Nobilis is a contemporary fantasy role-playing game created by Jenna K. Moran, writing under the name R. Sean Borgstrom; the player characters are "Sovereign Powers". Unlike most role-playing games, Nobilis does not use dice or other random elements to determine the outcome of characters' actions, but instead uses a point-based system for task resolution. Nobilis draws on many sources, including Christian and Norse mythologies, but adds numerous unique details to its setting. Though the everyday world in the game appears much like our own, it is only the Prosaic Earth, a lie that the world told to itself in a desperate attempt to explain suffering, a rationalized delusion which conceals the true reality that would plunge most mortals into madness: the Mythic Earth, an animistic world where everything has its own sentient spirit. In the Mythic, the earth is flat, hangs somewhere among the vast boughs of the "world-tree", Yggdrasil. Countless worlds dot the branches of this world-tree, but at the top is Heaven, inaccessible to all but the angels and is the source of all beauty.
Beneath the earth, in the roots of Yggdrasil, is Hell, the source of all corruption. Around Yggdrasil, except above heaven, is a mystical impenetrable curtain of blue flames known as the Weirding Wall; every class of objects and every concept is represented by a being of god-like power known as an Imperator. Each Imperator may govern from one to several of these Estates, has limitless control over them; the Imperators are engaged in a deadly struggle with the Excrucians, terrible beings from outside the Weirding Wall who wish to destroy reality. This war keeps Imperators busy in the Spirit World, so in order to maintain their affairs on Earth and in the other worlds they invest a shard of their soul in a human, creating a Nobilis; each Nobilis represents one of the Imperator's Estates. The Imperator Lord Entropy oversees the actions of the Nobilis and enforces the Code Fidelitatis, the five laws he has established for them, in his Locust Court; the most notable and notorious of these, the one most broken, is the Windflower Law which states that no Noble is allowed to love another being.
To protect their physical forms from the ravages of the Valde Bellum, Imperators take a part of reality and partition it off into a self-contained, unique world which can take any form. This world, called a Chancel, both is a spiritual reflection of it. Much like in the myth of the Fisher King, if the Imperator suffers, so does their Chancel. Flowers have great significance to their Imperators. For example, the gamemaster is known as the Hollyhock God because, in the world of Nobilis, hollyhocks represent vanity and ambition; this is because, according to the in-game story, the angels used flowers as a tool to control and direct the brunt of their powers when they created Reality. Each Nobilis and Imperator has a flower that represents them, flowers are used in their magical rites. Unlike most role-playing game systems, Nobilis does not use random elements in determining success in characters' actions. Instead, Nobilis uses a resource management system. Instead of the action centering on whether or not the characters succeed, the emphasis is instead on the consequences of those actions.
Since combat between Nobilis uses up Miracle Points quickly and a Nobilis can defeat great numbers of humans, social roleplaying is encouraged over combat. Though the characters may seem to have limitless power, in reality they must take into consideration both the outcome of every act and what other Powers or Imperators they may offend in the process. In the first two editions, each character has 4 attributes: Aspect, which governs their ability to perform superhuman physical and mental acts. Spirit creates a shield that protects them from the Miracles of other Powers. A character's Spirit determines how many Anchors they may have; each attribute has a number of Miracle Points associated with it. The character creation system makes Nobilis notable by giving players an unusual amount of control over the setting. In addition to creating their own characters – a process which allows for considerable customization – the players create their Imperator and Chancel. Players receive a number of points to invest in their Chancel equal to the total amount they spent on their characters' Realm.
They do not receive any points for their Imperator, so they must take a corresponding drawback for every special attribute they wish their Imperator to have. Each Nobilis has an Affiliation, a moral code they follow in order to regain Miracle Points, as well as character flaws called Limits
Video game genre
A video game genre is a classification assigned to a video game based on its gameplay interaction rather than visual or narrative differences. A video game genre is defined by a set of gameplay challenges and are classified independently of their setting or game-world content, unlike other works of fiction such as films or books. For example, a shooter game is still a shooter game, regardless of when it takes place; as with nearly all varieties of genre classification, the matter of any individual video game's specific genre is open to personal interpretation. Moreover, each individual game may belong to several genres at once; the first attempt to classify different genres of video games was made by Chris Crawford in his book The Art of Computer Game Design in 1984. In this book, Crawford focused on the player's experience and activities required for gameplay. Here, he stated that "the state of computer game design is changing quickly. We would therefore expect the taxonomy presented to become obsolete or inadequate in a short time."
