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	Comments on: What Works And Why: Nonlinear Storytelling In Her Story	</title>
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	<link>https://www.pentadact.com/2015-06-27-what-works-and-why-nonlinear-storytelling-in-her-story/</link>
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		<title>
		By: The Sunday Papers &#124; bmgc		</title>
		<link>https://www.pentadact.com/2015-06-27-what-works-and-why-nonlinear-storytelling-in-her-story/#comment-600723</link>

		<dc:creator><![CDATA[The Sunday Papers &#124; bmgc]]></dc:creator>
		<pubDate>Mon, 29 Jun 2015 06:00:25 +0000</pubDate>
		<guid isPermaLink="false">http://www.pentadact.com/?p=8012#comment-600723</guid>

					<description><![CDATA[[&#8230;] creator Tom Francis writes about what works and why in non-linear detective game Her Story, without [&#8230;]]]></description>
			<content:encoded><![CDATA[<p>[&#8230;] creator Tom Francis writes about what works and why in non-linear detective game Her Story, without [&#8230;]</p>
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		<title>
		By: Jere		</title>
		<link>https://www.pentadact.com/2015-06-27-what-works-and-why-nonlinear-storytelling-in-her-story/#comment-600678</link>

		<dc:creator><![CDATA[Jere]]></dc:creator>
		<pubDate>Sun, 28 Jun 2015 16:29:36 +0000</pubDate>
		<guid isPermaLink="false">http://www.pentadact.com/?p=8012#comment-600678</guid>

					<description><![CDATA[Tom, Her Story was great and I can&#039;t stop thinking about it.

I&#039;m in total agreement with you. The 5 clip limit and the ordering are important design constraints. The whole thing falls apart without them. I wrote a very similar piece about these constraints and why they&#039;re exciting (linked in my username), even contrasting it with BioShock as you have. However, I didn&#039;t realize the ordering was strictly chronological until later. It works out well given the 7 interviews.

haik&#039;, as I said, those constraints are crucial for pacing. And to turn the game into a sort of puzzle; that is to say it actually feels challengin. Without it, the game would be a 2 hour youtube clip and not nearly as fascinating. Besides, it&#039;s not at all unbelievable that a poorly written piece of software (today or in the 90s) would have such an arbitrary limit. This is actually one of the *least* far fetched aspects of the game.]]></description>
			<content:encoded><![CDATA[<p>Tom, Her Story was great and I can&#8217;t stop thinking about it.</p>
<p>I&#8217;m in total agreement with you. The 5 clip limit and the ordering are important design constraints. The whole thing falls apart without them. I wrote a very similar piece about these constraints and why they&#8217;re exciting (linked in my username), even contrasting it with BioShock as you have. However, I didn&#8217;t realize the ordering was strictly chronological until later. It works out well given the 7 interviews.</p>
<p>haik&#8217;, as I said, those constraints are crucial for pacing. And to turn the game into a sort of puzzle; that is to say it actually feels challengin. Without it, the game would be a 2 hour youtube clip and not nearly as fascinating. Besides, it&#8217;s not at all unbelievable that a poorly written piece of software (today or in the 90s) would have such an arbitrary limit. This is actually one of the *least* far fetched aspects of the game.</p>
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		<title>
		By: haik'		</title>
		<link>https://www.pentadact.com/2015-06-27-what-works-and-why-nonlinear-storytelling-in-her-story/#comment-600677</link>

		<dc:creator><![CDATA[haik']]></dc:creator>
		<pubDate>Sun, 28 Jun 2015 16:03:56 +0000</pubDate>
		<guid isPermaLink="false">http://www.pentadact.com/?p=8012#comment-600677</guid>

					<description><![CDATA[I don&#039;t think I can agree with one of your point.

