It started out good, talking about games as an interactive experience separate from movies or writing, then it starts to talk about Uncharted 2, the complete opposite of an original experience.
As I understand it, the author brings up Uncharted 2 as an example of a video game that plays like a mvoie. The author likes Uncharted 2 and I see that you don't, but the author cites Uncharted 2 as a game that doesn't give narrative control to the players while telling the story.
She starts to talk about video games letting you live out your fantasies through controlling characters. Uncharted 2 does none of that. It give you no control of the story, just control of how many people you kill. The real dream is lived out by Drake in the little movies that play between shooting segments.
Again, I think you misunderstand. The author cites Flowers as a game that puts you in total control, and Uncharted 2 as one that doesn't. Uncharted 2 tells the story like a movie, Flowers has you tell the story.
Indeed. Movies and Games are different. Thats why they're called different things..
Captain Obvious AWAY!
Hollywood isn't listening, nor are many game designers. The siren song of rupees has blinded them to the rocks of reality upon which they crash so many movies and games. Yell louder, Captain!
I'm called back to a recent feature article, The Stories We Tell Ourselves [http://www.escapistmagazine.com/articles/view/issues/issue_236/7000-The-Stories-We-Tell-Ourselves] written by Dietrich Stogner. And just like then, here we are now, getting ready to talk about video game storytelling.
Truth is, I've been thinking hard since that article. I love storytelling and I love video games, so I've been absolutely desperate to define video game storytelling.
Anyway, the way you describe Flower is quite like how Stogner defined his version of game storytelling's ideal. And once again, I find myself disagreeing. Surely there must be a way to tell a linear story that is just as compelling. There must be a way to define the story and motivations, instead of requiring the player to bring their own to the table. There must be.
Another great article on a similar subject is Gordon Freeman, Private Eye [http://www.escapistmagazine.com/articles/view/issues/issue_236/6999-Gordon-Freeman-Private-Eye]. The player is allowed to discover the story, rather than having it delivered to him.
Now, having read all three articles now linked here, I say that to define story and motivations, you just do what books have been doing for centuries, and say it. It works for RPGs. The story of Chrono Trigger could have been done as a manga, and it would have worked (not to say that the game didn't work, because CHRONO TRIGGER AW YEAH BABY!). The player still has to act it out, and the player still feels triumph as they win battles and solve mysteries, but the story would translate well to less interactive media.
Some games, however, put all the story in your hands. Craig Owens mentions Portal, and Portal could only work as a video game, because all of the triumphs would feel hollow if you had to watch them being done rather than do them yourself.