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还有，小说篇幅的长短取决于你的主题，《战争与和平》是没法写成短篇的

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原帖由 @88ace88  于 2019-11-7 03:46 PM 发表
现在的大多数类型的大型游戏，始终也不是讲故事的最好载体，节奏就是个很大的障碍，话痨其实也是缓解这个节奏问题的手段之一，只不过同时也带来了别的问题。

这个游戏的问题是，你要真是对话一点都不看，那这个游戏就更“不好玩”了.……

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原帖由 @88ace88  于 2019-11-7 03:53 PM 发表
你是怎么从我的话联系到到什么“对话一点都不看”去的？

我的意思是，这个游戏即使对话存在不如人意的地方，但有比没有强，如果没有这些对话或者略去不看，游戏就更无聊了，说的是一般情况，不是指你个人

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原帖由 @yfl2  于 2019-11-7 03:58 PM 发表
既然不认为是正确方向，就不存在所谓游戏时间长表现手法应该更接近小说而不是电影的判断

这游戏尝试的方向偏重叙事还有音画体验而非gameplay，那么在叙事上借鉴小说，在音画上借鉴电影是无可厚非的。而且从这游戏中文字看来，文字起到的并不是不好的作用；觉得不喜欢话唠的，略去不看就是了，如果不看对话还能获得其他乐趣支持继续玩下去那也不错。

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原帖由 @lhj1881  于 2019-11-7 05:43 PM 发表
你跟GTA四比，大段的开车任务和“废话”，爱尔兰人意大利人东欧来的，随便一个小喽喽都是生动鲜明，有意思到甚至我把车停路边等他对白都说光了再去进行任务，镖客二最大的问题就是整个剧本质量实在太差，说句难听的里面的对白水平是儿童文学级别的，直接拖累到游戏的沉浸感，

你读过多少题材是19世纪末和20世纪初的文学作品？GTA4是当下题材，他们的聊天内容可做的文章和你的认可度肯定要多和高不是吗

本帖最后由 grammyliu 于 2019-11-7 17:48 通过手机版编辑

纽约时报，怎么就“儿童文学”了呢？

Opinion

Red Dead Redemption 2 Is True Art

The season’s best blockbuster isn’t a TV show or movie. It’s a video game.

By Peter Suderman

Mr. Suderman is the managing editor at Reason.com.

Nov. 23, 2018

Red Dead Redemption 2 offers digital vistas reminiscent of classic American Westerns.Credit...Rockstar Games

After its October release, Red Dead Redemption 2 earned $725 million in just three days, giving it the highest-grossing opening weekend of any entertainment product — ever. If you’re wondering why you haven’t seen this at this box office, it’s because it’s not a movie. It’s a video game.

To put those numbers in context, this year’s biggest Marvel film, “Avengers: Infinity War,” grossed about $640 million worldwide in its opening weekend.

In popular entertainment, nothing is bigger than video games, and the holiday shopping season is when many of the year’s most anticipated releases hit stores.

Yet video games remain something of a second-class cultural medium, even as geek culture has otherwise ascended into the mainstream. Today’s elite tastemakers might be perfectly comfortable discussing the inner workings of the banking system in Westeros, but gaming is still stigmatized, at best as a guilty pleasure, and at worst as a psychologically destructive hobby for socially stunted young men. So the perception is that video games don’t really matter, because they have nothing — or at least nothing important — to say.

This is understandable, but wrong. Yes, many video games are violent and frivolous, and the most devoted players still tend to be young and male. But the best games reveal a mass cultural medium that has come fully into its own, artistically flourishing in ways that resemble the movie industry during its 20th-century peak and television over the past 20 years. From “The Searchers” to “The Godfather,” from “The Sopranos” to “The Americans,” what connects these eras, and their most outstanding works, is a shared ambition, a desire to be both grand and granular, telling individual stories against the backdrop of national and cultural identity, deconstructing their genres while advancing the form.