You say
&quot;The interface, the thing that limits what you can and can’t do, is natural: it matches the limitations your character in this world also faces. And so the challenge of overcoming it feels like a game, rather than a frustration.&quot;

To me - that is what threw me off of the game right from the start, and why I just couldn&#039;t enjoy it.
In context, you are using a computer that is powerful enough to go trough every clips, transcript every audio in it, and automatically assign key-words to them. Yet.. that same computer can&#039;t return more than 5 clips at once. Or, maybe just simply presents the clips in chronological orders - something that all computers could do since...well there was computers.
That seems so arbitrary a limit for the sake of gameplay to me (again, stress on &quot;to me&quot;)  that the game couldn&#039;t trigger my &quot;willing suspension of disbelief&quot;

In the end - you do not investigate a mystery. That was taken care of long ago. You are fighting against a (purposely) poorly written interface.

And I know that is a bit idiotic on my part, I&#039;m probably missing much. Say the premises were something like &quot;Hey, here&#039;s a bunch of cardboard boxes filled with VHS, each VHS labelled with keyword&quot;, something that wouldn&#039;t change any of the game mechanisms or gameplay, only how they are presented to the player...I would have jumped on it.]]></description>
			<content:encoded><![CDATA[<p>I don&#8217;t think I can agree with one of your point.</p>
<p>You say<br />
&#8220;The interface, the thing that limits what you can and can’t do, is natural: it matches the limitations your character in this world also faces. And so the challenge of overcoming it feels like a game, rather than a frustration.&#8221;</p>
<p>To me &#8211; that is what threw me off of the game right from the start, and why I just couldn&#8217;t enjoy it.<br />
In context, you are using a computer that is powerful enough to go trough every clips, transcript every audio in it, and automatically assign key-words to them. Yet.. that same computer can&#8217;t return more than 5 clips at once. Or, maybe just simply presents the clips in chronological orders &#8211; something that all computers could do since&#8230;well there was computers.<br />
That seems so arbitrary a limit for the sake of gameplay to me (again, stress on &#8220;to me&#8221;)  that the game couldn&#8217;t trigger my &#8220;willing suspension of disbelief&#8221;</p>
<p>In the end &#8211; you do not investigate a mystery. That was taken care of long ago. You are fighting against a (purposely) poorly written interface.</p>
<p>And I know that is a bit idiotic on my part, I&#8217;m probably missing much. Say the premises were something like &#8220;Hey, here&#8217;s a bunch of cardboard boxes filled with VHS, each VHS labelled with keyword&#8221;, something that wouldn&#8217;t change any of the game mechanisms or gameplay, only how they are presented to the player&#8230;I would have jumped on it.</p>
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		<title>
		By: raylu		</title>
		<link>https://www.pentadact.com/2015-06-27-what-works-and-why-nonlinear-storytelling-in-her-story/#comment-600603</link>

		<dc:creator><![CDATA[raylu]]></dc:creator>
		<pubDate>Sat, 27 Jun 2015 21:14:22 +0000</pubDate>
		<guid isPermaLink="false">http://www.pentadact.com/?p=8012#comment-600603</guid>

					<description><![CDATA[I haven&#039;t played Her Story, but the appeal sounds similar to Analogue: A Hate Story (and Hate Plus).]]></description>
			<content:encoded><![CDATA[<p>I haven&#8217;t played Her Story, but the appeal sounds similar to Analogue: A Hate Story (and Hate Plus).</p>
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		<title>
		By: Pentadact		</title>
		<link>https://www.pentadact.com/2015-06-27-what-works-and-why-nonlinear-storytelling-in-her-story/#comment-600590</link>

		<dc:creator><![CDATA[Pentadact]]></dc:creator>
		<pubDate>Sat, 27 Jun 2015 17:49:10 +0000</pubDate>
		<guid isPermaLink="false">http://www.pentadact.com/?p=8012#comment-600590</guid>

					<description><![CDATA[Please also keep spoilers out of the comments!]]></description>
			<content:encoded><![CDATA[<p>Please also keep spoilers out of the comments!</p>
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