Casa Morena | © Fernando Guerra / FG+SG In the coastal enclave of Lagos, Portugal, Mário Martins Atelier has crafted Casa Morena. This residence quietly asserts itself as an ode to the dialogue between architecture and its natural setting. Completed in 2024, this project demonstrates a considered response to its environment, where the interplay of light, material, and landscape defines a sense of place rather than architectural imposition. Casa Morena Technical Information Architects1-5: Mário Martins Atelier Location: Lagos, Portugal Project Years: 2024 Photographs: © Fernando Guerra / FG+SG A simple house, one that wishes to be discreet and to be influenced by its location, to become a house that is pleasant with thoughtful landscaping. – Mário Martins Atelier Casa Morena Photographs © Fernando Guerra / FG+SG © Fernando Guerra / FG+SG © Fernando Guerra / FG+SG © Fernando Guerra / FG+SG © Fernando Guerra / FG+SG © Fernando Guerra / FG+SG © Fernando Guerra / FG+SG © Fernando Guerra / FG+SG © Fernando Guerra / FG+SG © Fernando Guerra / FG+SG A Contextual Response to Landscape and Light The design of Casa Morena finds its genesis in the site itself, a pine-scented plot overlooking the expanse of a bay. The pine trees, longstanding witnesses to the landscape’s evolution, provide the project’s visual anchor and spatial logic. In a move that both respects and celebrates these natural elements, Mário Martins Atelier structured the house’s reticulated plan to echo the presence of the trees, creating a composition that unfolds as a series of volumes harmonizing with the vertical rhythm of the trunks. The solid base of the house, built from locally sourced schist, emerges directly from the terrain. These robust walls establish a tactile continuity with the ground, their rough textures anchoring the architecture within the landscape. In contrast, the upper volumes of the house adopt a distinctly lighter expression: horizontal planes rendered in white plaster, their smooth surfaces catching and refracting the region’s luminous sun. This duality, earthbound solidity, and aerial lightness establish an architectural narrative rooted in the elemental. Casa Morena Experiential Flow Casa Morena’s spatial arrangement articulates a clear hierarchy of public and private domains. On the ground floor, the house embraces openness and transparency. An expansive entrance hall blurs the threshold inside and out, guiding inhabitants and visitors into a luminous social heart. The lounge, kitchen, and office flow seamlessly into the garden, unified by a continuous glazed façade that invites the outside in. This deliberate porosity extends to a covered terrace, an intermediary space that dissolves the boundary between shelter and exposure. The terrace, framed by the garden’s green canopy and the swimming pool’s long line, becomes a place of repose and contemplation. The pool itself demarcates the transition from a cultivated garden to the looser, more rugged landscape beyond, its linear form echoing the horizon’s expanse. Ascending to the upper floor, the architectural language shifts towards intimacy. The bedrooms, each with direct access to terraces and patios, create secluded zones that still maintain a fluid relationship with the outdoors. A discreet rooftop terrace, accessible from these private quarters, offers a hidden sanctuary where the interplay of views and light remains uninterrupted. Material Tectonics and Environmental Strategy Casa Morena’s material palette is rooted in regional specificity and tactile sensibility. Schist, extracted from the site, is not merely a structural element but a narrative thread linking the building to its geological past. Its earthy warmth and rugged surface provide a counterpoint to the luminous white of the upper volumes, an articulation of contrast that enlivens the building’s silhouette. White, the chromatic signature of the Algarve region, is employed with restraint and nuance. Its reflective qualities intensify the play of shadow and light, a dynamic that shifts with the passing of the day. In this interplay, architecture becomes an instrument for registering the ephemeral, and the environment itself becomes a participant in the spatial drama. Environmental stewardship is also woven into the project’s DNA. Discreetly integrated systems on the roof harness solar energy and manage water resources, extending the house’s commitment to