Since among other genres, the platformer and 3D shooter genres, which hardly existed at the time, have gained a lot of popularity. As hardware capabilities have increased, new genres have become possible, with examples being increased memory, the move from 2D to 3D, new peripherals and location. Though genres were just interesting for game studies in the 1980s, the business of video games expanded in the 1990s and both smaller and independent publishers had little chance of surviving; because of this, games settled more into set genres that larger publishers and retailers could use for marketing. Due to "direct and active participation" of the player, video game genres differ from literary and film genres. Though one could state that Space Invaders is a science-fiction video game, such a classification "ignores the differences and similarities which are to be found in the player's experience of the game." In contrast to the visual aesthetics of games, which can vary it is argued that it is interactivity characteristics that are common to all games.
Descriptive names of genres take into account the goals of the game, the protagonist and the perspective offered to the player. For example, a first-person shooter is a game, played from a first-person perspective and involves the practice of shooting; the term "subgenre" may be used to refer to a category within a genre to further specify the genre of the game under discussion. Whereas "shooter game" is a genre name, "first-person shooter" and "third-person shooter" are common subgenres of the shooter genre. Other examples of such prefixes are real-time, turn based, side-scrolling; the target audience, underlying theme or purpose of a game are sometimes used as a genre identifier, such as with "games for girls," games for cats,"Christian game" and "Serious game" respectively. However, because these terms do not indicate anything about the gameplay of a video game, these are not considered genres. Video game genres vary in specificity, with popular video game reviews using genre names varying from "action" to "baseball."
In this practice, basic themes and more fundamental characteristics are used alongside each other. A game may combine aspects of multiple genres in such a way that it becomes hard to classify under existing genres. For example, because Grand Theft Auto III combined shooting and roleplaying in an unusual way, it was hard to classify using existing terms. Since the term Grand Theft Auto clone has been used to describe games mechanically similar to Grand Theft Auto III; the term roguelike has been developed for games that share similarities with Rogue. Elements of the role-playing genre, which focuses on storytelling and character growth, have been implemented in many different genres of video games; this is because the addition of a story and character enhancement to an action, strategy or puzzle video game does not take away from its core gameplay, but adds an incentive other than survival to the experience. According to some analysts, the count of each broad genre in the best selling physical games worldwide is broken down as follows.
The most popular genres are Shooter, Role-playing and Sports, with Platformer and Racing having both declined in the last decade. Puzzle games have declined when measured by sales, however, on mobile, where the majority of games are free-to-play, this genre remains the most popular worldwide. List of video game genres
A player character is a fictional character in a role-playing game or video game whose actions are directly controlled by a player of the game rather than the rules of the game. The characters that are not controlled by a player are called non-player characters; the actions of non-player characters are handled by the game itself in video games, or according to rules followed by a gamemaster refereeing tabletop role-playing games. The player character functions as a fictional, alternate body for the player controlling the character. Video games have one player character for each person playing the game; some games offer a group of player characters for the player to choose from, allowing the player to control one of them at a time. Where more than one player character is available, the characters may have different abilities and weaknesses to make the game play style different. A player character may sometimes be based on a real person in sports games that use the names and likenesses of real sports people.
Historical people and leaders may sometimes appear as characters too in strategy or empire building games such as in Sid Meier's Civilization series. Curiously, in the case of Civilization, a player's chosen historical character is the same throughout the course of the game despite the fact that a campaign can last several hundred years before and after the lifetime of the real historical persona; such a player character is more properly an avatar as the player character's name and image have little bearing on the game itself. Avatars are commonly seen in casino game simulations. In many video games, first-person shooters, the player character is a "blank slate" without any notable characteristics or backstory. Pac-Man, Crono and Chell are examples of such characters; these characters are silent protagonists. Some games will go further, never showing or naming the player-character at all; this is somewhat common in first-person videogames, such as in Myst, but is more done in strategy video games such as Dune 2000 and Emperor: Battle for Dune.
