![]() ![]() On the other hand, it is also born from a subversion of the long and unified narrative design of the JRPGs, seeking, in contrast, to tell several stories instead of one as an anthology of short stories instead of a romance". On the one hand, it is born from a questioning in relation to game genres, but not in the sense of alternating or merging them, as Yoko Taro does, but in the sense of translate them into TRPG terms. "Live A Live brings a double proposal of game design. ![]() Takashi Tokita, director of Live A Live (1994) and supervisor of the 2022 remake. Fortunately, as I have already written an review of this game (Portuguese), I have also presented its general proposal. Only then will we be able to see how the choices coincide with the proposal. Thus, we need to start by clarifying the proposal of Live A Live in general, and the Prehistory phase in particular. whether the design choices within this set do not provide contradictory experiences with each other.if the design choices are in line with the proposal of what the game wants to communicate.Basically, we can assume that a set of game design choices is coherent when it satisfies two requirements: Here I will limit myself to a less rigorous definition of this term. If you want to delve into the more general concept of “coherence” in game design, I recommend checking out my article The Difference Between Cohesion and Coherence in Video Games (2022). Clint Hocking, creator of the term "ludonarrative dissonance", at Game Design Expo 2009 in Vancouver, Canada. An example of narrative dissonance is, for instance, a game where the protagonist is extremely violent while, at the same time, their story frames them as someone who is both altruistic and peaceful. The term “ludonarrative consonance” is a concept that emerged as an inversion of the term “ludonarrative dissonance”, coined by Clint Hocking ( click nothing, 2007) in an review about Bioshock (2007), by Ken Levine. This means that we say that a game has narrative consonance when the design choices for gameplay with playable characters are coherent with what the narrative tells about them. This entire article is nothing more than a very nice case study of what is called ludonarrative consonance, which is a kind of coherence between two levels of game design: gameplay and narrative. The concept of "ludonarrative consonance" and the proposal of Live A Live Thus, the execution of this phase of Live A Live is an excellent example for understanding coherence in game design, and that is what I will show in the next topics. This choice is directly related to the concept of prehistory, the theme of the plot, and the gameplay. Live A Live has eight subplots, each in a different time and space, and the one from Prehistory takes place in a cavernous environment with little vegetation, where a community of humans coexists without the use of spoken language. One of the most interesting cases that resulted from this style of proposal is that of Prehistory. In addition, it is a compilation of short stories, each with a gameplay suited to its narrative proposal. The plot has no unity, except at the end, thanks to a miraculous artifice. Source: Nintendo Blast.īuilding on a game of the same name released in 1994 and originally written and directed by Takashi Tokita, Team Asano’s remake of Live A Live has an experimental and subversive narrative design in relation to the long tradition of JRPGs. Official illustration of Live A Live (2022). ![]()
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