a sustainable coexistence with its setting. Casa Morena Plans Basement | © Mario Martins Atelier Ground Level | © Mario Martins Atelier Upper Level | © Mario Martins Atelier Roof Plan | © Mario Martins Atelier Elevations | © Mario Martins Atelier Casa Morena Image Gallery About Mário Martins Atelier Mário Martins Atelier is an architectural studio based in Lagos and Lisbon, Portugal, led by Mário Martins. The practice is known for its context-sensitive approach, crafting contemporary projects seamlessly integrating with their surroundings while prioritizing regional materials and environmental considerations. Credits and Additional Notes Lead Architect: Mário Martins, arq. Project Team: Nuno Colaço, Sónia Fialho, Susana Jóia, Mariana Franco, Ana Graça Engineering: Nuno Grave Engenharia Landscape: HB-Hipolito Bettencourt – Arquitectura Paisagista, Lda. Building Contractor: Marques Antunes Engenharia Lda.

AlienScreenRant, Ridley Scott explained how he’s done with the franchise, and reveals his true feelings about the franchise, beyond the films that he directed.Suggested ReadingBlasphemous 2 Developer Interview Share SubtitlesOffEnglishview videoSuggested ReadingBlasphemous 2 Developer Interview Share SubtitlesOffEnglishScott laid the groundwork for what the Alien franchise became. The first film establishes its setting, the Nostromo spaceship, as a claustrophobic labyrinth that induces more terror than the Xenomorph hunting and killing its crew members, and the moment a tiny alien bursts through the chest of Kane (John Hurt) is burned into the memory of anyone who saw it. While Scott returned to direct the 2012 prequel film Prometheus and 2017's Alien Covenant, he knows his time with the Alien franchise is likely done. “Where it’s going now, I think I’ve done enough, and I just hope it goes further.”His time with the franchise may be done, but he’s still probably the most trusted authority on what does and doesn’t work in Alien films. To him, the series “deadened after 4,” referring to 1997's Alien: Resurrection film. Part of the reason he thought there was nowhere else the franchise could go after the Jean-Pierre Jeunet-directed film is because he just didn’t think the movies after his and James Cameron’s films were that good.“I think mine was pretty damn good, and I think Jim’s was good, and I have to say the rest were not very good. And I thought, ‘Fuck, that’s the end of a franchise which should be as important as bloody Star Trek or Star Wars,’ which I think is phenomenal.” He did have very nice things to say about Noah Hawley’s Alien: Earth TV series coming to FX starting August 12. As an executive producer on the show, Scott told The Hollywood Reporter that he appreciated how Hawley definitely respected the original Alien.” As he made clear, there’s much of the Alien franchise Scott doesn’t like, so him praising the upcoming series bodes well for the saga’s upcoming earthbound chapter.

Image: Austin VoigtAt PAX East, we had a chance to sit down with the lively Nico Papalia and Top Hat Studios - developer of Athenian Rhapsody, and its newly-announced prequel, Tales of Tuscany (releasing on “whatever you play games on,” including Switch, in 2026). We wanted to learn a bit more about what inspired such a mad-cap universe, and where the WarioWare / EarthBound / Pokémon-esque ideas all stemmed from. While it was a bit of a challenge to talk over the raucous laughter coming from the crowd gathered at the demo booth, we managed to get an inside glimpse at Papalia's surprising backstory and his work on both games.Subscribe to Nintendo Life on YouTube813kWatch on YouTube Here is our interview with Nico, which was just as entertaining and zany as the universe these games are based in... Nintendo Life: So, let's start from the top — what was the inspiration behind the universe of Tales of Tuscany and Athenian Rhapsody? There seem to be some Earthbound vibes in there... Nico Papalia: Honestly, I didn't even play Earthbound until AFTER I started Athenian Rhapsody - fun fact! I bit into it and was like, 'I feel like this meshes with me,' and I felt like it looked like what I was making. Definitely inspired by Pokémon on Game Boy Advance, played a lot of that. I also played a lot of Castle Crashers - The Behemoth are my friends, so I talked to them a lot, and we're actually discussing working on something together too — very slapstick-y, you know — but they're