Analysis of the return of work Dinn

Five years ago, Papers, we left us with his proposal to change us into a chain in a dictatorship that is a customs agent. A game in which the pressure of the bureaucracy is even more stifling than that of the weapons of the soldiers guarding the borders. The creator, the American Lucas Pope, is working on a title where the paperwork becomes one of the leading players.

Returning to the job Dinn puts us in the shoes of an investigator from an insurance agency in the year 1807. This person needs the fate of each of the crews of the Dinn Work, who appeared near the coast four years later, find out. that the track was lost. I left with about 60 passengers, but there is not a single soul on board. Our tools to explain the truth is a notebook on the boat and a compass that allows us to move to a three-dimensional recreation of the exact moment of death, in addition to listening to the last sounds issued near the body.

In the notebook we have all sorts of notes on the Work Dinn: the route to be followed, the ship's manufacturing plan, a list of crew members (and some engravings to see their faces), a glossary from the different positions … With the information at our reach we need to join a name in the image of the engraving and then find out the end of it. For this you must choose between a list of possible ends (drown, shot, stabbed …) and, if necessary, the cause of the person to end in that particular way.

The relaxation of the compass serves to discover not only what happened to each of the crew members, but also what is the true history of the Work Dinn. Before our eyes are loosened from treachery, unfortunate accidents or strife that is accumulated over time on the open sea, but there is also something that leaves indelible images. The game's death has a certain air to infernal and unstoppable Goldberg machines.

Remember a bit of the Final Destination movies in which calm situations are presented, knowing that a character at the end of the scene will eventually change into a body. In this way, the viewer invites to become an active part, to propose all possible ways in which the situation can develop. Obra Dinn performs a similar exercise from the opposite starting point: usually we start with a de-contextualized scene in the most absolute chaos – wood-burning, dry water, smell of plvora – and we have to go back to discover how Everything started, in our opinion, throws clues that allow us to put a hypothesis behind the others.

One year ago, Mark Brown he wondered how to create the perfect tracking game by following the Mystic River movie police process. More or less the following are: collecting information, contradicting contradictions, following clues, finding links between tests, making deductions, and finally starting a charge. In the video, it is exposed to several examples of how video games are easy for information collection systems, but they have problems making connections, as it often implies the simple fact that the game asks you a question. leave answer. . If we also have to choose between a limited number of options (for example, an inventory of collected tracks), the game goes too far to consider doing investigations.

The last of Lucas Pope picks up the legacy of other titles called the English critic in the video (where the beta of this game already appears, the genius of Obra Dinn is not a matter of "a day") not) to collect mysteries where the clues do not explicitly appear. within the world of the game, but we need to internalize the visual and healthy examinations, throw away all the excess and pay attention to what is looked at at the first sight. To find out the identities, we cannot trust the few times that names are named: we need to impose the spoken languages ​​and their different accents, on the clothes and accessories that usually take part in each crew member, to his position on the boat. Even some of the basic tools that the notebook itself offers can be turned into clues, though never again in an explicit way.

You enjoy the game more with a notebook next to the place where you can accumulate unmanaged ideas, with details that can take hours to make sense, draw possible connections, and make notes to unravel everything that happens. Returning to the work Dinn wants us to take on the investigative role with all its consequences, with our fingers everything needed to solve the mystery, but never to provide more than strictly necessary, and a confidence give to the player. For example, in the notebook, the faces of the crew seem unclear if there is no data to allow us to derive their identity without a doubt, but it does not block us from guessing it; It just leaves us with a warning that it will be harder.

It reminded me of the wonderful work of Sam Barlow in her story, with all the mechanisms of the game (including the interface itself) as part of the puzzle itself. Both share the condition of a great puzzle where every possible interaction is planned and where we can't think of anything, because it can be the piece we can't solve. To discover who & # 39; s a person and their fate is & # 39; a task necessary to fully engage in the gaming world and the notebook, the compass, the crew and the ship itself. know.

This is where Pope's characterization work stands out. Initially everyone looks the same, and only a few stick out with striking features such as tattoos or hats, but over the course of minutes and hours, we can identify them from a distance based on a few features selected with a great choice. intentionality. It is normal to recognize someone and place it mentally in different scenes before they can even call it; Pope perfectly mastered the speed at which it was revealed on the ship, so there is always a mystery in front of us, but never too many people who can lead us to lose.

The work Dinn itself is a place like few others, a kind of orderly chaos where the various decks tell us what it is like to live and kill in a work of engineering at the grace of the forces of nature, in unhealthy conditions where a broken cape This can mean the end of a life. The key remains overflowing with details so you can find out what you need to see the environment; The sites that will not add to the story are immediately identified by their simple lines and without texture.

<img src="https://www.rdtest.club/wp-content/uploads/2019/04/1554424384_660_Analysis-of-the-return-of-work-Dinn" width="690" alt="3 "data-uri =" 2018 / articles / 2018-10-16-09-33 / ss_996fca2ef1e1f9cf16fd71f06c00919a61b1a2cc.1920×1080.jpg "/>

This philosophy of attention for the important and simplification of the redundant we find throughout the game is transferred to the particular 1-bit aesthetic. In spite of just two colors, it transmits exactly what we need to know and eliminates everything we face in narration. It's also true that Lucas Pope sometimes uses it to doubt his identity, but it's a resource he doesn't abuse. It usually appears when you want us to connect different scenes to each other.

