<p><a href="http://www.rpgcodex.net/phpBB/profile.php?mode=viewprofile&u=14" target="_blank">Some asian dude</a> apparently still remembers <a href="http://hellmode.com/2010/06/11/fallouts-forgotten-revolution/" target="_blank">Fallout’s Forgotten Revolution.</a></p>
<blockquote>
<p>Games like the <em>The Witcher</em> and the critically acclaimed <em>Dragon Age</em> have been touted as revolutionary to the role-playing genre for their freedom and multilinear narrative experience. In some ways, they deserve the praise as they have done a lot for the genre.</p>
<p>In other ways, they don’t.</p>
<p>An encountered guard may be made to flee, be bribed to leave, or give up his life in a fight against you depending on the chosen dialogue option. One of these choices might merit disapproval from Morrigan, while another could earn you a shiny new sword. However, while the narrative vehicle differs, the end result is that the guard is removed–he is no longer an obstacle in your path and you are free to proceed to the next checkpoint of the game.</p>
<p>...</p>
<p><em>Deus Ex</em>, another game often touted as revolutionary, featured a multilinear storyline forking at the game’s finale into three separate, yet wholly unfulfilling endings. The choice felt cheapened by the fact it happened literally moments before the credits rolled. To the game’s credit, you could choose to save your brother Paul or let him die, but the option had no bearing on the ending.</p>
<p>...</p>
<p>If anything, <em>Fallout</em> is a forgotten revolution, and it’s about time that someone else picked up the torch. After so many false revolutions, the genre deserves a new champion.</p>
</blockquote>
<p>I fully expect the witty and educated elite to analyze the C&C in the games mentioned in this article down to the tiniest detail.</p>
<p> </p>
<p><em>This newsitem is a courtesy of Vault Dweller. Thanks!</em></p>
<p> </p>
<p>Spotted at: <a href="http://hellmode.com">http://hellmode.com</a></p>
<blockquote>
<p>Games like the <em>The Witcher</em> and the critically acclaimed <em>Dragon Age</em> have been touted as revolutionary to the role-playing genre for their freedom and multilinear narrative experience. In some ways, they deserve the praise as they have done a lot for the genre.</p>
<p>In other ways, they don’t.</p>
<p>An encountered guard may be made to flee, be bribed to leave, or give up his life in a fight against you depending on the chosen dialogue option. One of these choices might merit disapproval from Morrigan, while another could earn you a shiny new sword. However, while the narrative vehicle differs, the end result is that the guard is removed–he is no longer an obstacle in your path and you are free to proceed to the next checkpoint of the game.</p>
<p>...</p>
<p><em>Deus Ex</em>, another game often touted as revolutionary, featured a multilinear storyline forking at the game’s finale into three separate, yet wholly unfulfilling endings. The choice felt cheapened by the fact it happened literally moments before the credits rolled. To the game’s credit, you could choose to save your brother Paul or let him die, but the option had no bearing on the ending.</p>
<p>...</p>
<p>If anything, <em>Fallout</em> is a forgotten revolution, and it’s about time that someone else picked up the torch. After so many false revolutions, the genre deserves a new champion.</p>
</blockquote>
<p>I fully expect the witty and educated elite to analyze the C&C in the games mentioned in this article down to the tiniest detail.</p>
<p> </p>
<p><em>This newsitem is a courtesy of Vault Dweller. Thanks!</em></p>
<p> </p>
<p>Spotted at: <a href="http://hellmode.com">http://hellmode.com</a></p>