so tight about their IPs, so... we're still talking. I had big ideas - but I never knew programming, I went to school for art, I was doing traditional pencil art and stuff - I didn't know what I was doing. So it built over time, and I'm very fortunate and lucky that I was able to share this at the scale that I did, and turn it into my job. It's very personal. "Slapstick-y" is definitely the right word for these games, they're hilarious. Yeah, it doesn't take itself too seriously, so the inspiration for the world is just basically my life, my friends, and what I think is funny at the moment. I'll just throw funny things in there as I think of them - and the players seem to love it. I'm a solo dev, so I can kind of have the final say and just do whatever I want. It's fun. In the first game, I took some risks and had this 'invisible grilled cheese' in the map, like an item, and I thought nobody was going to find it - but someone found it within eight hours of launch! I crashed out on social, I bugged out. Will there be any secrets or easter eggs to find in Tales of Tuscany? There aren't too many secrets yet - I'm still developing it, and I just finished the main story, so now I have to do the 'evil' story, and I'll kind of just throw some extra stuff in there before it releases, probably around spring 2026. Tell us a little more about how the two games differ. You know, making Athenian Rhapsody was kind of slow. I started with GameMaker, and it just kind of snowballed. So I honestly didn't really know what I was doing, going into the first game. It was in 4:3 ratio, like Game Boy Advance - because I'm a big GBA guy. So at first I was like, "Yeah, this is awesome!" Then, you know, it comes to porting it and I'm like... "Oh no." So, Tales of Tuscany is in the RIGHT resolution. It's also got more control customisations, quality-of-life stuff like that. Round 2: bigger, better, stronger. I like to say, Athenian Rhapsody is like Pokémon Emerald, and Tales of Tuscany is more like Pokémon Black & White - based on the battles and stuff, with the camera movement, sprite work, stuff like that. So you're clearly a big Pokémon fan too! What are some of the different games you played growing up? I played a lot of Game Boy Advance games - Madagascar, Power Rangers Dino Thunder, Minish Cap, and things like that. My grandma would just go buy them for me. Or I played Crash Bandicoot on the PS2, and I would just stay in the starting area and mess with stuff - I never progressed in the game, and that was actually probably what I do with most of these games. I never progressed; I just did things. And I guess it all kind of just formed that inspiration for me. Image: Top Hat Studios Interesting - so are you a bit of a completionist then? Because this game — with all of the different choices and storylines — seems a bit overwhelming for a completionist, like you could never *actually* complete it entirely. You know what, when I was a teenager, I was more of a completionist; I would 100% complete Donkey Kong: Tropical Freeze and stuff like that. But a lot of times, I was just kind of a stupid guy who didn't know what I was doing. I couldn't advance through the plots, I never got Rayquaza [in Pokémon Emerald] - so I would just go and do random things. And now, I'm actually kind of the opposite of that. So making Athenian Rhapsody and Tales of Tuscany, I want a kid to be able to just go around and have fun. The games seem to be designed almost like a constant dopamine hit. Players are allowed to just be mischievous and do whatever they want. And there's probably no way you could experience every single choice available to you in the games. That's exactly it! That's kind of what me and my friends like. You kind of have to get in there a few times, and the way it worked out, some players like that, and some don't. Some people are that objective, numeric, "I'm done, check the box" thing - but with these games, the experience is always going to be different, depending on who you have in your party and the choices you make. Another thing is that, it doesn't feel 'perfect', and a lot of people like that. Did you always intend for the game to be a 'choose-your-own-adventure' style like that? Yeah, I always intended for it to be like that, but I didn't exactly know how to do it at first. I couldn't figure it out. So, Athenian Rhapsody was not programmed very well... Tales of Tuscany