Visual ambiguity is another tool that introduces the game so we make sure we have an identity clear before trying to confirm it, as the return of the work does not allow us to get the mystery with solve violence. As if it were not enough to have more than fifty possible identities, the same number of possible culprits and thirty possible sinuses, the game does not tell us if we were successful at the same moment we accused. Only when we guessed it are the identity and fate of three people in the notebook.

This is a simple idea, but it has major implications for the game. If we know that a person is a Russian sailor and we have a very limited number of people giving the profile, it's not worth trying randomly; we need to have at least two other profiles closed to move forward. As a result, the game rewards that we will be safe and that we just start guessing when we have done a previous research and the elimination process is almost solved.

I don't want to talk much about Obra Dinn's message, but it's enough to say that, as with the papers, please give the mechanics an idea that goes beyond the story itself (and again the bureaucracy and the roles have so much to see). S is true that this time is quite explicit and can be unnoticed at first glance, but I think it's powerful enough to be recorded with the same intensity.

At the end of the game I returned the beta to track the changes that the game has suffered over the past four years. As the original interface and the one who made the final game, it's clear that a great deal of effort has been made to refine this aspect. Not just in the eye (it is more visually appealing); It has very fast access to move people quickly and intuitively. For example, if during a recreation we approach someone and keep the legal click, we can see his portrait in the prints. If we also press the button to open the notebook, it shows us the page where we identified the relationship of that person with the Work Dinn ending.

What remains is a clarity that was there in 2014: the beginning is identical, many names remain, the tools remain the same. Even the application of the soundtrack to emphasize the most important moments (it only appears when we witness a death and when we activate the compass) remains the same. It is clear that Pope knew in 2014 exactly how to start and end this story; These years have served to announce a version of the game as polished as it is humanly possible.

Returning the Work Dinn should be one of the mirrors to make a video game with tracking points in the future. Lucas Pous has created a history of chaos that left nothing to chance and built a complex adventure full of nuances. Each scene and element of the interface is loaded with consciousness so that the player gets information and can solve the secrets and recreate what has happened without being held by hand. It's a game that doesn't end when we close the crew book. The echoes of what happened on Obra Dinn's cover are still in our minds when we finish the game.

window.fbAsyncInit = function () {
FB.init({
appId: ‘373195542752803’,
version: ‘v2.7’,
channelUrl: ‘/channel.html’,
status: true,
cookie: true,
xfbml: true,
oauth: true
});
};

// Load the SDK Asynchronously
(function (d) {
var js, id = ‘facebook-jssdk’, ref = d.getElementsByTagName(‘script’)[0];
if (d.getElementById(id)) {
return;
}
js = d.createElement(‘script’);
js.id = id;
js.async = true;

js.src = “http://connect.facebook.net/es_ES/all.js”;
ref.parentNode.insertBefore(js, ref);
}(document));

window.fbAsyncInit = function () {
FB.init({
appId: ‘373195542752803’,
version: ‘v2.7’,
channelUrl: ‘/channel.html’,
status: true,
cookie: true,
xfbml: true,
oauth: true
});
};

// Load the SDK Asynchronously
(function (d) {
var js, id = ‘facebook-jssdk’, ref = d.getElementsByTagName(‘script’)[0];
if (d.getElementById(id)) {
return;
}
js = d.createElement(‘script’);
js.id = id;
js.async = true;

js.src = “http://connect.facebook.net/es_ES/all.js”;
ref.parentNode.insertBefore(js, ref);
}(document));

!function (f, b, e, v, n, t, s) {
if (f.fbq)return;
n = f.fbq = function () {
n.callMethod ?
n.callMethod.apply(n, arguments) : n.queue.push(arguments)
};
if (!f._fbq)f._fbq = n;
n.push = n;
n.loaded = !0;
n.version = ‘2.0’;
n.queue = [];
t = b.createElement(e);
t.async = !0;
t.src = v;
s = b.getElementsByTagName(e)[0];
s.parentNode.insertBefore(t, s)
}(window,
document, ‘script’, ‘//connect.facebook.net/en_US/fbevents.js’);

fbq(‘init’, ‘897415313645265’);
fbq(‘track’, ‘PageView’);


This publication was thanks to EUROGAMER studied from the technology section

EUROGAMER is the largest independent video game site in Europe, with news, analysis, progress and much more

It is a good site at national and international level, visit it for more information.
WE CONTINUE THANKING ALL OF OUR FOLLOWERS AND NEW VISITORS FOR THE SUPPORT THEY GIVE US AND CONTINUE GIVING US.

WITH SINCERITY THANK YOU

DO NOT FORGET TO SUBSCRIBE TO OUR NEWSLESTER TO OBTAIN THE LAST NEWS.

ORIGINAL SOURCE LINK EUROGAMER

Leave a Reply