In such games, the only real indication that the player has a character, is from the cutscenes during which the character is being given a mission briefing or debriefing. In gaming culture, such a character was called Ageless, Gender-Neutral, Culturally Ambiguous Adventure Person, abbreviated as AFGNCAAP. Fighting games have a larger number of player characters to choose from, with some basic moves available to all or most characters and some unique moves only available to one or a few characters. Having many different characters to play as and against, all possessing different moves and abilities, is necessary to create a larger gameplay variety in such games. In role playing games such as Dungeons & Dragons or Final Fantasy, a player creates or takes on the identity of a character that may have nothing in common with the player; the character is of a certain race and class, each with strengths and weaknesses. The attributes of the characters are given as numerical values which can be increased as the gamer progresses and gains rank and experience points through accomplishing goals or fighting enemies.
A secret or unlockable character is a playable character in a video game available only after completing the game or meeting another requirement. In some video games, characters that are not secret but appear only as non-player characters like bosses or enemies become playable characters after completing certain requirements, or sometimes cheating. Alternate character Avatar Non-player character
In computing, an avatar is the graphical representation of the user or the user's alter ego or character. An icon or figure representing a particular person in a video game, Internet forum, etc, it may take either a three-dimensional form, as in games or virtual worlds, or a two-dimensional form as an icon in Internet forums and other online communities. Avatar images have been referred to as "picons" in the past, though the usage of this term is uncommon now, it can refer to a text construct found on early systems such as MUDs. The term "avatar" can refer to the personality connected with the screen name, or handle, of an Internet user; the word avatar originates in Hinduism, where it stands for the "descent" of a deity in a terrestrial form. The earliest use of the word avatar in a computer game was the 1979 PLATO role-playing game Avatar; the use of the term avatar for the on-screen representation of the user was coined in 1985 by Richard Garriott for the computer game Ultima IV: Quest of the Avatar.
In this game, Garriott desired the player's character to be his earth self manifested into the virtual world. Garriott did this because he wanted the real player to be responsible for the character's in game actions due to the ethical parables he designed into the story. Only if you were playing "yourself" Garriott felt, could you be judged based on your character's actions; because of its ethically-nuanced, story-driven approach, he took the Hindu word associated with a deity's manifestation on earth in physical form, applied it to a player manifesting in the game world. The term avatar was used in 1986 by Chip Morningstar in Lucasfilm's online role-playing game Habitat. Another early use of the term was in the paper role-playing game Shadowrun. In Norman Spinrad's novel Songs from the Stars, the term avatar is used in a description of a computer generated virtual experience. In the story, humans receive messages from an alien galactic network that wishes to share knowledge and experience with other advanced civilizations through "songs".
The humans build a "galactic receiver" that describes itself: The galactic receiver is programmed to derive species specific full sensory input data from standard galactic meaning code equations. By controlling your sensorium input along species specific parameters galactic songs astral back-project you into approximation of total involvement in artistically recreated broadcast realities... From the last page of the chapter titled "The Galactic Way" in a description of an experience, being relayed via the galactic receiver to the main characters: You stand in a throng of multifleshed being, mind avatared in all its matter, on a broad avenue winding through a city of blue trees with bright red foliage and living buildings growing from the soil in a multitude of forms; the use of avatar to mean online virtual bodies was popularised by Neal Stephenson in his cyberpunk novel Snow Crash. In Snow Crash, the term avatar was used to describe the virtual simulation of the human form in the Metaverse, a fictional virtual-reality application on the Internet.
Social status within the Metaverse was based on the quality of a user's avatar, as a detailed avatar showed that the user was a skilled hacker and programmer while the less talented would buy off-the-shelf models in the same manner a beginner would today. Stephenson wrote in the "Acknowledgments" to Snow Crash: The idea of a "virtual reality" such as the Metaverse is by now widespread in the computer-graphics community and is being used in a number of different ways; the particular vision of the Metaverse as expressed in this novel originated from idle discussion between me and Jaime Taaffe... The words avatar and Metaverse are my inventions, which I came up with when I decided that existing words were too awkward to use... after the first publication of Snow Crash, I learned that the term avatar has been in use for a number of years as part of a virtual reality system called Habitat...in addition to avatars, Habitat includes many of the basic features of the Metaverse as described in this book.