is programmed much better, I was able to pull it off better. But I just had to start small and build off of it, because I had big ideas - but I never knew programming, I went to school for art, I was doing traditional pencil art and stuff, I didn't know what I was doing. So it built over time, and I'm very fortunate and lucky that I was able to share this at the scale that I did, and turn it into my job. It's very personal. Subscribe to Nintendo Life on YouTube813k As someone who studied art and went to school for it, did that help with the development of the game itself - at least, the art aspect of it? That's actually a sick question - it must have! I went to SUNY Oneonta, awesome school, I had a lot of great teachers. I was all into anatomy — transformational anatomy — and it took me kind of a while to figure it out, using space and character design. So when I started Athenian Rhapsody, my pixel art was very poor - I didn't have these fully-saturated colours yet, I didn't figure that out yet. My sprites, I was doing the pillow shading... so it took me a while to get it. There's some kind of interlink, but that skill definitely wasn't immediate; I had to learn to access that part of my brain, learning the basics of pixel art. Even in Athenian Rhapsody, when you play it, you'll see there are 10 things going on in one room; that's because I didn't know what I was doing with the space! That honestly led to this feeling of extremely hyper pace, things around every corner... But it works! The absurdism is what makes it all so endearing. Part of it sounds like it was accidental, trial-and-error, but that actually became a really cool thing. Exactly! And I was just doing what I wanted to do. I got lucky that people liked it. Some people think it's a little too much, but I've also heard from a lot of players who really like it, saying they love the story. Another publication, the reviewer said he thought the story "changed vibes too much," and that's where he wrote me off for points. But I've got other people — especially younger kids, but a lot of adults, too — saying they love that about the story! And I personally think it's very needed. A lot of times in this industry, people can take themselves a little too seriously, and I appreciate that you're just doing what you wanna do. It seems like people are drawn to that. Yeah, I try and get very personal and show myself as I am. That's how I built this, doing tutorials online and building a following just being myself. I just took my phone and filmed my screen showing "Today I did this," and I was just being real. But I'm lucky, I still just get to do whatever I want. Like for Tales of Tuscany, the team thought it was a little bit of a risk, making the main character a sheep... Lambypoo - it reminds me of my dog's toy, Lambchop! Oh my god, YES! That's exactly it! I have a hundred of those laying around my house, ripped up! That's where it came from, I'm so glad you said that! So I was just like... yo, what if I had a button, where the lamb just started "baaa"-ing? And that's where the idea for the 'Baa' button came from. You know, it doesn't always have to be this "Hold X, charge your sword..." - you can just have fun with it. So the 'Baa' turned into an interaction tool - you can break plants and cars and stuff, because people just wanna do fun stuff, like the dopamine hits we talked about earlier. So I'm trying to hone in on that. Images: Top Hat Studios I'm still shocked you hadn't played the Earthbound / Mother games prior to starting your first game. It feels like such a spiritual successor to those games. Right? And when it comes to the flavour text in those games, like the options are: "Yeah", or "I'm lactose intolerant" - that's exactly how I write, too. It almost unlocked something, when I saw that. I was like, 'Okay, so this is okay what I'm doing, this irreverence.' I watched a documentary on Earthbound, and the director was saying he had a very intuitive approach - he didn't plan it all out, he just did it block-by-block, and that's exactly what I do, too. So I guess it's that same brain type, maybe? And I had friends from my school who were trying to tell me: "Yeah, you have to block the whole game out" and all of this stuff, and I was like: "Dude, but I'm changing it every day?". So there are a lot of differences between the two games and how much I planned out Tales of Tuscany, but they're