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How would you fix it?
Same thing but inject more Zeno Clash into it.
>TFW can't uppercut a moose and watch it ragdoll as it shrieks in hilarious ways
Why even live?
add e-bois obsessed with anal sex
Oh nevermind. This. Imagine e-boi joi over the radio in a prolonged lonely firewatch night interaction.
Actual conspiracy and or paranormal stuff. Actual smoking hot ranger milf willing to visit every once in awhile
The bait-and-switch stuff was bad but honestly I was expecting them to just leave everything hanging with no resolution at all. The thing that really pissed me off the most was that you never got to see the broad you were talking to the whole game.
They gave us a phone sex yet still had the balls to not show us who we were jacking off to. Bullshit.
This, give me some real backwoods conspiracy shit.
You can't "fix" a bag full of garbage. You can spray air freshener, you can hold it in a bin in the garage or outside until trash day, but ultimately you put it on the curb and let it be taken away.
The dev was a pretentious asshole that DMCA'd pewdiepie over politics, and it was half-written bait & switch to match the bad ending of Gone Homo. It's a walking simulator from the Era of shitty walking simulators. It's irredeemable trash. Go suck a park rangers dick if you like national parks so much.
>Go suck a park rangers dick if you like national parks so much.
break switch (or whatever device was infected with this bullshit) with a hammer
you might need to do the same to your router for good measure.
firewatch was the adam sandler of video games. only worse. it's a seth rogan walking simulator in search of a plot or reason to exist.
kill it with fire.
What needs fixing in it? The only complaint people can leverage against the game is that they feel betrayed that the story ends up being far more mundane than what is implied by early-game events.
I feel like they could have added some basic survival mechanics and it would've dialed the game's mood/immersiveness up to 11. I wanted to shoot that damn bear.
What I don't like about the game is not only the shitty mystery that ends on nothing, or the "romance" with the other firewatch. I just wanted to have a comfy guard job in the forest, hiking and living a more simple life. But noo, we had to have a story, drama, and "characters" that promise something that they can't ever deliver, a fucking conclusion.
There was a conclusion, you just didn't like it because an ex-lookout stayin in the woods, covering up the fact that his son died during his watch isn't as exciting to you as some sort of paranormal mystery.
Of course I didn't like it, the sense of mystery and intrigue, combined with the fear of been constantly watched was great. But for every element introduced in the story, the game really likes to do a Rian Johnson, and subvert your expectations. If you are introducing a story element and then you back down, I'm gonna call you a lazy writer and a coward. I just think is a waste of our times. But if you think the ending is good, please tell me why, I'm open to a discussion
I can't argue matters of taste, but personally, I appreciate a grounded tragedy much more than some X-Files conspiracy. It is a much more relatable, human story than what it first implied to be.
I know we can't discuss matters of taste, because that is pertinent to the subject or person itself, that's why it is "subjective", so it doesn't occur with necessity an effect (you liking the story) because the cause is not located in the object, rather it is located in the subject. That is why I did't asked if you liked the story, I asked you why would it be good. It would be a discussion about the nature or essence of a good structure for a story.
In that case, what is not sound about the story? Structurally, everything checks out. The set-up is intentionally vague to keep the player guessing what is really going on, and the reveal is a sad tale of a child losing his life and the effect that death had on his father.
There is nothing wrong from a storytelling perspective about the story.
But it wasn't vague at all, Firewatch commits the rookie mistake of the mystery solving genre. If you have a mystery, like in Sherlock Holmes, or Poe's Novels, you need to put pieces of information that actually concern the conclusion of the story. Poe did it perfectly with his "The Murders in the Rue Morgue", giving you hints of the brutish and inhumane nature of the crime, and the weird voices that could by heard in the room of the murder, gave way to a hypothesis that proved correct. I'm using the case of the Rue Morgue as an example because is very close to the twist the Firewatch developer tried to accomplish, a subversion of expectations from a mystery that seemed supernatural in nature, but it turned out to be more mundane if will.
Firewatch doesn't reach this level, because in order to have the paranoia of been deep in an "area 51" tear mystery, some elements, like the weird labs or missing persons had to happen to set the mood right. But that makes the whole argument of the mystery moot, why? Because it inserts premises that don't serve a purpose for you to reach the conclusion, the missing people "just retarded teenagers", the "weird labs" "just a prank bro". If they wanted to explore the themes of someone dealing with grief (just like the protagonist), they could have been more straight forward about it, I mean both those characters share the same wish of escapism. But the ending is an anime tear info dump, or a band aid for all the bad structural decisions the developer took through out the writing process.
If I got anything wrong, please tell me, I played Firewatch like 5 years ago.
The lab was for researching soil samples iirc.
And the misdirection was needed for the subversion. The events of the early game are a pretty basic example of red herrings that are used to set up expectations so those expectations can then be subverted by the truth of the matter.
