Gamertell

Text in videogames is a tricky thing. It can either help enrich the experience or slow the game to an agonizing pace. Sure, back in the days of Zork, a text-based adventure was actually a genre, but now it’s often an overlooked element of a larger game.

A screen from Zork, the text adventure that help propel a text adventure genre. No, really. It was fun.

I’m not talking about MUDs here - I’m talking about the more standard graphic-based games that rely on conversations to progress the game. Forget the talking heads where you button mash to get to the next bit of action. I’m talking about games where text plays a crucial role in the action.

In reviewing Mass Effect for an upcoming CiN Weely column, I realized that there is a rather unexplainable difference between the way American games treat text-based interactions versus most Japanese games. Well, at least the DS and PC dating sim (aka bishoujo) games I’ve played.

In the games Mass Effect as well as Knight of the Old Republic, text-based conversations involve a discussion tree, with several options to choose from. You choices (are supposed to) affect the progress of the game. Even if they don’t really matter, they at least feel like they do, which gives the gamer a sense of intimate participation in the game.

A scene from Sagara Family where decisions can either make the ladies your friends or naughty, naughty lovers.

Japanese dating sim games such as X-Change 2 and Sagara Family follow pretty much the same format. Sure the, games are a bit more naughty, but the choose-your-conversation-path is essentially the same. Pick the right answer and you get to see some ta-tas. Wrong answer, and you’re slapped across the face and often left rather unsatisfied. (Of course for many dating sim games, you can also skip the chat and get right to the naught parts, but that’s not the point here).

Several screens from Touch Detective 2 1/2.

As for many DS games, including Touch Detective 2 1/2 (by Japanese game makers Atlus), the conversations feel rather limited due to the highly linear story and the apparent lack of control you have over any of the situations. All of your choices either forward the linear story or don’t, so you need to repeat stuff until it does.

Granted, all he games only offer a few choices which is naturally limiting. The difference is a matter of scope and the apparent consequence on the game.

The fun then comes from a sense of open-endedness, where you feel like your decisions actually result in in-game changes. In many cases, it doesn’t make a huge difference other than an extra ability or two and a few different cut scenes. It’s the scope of the sense of control that matters.

In dating sim games, you pretty much either get lucky or you don’t. Only two possible “endings” doesn’t seem to grab American gamers quite the way as the ambiguity of results in Mass Effect and KOTOR. Even if there is a Light and Dark side to the Force, there are still several shapes of brightness and shadow in between that better reflect a more real-ish virtual existence.

So text is not really a bad thing, it just needs to be handled in the right way. Certainly there are people who enjoy dating sims and similar style games. Heck, it seems most of Japan does. My point is that more Americans seem to prefer - and enjoy - a greater sense of interaction and control even if it is a fantasy.

Of course, mix the dating sim sexuality with Mass Effect-quality graphics, in-depth conversation trees and real-time action, and you’d have a deadly combo 9or a game banned ‘round the world).

Read [GameCritics] Also Read [GameSpot]