the same spirit. Speaking of Earthbound, I've heard you refer to your games as "JRPGs" a few times - what does that label mean to you specifically? Honestly, I've been saying "JRPG" lately just because I think of a long-narrative-based game, and "RPG" is too broad. But I don't know... I also call it an "IRPG" sometimes — "Italian RPG" — because I'm Italian, and Italians do like long conversations. For someone who's never heard of either of your games, what's the one thing you would say to get them to take a look at this series? Out of all of the RPGs and JRPGs out there, there are a lot, and a good one that really makes it to the finish line is hard to find. This game has a lot of love in it, there's something to love in it for everybody, that's a big part of how I made the game. I loved Game Freak's early philosophy of trying to strike a balance between 'cute' and 'cool', and how everyone has a favourite pokémon. And with Athenian Rhapsody, I tried to make one follower that everyone could love. It's the game that conforms to what you like, and everyone will get something out of it. The 'rhapsodies' are like Gen 1 trading; I wanted everyone to get something out of it. In Pokémon, you can port your Pokémon across all of the consoles, and that's kind of what I was trying to do. We'll see how that works! So, the 'munchkins' are making a comeback, too, only this time, the weasels are watching you and ruining everything. This new feature seems pretty cruel, and I'm wondering what happened to you as a child that made you want to torture people? HA! So, in the first game, I had a debug option in the 'pause' menu — just a placeholder — and it was called 'munchkins', and all these stupid things. And I was like, eff it, I'm gonna make 'munchkins' a real thing. So basically, you have to wait, like, 8-10 hours to download them, and you have a 50% chance of failing... and if it works, it's just a picture of some art of mine that says like, "Congratulations" - but I didn't realize everyone was going crazy over that! So with Tales of Tuscany, I thought 'Okay, I won't have a random 50% chance of failing at the end... but there WILL be weasels... and the weasels come and slowly go across the screen, and when they tell you, you have to press an input, otherwise they'll corrupt the munchkin.' I thought, 'I can't just do the same thing again', so I changed it up a little bit. Nobody else is doing munchkins! Nobody else is doing something to the player where they're like, 'No, you do it the way I want you to do it, or else you fail, and I'm not making it easier because you're complaining.' @athenianrhapsody Revolutionary new gameplay mechanic. Wishlist Tales of Tuscany on Steam #pixelart #indiegames #undertale #deltarune #earthbound #nintendo #athenianrhapsody #pokemon #indiegame #gaming #jrpg #omori #yumenikki #fearandhunger #lisathepainful #chainedechoes #talesoftuscany #warioware ♬ original sound - Athenian Rhapsody You're just going to make the game you want to make, and purposely live outside of the box. Was there anything too crazy in Tales of Tuscany that ended up getting vetoed yet? Yeah, there are a few things my publishers tell me I have to edit... I know more how to skirt the line now, but there were a few parts that might have to change. There's this character from Athenian Rhapsody called Uncle Billiard, and he's in this one again because he's a great character - and he has this hot dog place, but they all call the hot dogs 'wieners'... and there's this one character who's like, "Oh yeah, my double wiener sandwich..." and looking back on it, I'm like, "I can't just be throwing 'wiener' around like that." Or like, I wanted to have an enemy with a plumber's crack, and a mechanic where you have to throw things in it. And I actually vetoed that for Athenian Rhapsody, because it was kind of disgusting. ...Ask forgiveness, not permission? Yep, that's my motto! Image: Top Hat Studios Do you have plans to add any more to this universe, or do you think you'll go in a totally different direction? Honestly, I think this IP was a good one, it's strong. I did specifically want to do three RPGs. Why three, because of Earthbound? Oh, I didn't even think about that! I just thought it would be a nice number. You should do three, and just never release the final one here. HA, yeah, I'll just say there's a third! You know, I did originally want to do three, but making this