If ever a video game has risen to the level of those classics, it’s Red Dead Redemption 2. With an enormous production budget, seven years of development and a script running about 2,000 pages just for the main story, it might well be the most ambitious game ever made.

Like the classic westerns and gangster stories it draws from, it can be crude and violent. But it is also richly cinematic and even literary, serving up breathtaking digital vistas reminiscent of John Ford films along with a mix of deftly scripted stories about outlaws, immigrants, hustlers, con artists, lawmen and entrepreneurs, all trying to eke out an existence on the edges of civilization. It’s a game about power, violence, frontier justice and murky moral choices — a new American epic for the digital age.

As a technical achievement, it has no peers. Red Dead Redemption 2 teems with life. Towns have daily rhythms, tied to time and weather, that seem to go on without you. Wildlife roams the countryside, growing skittish if you move too close. Many video games allow players to interact with other characters only by attacking them; here, every character, even the least important digital extra, can be spoken to, and often conversed with at length.

Violence is anything but mindless. You play as the outlaw Arthur Morgan, a member of the Van der Linde gang, whose goal is to help restore the gang to glory after a significant defeat. There are plenty of shootouts, chases and heists. But you can usually choose to avoid them — and when you don’t, they almost always come with a cost: Sheriffs and bounty hunters chase you down, important game options disappear, whole towns become hostile territory, horses you’ve bonded with (making them faster or more responsive) die. Instead of indulging no-regrets fantasy violence, it is a literary experience that emphasizes — and simulates — tragedy and personal consequences.

There is a big narrative difference between games and novels and movies: Instead of consuming a story, in a game you become part of it, choosing how it will unfold — even, in some cases, changing how it ends.

Most choices, however, are smaller in scale, focused on the mechanics of interacting with the world. In both Red Dead Redemption 2 and Fallout 76 — an ambitious open-world game set in a post-apocalyptic West Virginia released this month — the emphasis is on staying alive: While playing, you must manage virtual campsites, and eat or drink to avoid in-game penalties. These activities can feel like chores, but they also nudge players into a more contemplative style of play, forcing them to slow down and explore their surroundings, scrounging for supplies instead of running toward the next objective. These games are existential journeys built on the rhythms of survival.

Fallout 76 is similarly obsessed with Americana — but with its end rather than its formation. You emerge from a fallout shelter and are given the task of following in the footsteps of its former Overseer. Along the way, you encounter the ruins of the nation after a nuclear holocaust, often in the form of written or recorded letters and diaries. Enter a dilapidated capitol and you might discover a series of notes about a legislative initiative. It’s a game set in a world in which West Virginia is an echo lost to war, an interactive history lesson for you to explore.

Because they take so long to play — 60 hours is typical, and 100 or more is not unheard-of — games can make for unhealthy attachments. Yet these games can also provide a way of confronting reality or, at the very least, an artificially rendered simulacrum of it that is heightened, shaped and structured by an authorial presence. The best of these works create an empathetic connection between viewer and character. In Red Dead Redemption 2, the fact that the player controls much of the action enhances the connection; you feel for Arthur Morgan, a bad man with a good heart, because his choices are, in fact, your own.

Gaming’s cultural reputation is born partly from the sense that playing is a way of avoiding responsibility, of escaping into virtual worlds where nothing matters. But Red Dead Redemption 2 is a game about both making choices and living with them, about taking responsibility for how you’ve lived.

It’s a game, in other words, that implicitly tells its players to grow up — and it’s as sure a sign as any that video games are starting to do just that.



Follow The New York Times Opinion section on Facebook, Twitter (@NYTopinion) and Instagram.

A version of this article appears in print on Nov. 25, 2018, Section SR, Page 8 of the New York edition with the headline: Much More Than a Silly Game. Order Reprints | Today’s Paper | Subscribe

[ 本帖最后由 grammyliu 于 2019-11-7 18:00 编辑 ]