Elizabeth – Amnesia
I know that amnesia is one of the most overused gaming clichés. And in 90% of cases, it is terribly stupidly used. But if it works out, it’s a complete hit. Whether we are talking about Knights of the Old Republic, Bioshock Infinite or Silent Hill 2. When memory loss is not just a simple mechanism to explain to a player a world he does not know (such as the Sorcerer), pay for dead spots in the story that cannot be explained otherwise (remake of Thief ) or create a character to your liking (unspoken amnesia from classic RPGs like The Elder Scrolls or Dragon Age).
Amnesia works great because you are on the same level with the main character. The discovery that Booker DeWitt is in fact Elizabeth’s father (sorry for the spoiler) is shocking for both the player and Booker himself. Once you are tuned to the same wave with the main protagonist, the creators have reached the highest goal of immersion. In fact, I love amnesia in movies and books – again, if it’s well done. That’s why I’m still waiting in vain for some AAA processing by the Nine Princes of Amber. Don’t tell me it wouldn’t be divine!
Aleš – Seven Brave
You know, you’ve played it (and seen it) a hundred times. The main character, ie you, has to complete the Task, but you need to put together a group of people (elves, Turians, thinking spaghetti monsters) who will help him to this end by combining their abilities. Just like when Chris starts looking for gunslingers to stand up to Calver and his superiority of Desperadoes (or Kambei samurai, if you’re traditionalists). This teaming, the team, let’s call it what we want, will probably never stop entertaining me.
The reason is that in a well-done game, a similar style is a great help to develop the personality of individual NPCs and, above all, increases the number of those NPCs. Instead of one or two companions, you have ten, for example, and it is up to you who will break through among your favorites and who will remain as an eternal aquarist on the bench for alternating adventurers.
Of course, if the game can’t work with the story of these characters, they become just nameless figures, which you have in your head marked as “machine gunner… DDčko… unthinking spaghetti monster). But it is an element that is not so difficult to handle well, it is enough to sketch the individual characters appropriately and I personally am already thinking about how to put my team together. Of course with the vision that not everyone has to live to see the end…
Sarka – Playing as a villain without knowing that he is a villain all the time
I enjoy storytelling games, which are all sorts of clichés crawling through and through. Video games in this have the disadvantage that there is always at least one book, movie or play that tried to tell the same thing, but it was not interactive. But the story tropics have not changed so much in the long run, just new and new ones are piling up. Coming up with something never seen before and original is always harder and in a way quite risky.
While I would easily do without another story about a hero who must save the whole world, but at the same time he is willing to bring a neighbor next door ten herbs from the garden, where she could easily go alone, playing as a “villain” with seemingly good intentions and a final big revelation. I just won’t stop having fun. Just because it often forces me to go through the game one more time so that I can have fun with all the subtle but also very ostentatious hints that my brain has previously chosen to ignore. “No, they wouldn’t do that… AGAIN ?!”
It started for me with the first Knights of the Old Republic and Shadow of the Colossus, it continued through BioShock: Infinite, Undertale, Heavy Rain, Spec Ops: The Line and many other examples that removed this stereotype from their list of proven twists. Some okay, others prefer to suggest, because even in the real world, no one is openly just good or bad. Rather just… otherwise motivated. The sequel to The Last of Us has finally started to play with this tropics a little more unconventionally, so I remain cautiously optimistic about the evolution of game stories. Even with a cliché played a hundred times over, you can play a big theater in the right scenery.
Patrik – We start from scratch
It may be one of the most used clichés ever, and it either suits you or annoys you, or you may have never thought about it for granted. Whether it’s The Elder Scrolls, which will make you the most needy prisoner at the outset, or every second racing game that puts you in the factory Ford Fiesta before you get behind the wheel of a Le Mans special, we have to develop the character. / vehicle / animal / object pass from the peak.
It doesn’t pay 100%. For example, with such a Sorcerer and Spider-Man, from the very beginning, you feel like scouts who have already experienced a lot, even though these games do not lack gradual development. But there are many more games in my memory where I went from a wooden sword to a rusty one, from killing flowers and beetles to the first wolves. It is repeated incredibly often, when it could and perhaps even start to bother that one is constantly learning something from the beginning.
But it has something in it. When one looks back at one’s pilgrimage and realizes how completely useless he was at the beginning and what he did at the end of his story… The development from scratch to the master is simply satisfactory. Someone no one knew becomes someone they sing about. It’s an unbelievable cliché, but it will probably never stop working.
Spider-Man was a very pleasant refreshment for me, when it made me a very experienced protector of New York, but I would not want to completely lose games in which I go through a complete evolution of myself and I am the one who deserves my own glory. and not a story that took place in the script before I arrived. Sometimes it’s just best to write your own destiny on a completely clean shield.
Adam – exploding barrels
They don’t have to be barrels. All it takes is any other exploding, obviously trapped thing that I can use to my advantage. Barrels, a box with dynamite or other explosives, a box with gunpowder, a car with a full tank, a hive full of hornets or whatever.
Exploding barrels are without a doubt one of the biggest game clichés and they keep repeating themselves everywhere, but there is a reason for that. They can pleasantly refresh the gameplay, but only in cases where the developers sugar their level with moderation and reason. Overuse of barrels, or any other similarly functioning thing, is as stupid and undesirable as, for example, a dumb protagonist.
I welcome appropriately used barrels and thanks to them I think differently about the whole event. I decide how and where to approach it, whether I will remove the barrel immediately or after a while, if I will somehow attract enemies to it …
In addition, barrels are often cleverly disguised and do not even have to act like a fist to the eye. Which I admit is that sometimes happens and the gameplay spoils as a result. But if it is done well, decently and tastefully, the gameplay will improve and I am happy for such barrels.