game, I'm nearing the end of the creative development, and I kind of want to take a break from RPGs for a bit. We're doing the mobile game, too - it's called Goobie Garden, and Thunder Goober is in it, he obviously hit something, so even if I do decide to take a break with the IP, I'll always come back to it. But I think for my next console game, I'd like to do something a little more simple, mechanic-based... maybe a battler? I'd like to do a roguelike game. Not sure yet though! This interview has been lightly edited for clarity. Thank you, Nico Papalia (@AthenianRhapso1 on X) and the team at Top Hat Studios, for taking the time to answer our questions. Tales of Tuscany will be coming to PC and consoles in 2026. Will you be playing Tales of Tuscany when it releases? Did you play Athenian Rhapsody? Let us know in the comments below. Plenty of new Switch (2) offerings See Also Share:0 2 Austin started gaming at 2 years old and has been addicted ever since. Her Zelda, Mario, Pokémon & Animal Crossing obsessions freak people out. She habitually carries a mini projector around to play her Switch in console mode in weird places. Her favorite gaming snack is pizza rolls, because greasy controllers are her bugaboo. Hold on there, you need to login to post a comment... Related Articles Nintendo Unveils Diddy Kong's Brand New Design Cap's off The First Review For Fantasy Life i: The Girl Who Steals Time Is In A fantasy score? 12 Switch Games Are Getting Free Switch 2 Upgrades, Here's What You Can Expect Nintendo's free updates arrive next month Review: Capcom Fighting Collection 2 (Switch) - A Cracking Collection Of Top-Class Arcade Fighters A Dream(cast) collection

doops. Member Jun 3, 2020 5,069 Stumbled upon this list on Backloggd, and was intrigued to hear if anyone has any other games that could be applicable or any takes on the ones already mentioned? 'Narratives that can only exist in video game media' a list of games by Paggi | Backloggd Its somewhat normalized that narrative excellence in games means mirroring books and cinema Not only thats far from the truth but some games have used the media they represent to achieve a whole new level of writing backloggd.com List is: OneShot Nier: Automata Shadow of the Colossus The Silver Case Undertale Danganronpa V3: Killing Harmony EarthBound INSIDE Spec Ops: The Line Death Stranding Alan Wake II The Stanley Parable Return of the Obra Dinn Portal Immortality Legend of Mana   Busaiku Teyvat Traveler Member Oct 25, 2017 17,821 9 Hours, 9 Persons, 9 Doors   Glasfrut Avenger Oct 27, 2017 4,824 Does the first Bioshock go here?   OP OP doops. Member Jun 3, 2020 5,069 Glasfrut said: Does the first Bioshock go here? Click to expand... Click to shrink... Ooo, yeah, that's a good pick!  Gangster Gastino Member Mar 21, 2018 2,805 Eternal Darkness   Mr Evil 37 Member Mar 7, 2022 27,539 Disco Elysium KOTOR  southwest Member Sep 15, 2022 2,718 Glasfrut said: Does the first Bioshock go here? Click to expand... Click to shrink... Why?   JakeNoseIt Catch My Drift Verified Oct 27, 2017 4,744 I think you could argue for almost any game to be on this list. The second there is gameplay, there is narrative (and then obviously that narrative couldn't exist in film or TV)   barbarash22 Member Oct 19, 2019 820 Soma   hiberner toujours Member Dec 6, 2023 1,756 13 sentinels   PallasKitten Member Jul 11, 2022 1,776 Brothers: A Tale of Two Sons The House in Fata Morgana Doki Doki Literature Club  Holundrian Member Oct 25, 2017 11,122 Probably every Daniel Mullins game   OP OP doops. Member Jun 3, 2020 5,069 JakeNoseIt said: I think you could argue for almost any game to be on this list. The second there is gameplay, there is narrative (and then obviously that narrative couldn't exist in film or TV) Click to expand... Click to shrink... Well, technically yes, but that's not as fun for discussion lol  Rustyspider13 Shinra Employee Member Nov 16, 2023 3,587 I'm not sure if the entire story counts but a moment in Brothers: A tale of Two Sons cannot be accomplished outside of video games.   blueredandgold Member Oct 25, 2017 8,626 Spoilers OK if marked? 