Despite the widespread use of avatars, it is unknown which Internet forums were the first to use them. Avatars on Internet forums serve the purpose of representing users and their actions, personalizing their contributions to the forum, may represent different parts of their persona, interests or social status in the forum; the traditional avatar system used on most Internet forums is a small square-shaped area close to the user's forum post, where the avatar is placed in order for other users to identify who has written the post without having to read their username. Some forums allow the user to upload an avatar image that may have been designed by the user or acquired from elsewhere. Other forums allow the user to select an avatar from a preset list or use an auto-discovery algorithm to extract one from the user's homepage; some avatars are animated. In such animated avatars, the number of images as well as the time in which they are replayed vary considerably. Other avatar systems exist, such as on Gaia Online, WeeWorld, Frenzoo or Meez, where a pixelized representation of a person or creature is used, which can be customized to the user's wishes.
There are avatar systems where a representation is created using a person's face with customi
Champions (role-playing game)
Champions is a role-playing game published by Hero Games designed to simulate and function in a four-color superhero comic book world. It was created by George MacDonald and Steve Peterson in collaboration with Rob Bell, Bruce Harlick and Ray Greer; the latest edition of the game uses the sixth edition of the Hero System, as revised by Steve Long, was written by Aaron Allston. It was released in early 2010. Champions, first published in 1981, was inspired by Superhero: 2044 and The Fantasy Trip as one of the first published role-playing games in which character generation was based on a point-buy system instead of random dice rolls. A player decides what kind of character to play, designs the character using a set number of "character points," abbreviated as "CP." The limited number of character points defines how powerful the character will be. Points can be used in many ways: to increase personal characteristics, such as strength or intelligence; this point system was praised by reviewers for the balance it gave character generation over random dice rolls.
Players are required not only to design a hero's powers, but the hero's skills and other traits. Thus, Champions characters are built with friends and weaknesses, along with powers and abilities with varying scales of character point value for each; this design approach intends to make all the facets of Champions characters balanced in relation to each other regardless of the specific abilities and character features. Characters are rewarded with more character points after each adventure, which are used to buy more abilities, or eliminate disadvantages. Players can design custom superpowers using the Champions rules system. Rather than offering a menu of specific powers, Champions powers are defined by their effects; the Champions rulebook includes rules governing many different types of generic powers which can be modified to fit the players idea. This allows players to simulate situations found in superhero stories. Like most comic book heroes and villains are knocked out of the fight but killed.
There are special rules for throwing heavy objects like aircraft carriers. See also: List of Hero System Products The Champions system was adapted to a fantasy genre under the title Fantasy Hero, with similar advantages and disadvantages to the original Champions game. In 1984, the rules for Champions began being adapted into generic role-playing game system called the Hero System, although no formal and separate generic release of this as a standalone system would occur until 1990. Champions now exists as a genre sourcebook for the Hero System. Books for other genres have appeared over the years, including Star Hero, Dark Champions, Pulp Hero, Ninja Hero. Much of the game is set in Millennium City. After its destruction by Dr. Destroyer, Detroit was rebuilt using the newest technologies and renamed. Starting in June 1986, a comic mini-series was published by Eclipse Comics based on characters from the first Champions campaign. After the initial mini-series a regular series was published by Hero Comics.
Like the Villains and Vigilantes comic mini-series, the early issues printed character sheets which allowed readers to incorporate characters used in the comic books in their own Champions campaigns. Heroic Publishing still prints comics about some of the characters in 2007, although they have long since parted ways with the makers of the game. A massively multiplayer online role-playing game based on the license was announced by Cryptic Studios, who had developed the popular City of Heroes and reinvented Marvel Universe Online to Marvel Heroes; the game was released in September 2009. The game takes place in the established Champions universe and features classic Champions heroes and villains as NPCs. Aaron Allston reviewed Champions in The Space Gamer No. 43. Allston commented that "If the subject matter interests you, I'd wholeheartedly recommend this product."Russell Grant Collins reviewed the revised edition of Champions in Space Gamer No. 65. Collins commented that "Should you buy this material?
