And that’s a wrap for Comic Con 2024! Ha, it was a lot of fun, but I really enjoyed dressing up as Mondo today! I even had a couple people recognize him! And a few others just liked the hair, one of whom asked how long it took me to get my hair like that, which tells me that at least it looks natural enough for people to mistake it as my actual hair, ha.
Overall, Comic Con was cool! On Thursday, I attended a live podcast recording for Braving the Elements, which is an Avatar the Last Airbender podcast hosted by Janet Varney and Dante Bosco (the voices of Korra and Zuko, respectively), and I actually got a trivia question right and I should (hopefully…) get an email from them soon to get a prize for answering the question right. If not… oh well. At least I’ll be featured briefly on the podcast answering trivia correctly, even though I usually suck at trivia, ha.
The rest of the days were a bit more meh, but I still had fun. I won a Pokeball ornament from a Hallmark panel, since I knew how many Squirtles were in the Squirtle Squad, aha. Which leaves my trivia score 2 for 2 at the moment.😅 I also got a free shirt and scarf for the upcoming Yakuza live action show, which was neat. I’ve never played Yakuza, but my brother has, so I was able to give him the shirt at least.
Still, while Comic Con was fun, I’m definitely glad it’s over so I can go home and clean up from my frantic cosplay creating the last several weeks, oof.
Also! On the first day I dressed at Taka, but since I was by myself I only have the one photo my dad was able to quickly take of me before he had to drive off and a quick selfie I took in the car.
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I’d like to (finally) talk about this interview with Mark Thompson, Narrative Director on Far Cry 4:
I love it when devs talk about their work because it’s always super interesting and informative! This video is no exception.
But what struck me most when I first saw the interview is what he says about Far Cry 3, a title he also worked on as a Level Design Director, which I believe means he was not (or barely) involved in the writing of the script. When he mentions what he thinks the issues with the game were and what had to be “fixed” in Far Cry 4, the thing is that... he often contradicts what Jeffrey Yohalem, Lead Writer on Far Cry 3, explained in various articles.
Under the cut, I highlighted some parts of Mark Thompson’s interview (in red) and compared them to Jeffrey Yohalem’s words (in blue, with the sources) so you can see how different their points of view are.
In this case, when it comes to the story and meaning of Far Cry 3, I’m inclined to give more credence to the Lead Writer’s explanations, but I think this example perfectly illustrates how even people who worked on the same project can have very different (and sometimes equally valid) opinions, understandings, and feelings about it, and why it can therefore be difficult for the audience to determine what the “truth” or the “right” interpretation is…
Open world vs story
MT: We ended up shipping a game where the open world had a lot of cool stuff, but it didn’t have a lot of depth or meaning, and it had almost no connection to what was happening in the story. And in fact, in some ways, the two were kind of opposed and they were kind of conflicting each other. So, on one hand, the story itself had this ticking time bomb of “I have these friends that I need to rescue, but holy sh*t, collecting plants, finding that next animal I need for the next upgrade, getting that next skill point… Oh, look, there’s a radio tower! Wait, wasn’t I heading to that outpost?” And then you’re like, “Oh yeah, sh*t, my friend Keith’s trapped in the basement, I should probably go rescue him… I’m a terrible friend.” That was my main goal: fix this sh*t and make sure that the story and the open world speak to each other, complement each other; strip everything down so that the story and the open world are the same thing and it’s the same game.
JY: People who have looked at the surface of the game think that the story and the game are at war with each other as they are in most games, with the story just plugging potholes and the gameplay is going along its merry way. I think it’s very exaggerated that, “Oh, go save the friends! Go save the friends!” but most people are out on the island doing all this other crazy stuff and experiencing the gameplay. And that’s actually the point of the story. It’s not a game about go save your friends. It’s a game about – doing a lot of picking skins from things, and wait, it’s just a pile of meat – this doesn’t even make sense, yet I’m still doing it instead of saving the friends. (Rock Paper Shotgun - Dec. 19, 2012)
The “white savior” trope
MT: We were definitely aware of some of the tropes that we fell into - unintentionally in some cases, intentionally in some - and (…) almost the first thing that we did was decide how we were gonna address the white savior trope, the outsider who comes in and helps simple people with his outsider’s kind of more advanced understanding of the world. (...) The first thing we said was, “This guy is from Kyrat, no matter what happens. That is the most important thing; he is part of this world, he belongs here.”
JY: “It’s a first-person game, and Jason is a 25-year old white guy from Los Angeles. From Hollywood. So his view of what’s going on on this island is his own view, and you happen to be looking through his eyes, so you’re seeing his view,” Yohalem explained. “It’s set on an island in the South Pacific, so immediately the thing that comes to mind is the white colonial trope, the Avatar trope. I started with that, and it’s like, ‘Here’s what pop culture thinks about traveling to a new place,’ and the funny thing is, that’s an exaggeration of most games, they just don’t expose it. (The Penny Arcade Report - Dec. 17, 2012)
JY: There’s a reason why Jason is a 25 year old white guy from Hollywood – these are all ideas that are in his head. You’re seeing things through his eyes. (...) It’s not that [Citra] needed a white saviour at all. She didn’t need a white guy at all. She was just looking for the ultimate warrior and someone to be her gun. (...) If this was about the white messiah motif, would I be so stupid as to have a main character’s nickname be Snow White? I’m making fun of that! (Rock Paper Shotgun - Dec. 19, 2012)
The player and the protagonist
MT: When we were doing the script review, almost immediately, the first thing we would do would be, “Okay, so how many lines does Ajay have? Okay, cut that by 75%”, and then we would review it and then cut out even more. Whenever possible, we would set up a scenario where we know or we think we know how players would react, and so we would remove the line that the character would actually say and then have the other person react to it. “Oh, you think that, do you?” - in that kind of way, so they’re like, “Oh f*ck, how did he know I was gonna say that?” Whereas, if the protagonist said that line, they’re like, “Oof, I wouldn’t have said that”, and then suddenly you’re kind of broken out of the experience. (…) When you’re in first-person, all you hear is this disconnected voice that might not be agreeing with what you’re doing. So, again, it’s just about stripping away those barriers of immersion so you can imagine yourself in this scenario.
JY: In Far Cry 3, Jason is a character and he’s not the player. The player is another character in the game. Sometimes Jason disagrees with the player, and sometimes Jason agrees with him. And the magic of that is that then it doesn’t matter! Basically, as long as the whole narrative is directed towards what the player is feeling—which for me is how videogames should be—then I get to target Jason as a resource where players can go: “I disagree with Jason.” And the player gets to convince Jason to do something else. So instead of trying to force the two of them together, I’ve decoupled them. (Killscreen - Dec. 12, 2012)
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