999 on DS has you hooked until the last 10% or maybe even 5% of the game where the rug is literally pulled out from under you and you are forced to think about every action you as this external detached player character has made throughout the story seemingly while only acting out as the protaganist. Gone Home is by rights a "spooky house and you're all on your own" story at first but it transforms into a beautiful story about youth, family and discovering one's true self. Mario and Luigi Bowser's Inside Story explores what makes the big man tick. Like, literally. Killer 7 on the outside and at the outset is a bonkers third person shoot-em-up and puzzle infused cel shaded action game but t's more a visual novel that's a really interesting character study of a person's personality. Or how it might become more than just singular. RTS games by and large that try and categorise you as someone in-game never sat well with me. I quite liked being more of the invisible hand guiding the events or having the entire campaign come crashing down on me like it's that movie Downfall and I need to yell at everybody, Semi-recently. I can't not mention 1000x Resist. I even was able to stomach voice acting in a video game for once. I'm as surprised as anybody. Play these games. Thank me later.  Boopers Member Nov 1, 2020 4,303 Vermont usa Dragon's Dogma, kinda sorta.   Ashes of Dreams Fallen Guardian of Unshakable Resolve Member May 22, 2020 19,573 Didn't people like the Nier Automata anime? I haven't watched it but I heard it did a decent enough job. What about that story can only exist in a video game? I guess the final bit to an extent but if anything, I'd say the first Nier is a much better pick for that, given it's use of the NG+ mechanic. Edit: Thinking about this list further, I think it's title is doing it a disservice. It should have just been "games that use game specific elements to enhance the narrative" or "narratives made better by being in a game" or something.  Kromis Member Oct 29, 2017 8,083 SoCal Why is Shadow of the Colossus on that list? Haven't played it in almost two decades :')   ynthrepic Member Oct 25, 2017 891 Ashes of Dreams said: Didn't people like the Nier Automata anime? I haven't watched it but I heard it did a decent enough job. What about that story can only exist in a video game? Click to expand... Click to shrink... Its less the main narrative and everything else supporting it. Game mechanics given context in ways that are lost outside the medium.  blueredandgold Member Oct 25, 2017 8,626 Ashes of Dreams said: Didn't people like the Nier Automata anime? I haven't watched it but I heard it did a decent enough job. What about that story can only exist in a video game? Click to expand... Click to shrink... The answer to that is a spoiler and it's also partly due to the fact you can literally come away from it having completely different interpretations of the story, and exactly how it was resolved, compared to another person. I don't fully understand the over-arching thrust of the game's final act/ending but I also don't entirely mind that fact, either. Whereas in a standard three-act story you know what happened at least happened to the other people who experienced the same story as you.  Mr Evil 37 Member Mar 7, 2022 27,539 southwest said: "Would you kindly" would not work anywhere near as well in a linear storytelling medium where the audience isn't controlling the protagonist.   SpicySpiritGun Member May 16, 2018 350 Outer Wilds   Homura ▲ Legend ▲ Member Aug 20, 2019 6,953 As much as I love V3, I don't see why an anime would be impossible. The 1st twist can work with unreliable camera angles, and the 2nd twist doesn't really rely on being a video game at all.   Ashes of Dreams Fallen Guardian of Unshakable Resolve Member May 22, 2020 19,573 blueredandgold said: The answer to that is a spoiler and it's also partly due to the fact you can literally come away from it having completely different interpretations of the story, and exactly how it was resolved, compared to another person. I don't fully understand the over-arching thrust of the game's final act/ending but I also don't entirely mind that fact, either. Whereas in a standard three-act story you know what happened at least happened to the other people who experienced the same story as you. Click to expand... Click to shrink... I'm very familiar with Nier Automata, don't worry. It's just the anime I haven't seen. My point was the story seems to work outside the context of games, so the title of the list is a bit exaggerated.  