I think so. If you hated the original Champions rules for more than their slight omissions and loopholes, don't bother; the changes aren't all that significant. If you're happy with the old version, weigh your decision carefully."Allen Varney reviewed the third edition of Champions in Space Gamer No. 73. Varney commented; the UK magazine's editor Paul Pettengale commented: "It wasn't the first superhero RPG and it never had licensed links to any big-name comics - but it's still the classic of the genre. It popularised the now-commonplace'points-design' approach to character creation, but once you've learned how to use it, no other game catches the feeling of superhero action in quite the same way."Game designer Bil
Fiction broadly refers to any narrative, derived from the imagination—in other words, not based on history or fact. It can refer, more narrowly, to narratives written only in prose, is used as a synonym for the novel. In its most narrow usage fiction refers to novels, but it may denote any "literary narrative", including novels and short stories. More broadly, fiction has come to encompass imaginative storytelling in any format, including writings, theatrical performances, films, television programs, games, so on. A work of fiction implies the inventive act of constructing an imaginary world, so its audience does not expect it to be faithful to the real world in presenting only characters who are actual people or descriptions that are factually true. Instead, the context of fiction understood as not adhering to the real world, is more open to interpretation. Characters and events within a fictional work may be set in their own context separate from the known universe: an independent fictional universe.
Fiction's traditional opposite is non-fiction, a narrative work whose creator assumes responsibility for presenting only the historical and factual truth. The distinction between fiction and non-fiction however can be unclear in some recent artistic and literary movements, such as postmodern literature. Traditionally, fiction includes novels, short stories, legends, fairy tales and narrative poetry, plays. However, fiction may encompass comic books, many animated cartoons, stop motions, manga, video games, radio programs, television programs, etc; the Internet has had a major impact on the creation and distribution of fiction, calling into question the feasibility of copyright as a means to ensure royalties are paid to copyright holders. Digital libraries such as Project Gutenberg make public domain texts more available; the combination of inexpensive home computers, the Internet and the creativity of its users has led to new forms of fiction, such as interactive computer games or computer-generated comics.
Countless forums for fan fiction can be found online, where loyal followers of specific fictional realms create and distribute derivative stories. The Internet is used for the development of blog fiction, where a story is delivered through a blog either as flash fiction or serial blog, collaborative fiction, where a story is written sequentially by different authors, or the entire text can be revised by anyone using a wiki. Types of literary fiction in prose include: Short story: A work of at least 2,000 words but under 7,500 words; the boundary between a long short story and a novella is vague. Novella: A work of at least 7,500 words but under 50,000 words. Joseph Conrad's Heart of Darkness is an example of a novella. Novel: A work of 50,000 words or more. Fiction is broken down into a variety of genres: subsets of fiction, each differentiated by a particular unifying tone or style, narrative technique, media content, or popularly defined criterion. Science fiction, for example, predicts or supposes technologies that are not realities at the time of the work's creation: Jules Verne's novel From the Earth to the Moon was published in 1865 and only in 1969 did astronaut Neil Armstrong first land on the moon.
Historical fiction places imaginary characters into real historical events. In the early historical novel Waverley, Sir Walter Scott's fictional character Edward Waverley meets a figure from history, Bonnie Prince Charlie, takes part in the Battle of Prestonpans; some works of fiction are or re-imagined based on some true story, or a reconstructed biography. When the fictional story is based on fact, there may be additions and subtractions from the true story to make it more interesting. An example is Tim O'Brien's The Things They Carried, a series of short stories about the Vietnam War. Fictional works that explicitly involve supernatural, magical, or scientifically impossible elements are classified under the genre of fantasy, including Lewis Carroll's Alice In Wonderland, J. K. Rowling's Harry Potter series, J. R. R. Tolkien's The Lord of the Rings. Creators of fantasy sometimes introduce imaginary beings such as dragons and fairies. Literary fiction is a term used in the book-trade to distinguish novels that are regarded as having literary merit, from most commercial or "genre" fiction.
Neal Stephenson has suggested that while any definition will be simplistic there is today a general cultural difference between literary and genre fiction. On the one hand literary authors nowadays are supported by patronage, with employment at a university or a similar institution, with the continuation of such positions determined not by book sales but by critical acclaim by other established literary authors and critics. On the other hand, he suggests, genre fiction writers tend to support themselves by book sales. However, in an interview, John Updike lamented that "the category of'literary fiction' has sprung up to torment people like me who just set out to write books, if anybody wanted to read them, the more the merrier.... I'm a genre writer of a sort. I write literary fiction, like spy fiction or chick lit". On The Charlie Rose Show, he argued that this term, when applied to his work limited him and his expectations of what might come of his writing, so he does not like it, he suggested that all his works are literary be
A cutscene or event scene is a sequence in a video game, not interactive, breaking up the gameplay. Such scenes could be used to show conversations between characters, set the mood, reward the player, introduce new gameplay elements, show the effects of a player's actions, create emotional connections, improve pacing or foreshadow future events. Cutscenes feature "on the fly" rendering, using the gameplay graphics to create scripted events. Cutscenes can be pre-rendered computer graphics streamed from a video file. Pre-made videos used in video games are referred to as "full motion videos" or "FMVs". Cutscenes can appear in other forms, such as a series of images or as plain text and audio; the term "cutscene" was coined by game designer Ron Gilbert to describe non-interactive plot sequences in the 1987 adventure game Maniac Mansion. Pac-Man is credited as the first game to feature cutscenes, in the form of brief comical interludes about Pac-Man and Blinky chasing each other, though Space Invaders Part II employed a similar technique in the same year.
