It’s too bad for me that my tendency to avoid violence in these games means a big part of my time is spent picking options in a dialogue tree rather than engaging with the deeper (if still slow-paced) combat system. I’m usually receptive to gameplay that moves more methodically, at least as long as a game hooks me in other ways. Most of the examples I have mentioned (other than Skyrim) have combat that leans more heavily into tactics than action. More recently I had just as little luck with the much lauded Divinity: Original Sin 2.Īfter trying (and failing) so many times, I think I’ve zeroed in on my problem. I briefly had a good time with Skyrim, the most streamlined of Bethesda’s open worlds, but even during such a big cultural moment for the genre, I wasn’t nearly as caught up in the magic as most of my friends. Then as a teenager I made a run at both Fallout 3 and New Vegas and couldn’t find the fun there either. My history playing games heavy on roleplaying could be described as spotty and not for a lack of trying.Īs a kid I tried and tried again with Baldur’s Gate and Icewind Dale, bouncing off every time, overwhelmed. It’s an enticing prospect, but for me it can also be nearly impenetrable.
A medium that lets the audience take on a role of active participation is inherently interesting, especially when that participation is all about making decisions that can affect the direction a story takes. Storytelling is at the root of what makes art resonate. On the surface, role-playing games seem like such obvious examples of the potential of video games as an artistic medium. By rethinking some genre staples, Griftlands found a way to finally get me invested in an RPG
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