, I can see how there is not a lot of variety and people would get bored quick. But it seems like they trimmed the fat off the gameplay and... maybe made it more realistic I guess is what I'm trying to say.
One example: Your character in AMFP didn't go rapidly crazy just standing in the dark, but gradually insane things started happening throughout AMFP as you progressed. Insanity was trimmed from gameplay and added to the story progression/level design.
One thing I can say for sure about TCR is that the gameplay has never gotten in the way of me experiencing a good immersive story, and sometimes that is all I want. I have plenty of other games to play when I want gameplay.
I completely agree on the point of the sanity meter. I found it incredibly annoying and not immersive at all, the same for Daniel falling over and backing up without any player input. MFP gave me full control and I loved it.
People went all mad when they removed that features, without thinking how really they where usefull or how much they really gave to them, so they went in the "Where there, why here not? So it's worse and i must hate it" state without even trying to see the game for what it is in their own.
And i'm glad too, as much i love The Dark Descent, but if had to play the same thing again i'd rather play The Dark Descent or some custom stories.
At the end it's all a matter of tastes, i like both in their own way, but compared A Machine for Pigs gave me much more, even out of the game. I'm still thinking at it and making thoughts. The Dark Descent it's remembered for it's scary parts, but nothing more (it's a bit sad but if you look carefully there's not much more to talk about, the story is good but too cloudy near the end ad after the end there's so little left) Machine touched some inner nerves that Dark Descent didn't.
If these things don't appeal to you, don't buy products by the Chinese Room. If they didn't make any money, they would stop existing as a company, but it isn't the case, which means there is a market for the type "non-game" that Dear Esther are.
I do enjoy a lot these games and the narrative, art designs, score, acting, etc. is actually enough to entertain me IF it's very well done, which is the case with The Chinese Room.
People also saying that they should have done it as a movie or as a book are wrong. There is some value in exploring at your own pace, having to piece out yourself a narrivative with bits of voiced and text logs, in blending both writing and visual clues and above all, in giving the player a unique and personal perspective, which movies don't have.
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On a side note, I am extremely disappointed, to say the least, that The Chinese Room signed an exclusivity contract with Sony for their next release on PS4, for which there seems to be absolutely no plan to release on PC. I've been a fan of The Chinese Room unique approach to narrative-driven games, yet no fan at all of this new generation of console and don't plan on acquiring one within the next year.
I also liked Dear Esther , mainly for the presentation, the best use of source engine imo, i like this kind of games, very relaxing and if they are short like dear esther they can be worth it for me.
I agree with most people that fictional games could develop the next amnesia game, it was too early to give it to someone else and i wonder what were they working on and couldn't develop it as well? Penumbra games was a great start for them and i think they can produce a really special game if they are more carefull with the story (a game with a story that seems real please). Also with more complex puzzles that fit to the story. Amnesia AMFP seems like a mixture of amnesia TDD and dear esther and that is logical. But i think fictional games should move on and with the penumbra games in mind and new technology and a better writing they have all that it takes to make something unique. It's their chance now that many people know them and they have our attention at least.