In 1983, the laserdisc video game Bega's Battle introduced animated full-motion video cutscenes with voice acting to develop a story between the game's shooting stages, which became the standard approach to game storytelling years later. The games Karateka helped introduce the cutscene to home computers. Other early video games known to use cutscenes extensively include Portopia Renzoku Satsujin Jiken in 1983. Since cutscenes have been part of many video games in action-adventure and role-playing video games. Cutscenes became much more common with the rise of CD-ROM as the primary storage medium for video games, as its much greater storage space allowed developers to use more cinematically impressive media such as FMV and high-quality voice tracks. Live-action cutscenes have many similarities to films. For example, the cutscenes in Wing Commander IV used both constructed sets, well known actors such as Mark Hamill and Malcolm McDowell for the portrayal of characters; some movie tie-in games, such as Electronic Arts' The Lord of the Rings and Star Wars games, have extensively used film footage and other assets from the film production in their cutscenes.
Another movie tie-in, Enter the Matrix, used film footage shot concurrently with The Matrix Reloaded, directed by the film's directors, the Wachowskis. Pre-rendered cutscenes are animated and rendered by the game's developers, take advantage of the full array of techniques of CGI, cel animation or graphic novel-style panel art. Like live-action shoots, pre-rendered cutscenes are presented in full motion video. Real time cutscenes are rendered on-the-fly using the same game engine as the graphics during gameplay; this technique is known as Machinima. Real time cutscenes are of much lower detail and visual quality than pre-rendered cutscenes, but can adapt to the state of the game. For example, some games allow the player character to wear several different outfits, appear in cutscenes wearing the outfit the player has chosen, it is possible to give the player control over camera movement during real time cutscenes, as seen in Dungeon Siege, Metal Gear Solid 2: Sons of Liberty, Halo: Reach, Kane & Lynch: Dead Men.
Many games use both pre-rendered and real time cutscenes as the developer feels is appropriate for each scene. During the 1990s in particular, it was common for the techniques of live action, pre-rendering, real time rendering to be combined in a single cutscene. For example, popular games such as Myst, Wing Commander III, Phantasmagoria use film of live actors superimposed upon pre-rendered animated backgrounds for their cutscenes. Though Final Fantasy VII uses real-time cutscenes, it has several scenes in which real-time graphics are combined with pre-rendered full motion video. Though rarer than the other two possible combinations, the pairing of live action video with real time graphics is seen in games such as Killing Time. Interactive cutscenes involve the computer taking control of the player character while prompts appear onscreen, requiring the player to follow them in order to continue or succeed at the action; this gameplay mechanic called quick time events, has its origins in interactive movie laserdisc video games such as Dragon's Lair, Road Blaster, Space Ace.
Director Steven Spielberg, director Guillermo del Toro, game designer Ken Levine, all of whom are avid video gamers, criticized the use of cutscenes in games, calling them intrusive. Spielberg states that making the story flow into the gameplay is a challenge for future game developers. Hollywood writer Danny Bilson called cinematics the "last resort of game storytelling," as a person doesn't want to watch a movie when they are playing a video game. Game designer Raph Koster criticized cutscenes as being the part that has "the largest possibility for emotional engagement, for art dare we say," while being the bit that can be cut with no impact on the actual gameplay. Koster claims that because of this, many of the memorable peak emotional moments in video games are not given by the game itself at all, it is a common criticism that cutscenes belong to a different medium. Others see cutscenes. An article on Gamefront calls upon a number of successful video games that make excessive use of cutscenes for storytelling