southwest Member Sep 15, 2022 2,718 Mr Evil 37 said: "Would you kindly" would not work anywhere near as well in a linear storytelling medium where the audience isn't controlling the protagonist. Click to expand... Click to shrink... I really do not agree at all that that cannot exist outside of video games.   Badcoo Member May 9, 2018 1,846 Mass Effect.   Necromanti Member Oct 25, 2017 12,794 hyouko Member Oct 27, 2017 3,902 I've soured on Jonathan Blow, but the standard ending of Braid is pretty good for this.   kaputt Member Oct 27, 2017 1,291 Driver San Francisco It's a detective/cop story, but without the "Shift" element of the gameplay, it wouldn't be nearly as fun as it is. And I don't think it would be easily adaptable to other mediums, it works way better as a game  twister926 Member Apr 28, 2022 764 I Kromis said: Why is Shadow of the Colossus on that list? Haven't played it in almost two decades :') Click to expand... Click to shrink... At some point you may get a feeling that you are not the hero of the story, as the game suggested at the start, and start feeling really bad by progressing it.   Mr Evil 37 Member Mar 7, 2022 27,539 southwest said: I really do not agree at all that that cannot exist outside of video games. Click to expand... Click to shrink... Maybe not CANNOT exist, but I don't think it would work anywhere near as well. It's a twist that is almost entirely predicated on the audience having agency in the story.   giapel Member Oct 28, 2017 5,216 JakeNoseIt said: I think you could argue for almost any game to be on this list. The second there is gameplay, there is narrative (and then obviously that narrative couldn't exist in film or TV) Click to expand... Click to shrink... That's true but most games don't lean on the advantages of the medium and the story they tell is confined to be "cinematic". I would add Blue Prince to the list. It's storytelling is wonderfully interactive.  Lihwem Member Mar 17, 2020 857 I want to say Last of Us Part 2 but the TV show has been stellar so far so who knows   Homura ▲ Legend ▲ Member Aug 20, 2019 6,953 Blue Prince is a good example, as the roguelike element is a canon part of the narrative.   Bucca Member Oct 25, 2017 5,436 The Last Guardian   404LinkNotFound Member Oct 27, 2017 10,600 The entire Zero escape series The whole Ai the somnium files series  Odinsmana Member Mar 13, 2019 3,601 So does this jsut mean games where they tell the story during gameplay or the fact that you are playing the MC enchances the story? Otherwise I don`t really understand why something like SotC or Inside is on the list? Does something like What Remains of Edith Finch count in that case? Anyway. Here as some games with storytelling methods that only work in a game: Doki Doki Literature Club Games like The Golden Idol series and the Rootrees Are Dead. Road 96 Her Story  southwest Member Sep 15, 2022 2,718 Mr Evil 37 said: Maybe not CANNOT exist, but I don't think it would work anywhere near as well. It's a twist that is almost entirely predicated on the audience having agency in the story. Click to expand... Click to shrink... Maybe. But the thread and list is specifically asking for narratives that cannot exist outside of video games.   Nyandeyanen Member Apr 16, 2024 820 Persona, to some extent? The freeform nature of the social links and social skills is pretty video game specific. I do wish the main story would better reflect your social links and romances though.   Bulgowski Member Apr 8, 2022 666 Bloodborne, Elden Ring, Dark Souls   Frankish Member Oct 25, 2017 1,468 USA Came here to say Death Stranding but that's already on list. I'll add Inscryption.  Vic20 Member Nov 10, 2019 4,408 Bulgowski said: Bloodborne, Elden Ring, Dark Souls Click to expand... Click to shrink... Those games have no narratives Anyway I pick GTA and RDR  Mr Evil 37 Member Mar 7, 2022 27,539 southwest said: Maybe. But the thread and list is specifically asking for narratives that cannot exist outside of video games. Click to expand... Click to shrink... I think there's nuance to any conversation like this, but I personally think a game like BioShock which engages directly with the idea that it is a game and the audience is actively controlling the character (or they think they are) qualifies for this discussion. At no point when you're watching a movie do you feel that you are controlling the protagonist. I'm sure there is a way to adapt the twist to a movie but it would need to be presented very differently to the point where the core message would probably be different.