If the game was upfront about Ned from the get go, the emotional impact of finding out what happened and why he is there would be lessened considerably.
Okay, but by upfront I mean "don't use premises that don't belong here" the case of Rue Morgue is a great example of this, you can put normal elements of a murder mystery, and then have a completely different conclusion than normal. If it can be done better, and more consistently with the tone, concepts and messages that the story tries to convey, then using this cheap tricks to deceive you and make you look the other way are lazy and disingenuous. If I put an elephant in the room and then told you that you are wrong by paying attention to the elephant when you should be looking at the ant, then the story doesn't make sense and is held by a flimsy structure.
Red herrings are a genuine literary device and have been used in prolific mystery stories across centuries. In fact, there's one in "The Study in Scarlet", the first ever story to include Sherlock Holmes.
There's nothing flimsy about it.
I know, but my argument is that Firewatch does not use them well, even if you give me a premise that exploits human psychology so you end up using a fallacy in the argumentation, or you make a misleading clue, that clue gives you information that after reading the conclusion, you can see the connection, a completely disconnected clue that isn't attached to anything pertaining the story, or that it cannot be used in any way to gather information about the killer, then is not well handled. I mean, this is very apparent by the need of the author having to make the "antagonist" of the story explain everything, instead of having the protagonist showing you how he tied everything together, that is a very bad attempt at fixing a fundamentally flawed foundation, in a good mystery story, you shouldn't have to resort to that.
>a completely disconnected clue that isn't attached to anything pertaining the story, or that it cannot be used in any way to gather information about the killer, then is not well handled
The aforementioned red herring in the first sherlock holmes story does just that. It's a message left on the scene of the crime by the perpetrator that simply reads "Rache" which is revenge in german, which plants the (false, though the reader does not know it at that point) assumption that the killer is german. This clue offers no insight into the crime other than setting up for a reveal (the killer is not german) that happens later. This is literally the only use case for red herrings, as a clue that isn't misleading isn't a red herring by definition.
But is not disconnected, is misleading, this is different in a fundamental way, in the "The Study in Scarlet", the misleading clue "rache" was written with blood, who's blood? the perpetrator, because the room did not have signs of struggle, the height that the message was written on gave the stature of the perpetrator too, and the entire room in which that message was written on had a bunch of other clues, again not disconnected at all, the blood was on the floor too, and looking at the shoe size Sherlock deduced the perpetrators body weight.
Now explain to me, how "missing (not really) teenagers" and "bio labs (soil research areas)" pertain to the case in question? The answer is that they don't, I dislike the ending, because, that man was completely disconnected from the entire mystery, you couldn't deduce anything about him, because non of the clues were connected to him, unlike in the "The Study in Scarlet", were the misleading clue, was written by the murderer in the crime scene. That is a good use of red herring, not putting a bunch of "P" and then giving me a "Q" without a "then", that is not how logic (even the fallacies) work.
I can accept a lot of things tying into the overall theme of the protagonist seeing lies and conspiracies where there are none. But the teens' disappearance not amounting to anything really grated on me.
That was the biggest raise of stakes for the whole story, thinking two kids probably got killed in the middle of nowhere and that you might be set up as the only suspect. Then later they casually reveal that they actually just went drunk driving or something during an off-hand conversation. Felt like all the tension that the story was masterfully building up kind of deflated for me all at once there.
exactly, I was really tense (specially at night), because I thought that there was a killer on the forest that knew me, and were I lived.
I didn't like it because the walking wasn't interesting, and didn't even feel like hiking. Stuff like those Press X to Climb ledges felt really clumsy. And I wanted to do more actual park ranger shit like the first incident with the swimmers and the boombox, which was more interesting than anything else in the game IMO. I wasn't bothered by the mystery or story, and I have enjoyed many walking simulators, but in this one the walking felt more like a timer between dialogue moments.
>being far more mundane than what is implied
>no, maniac is too campy
>but dude pretending to be a maniac is most mundane shit ever
You could add a game to the game. Or a compelling story/charactets to your interactive narrative.
This. It's pretty apparent early on as to what you're getting with this game.
i have autism so it wasn't "apparent" to me
An MMORPG where everyone plays as box turtles in a large forested area.
Turn it into a game where you are a jerk ruining the fun of the people around you because of the bitter life and job you have. Pretty much expanding that short segment where you have to deal with the girls radio x 20.
The game should never have given you the option to be faithful to your wife. It's like the devs didn't account for that, so if you play it that way, it comes off as ridiculous. The beginning backstory intro that lets you make choices, you can keep choosing the stick by your wife option and eventually it's just like "but yeah anyway, you left her" and if you completely ignore every attempt to make you try to romance the other ranger chick and just keep things platonic, the game still tries to guilt trip you. The antagonist's motivations also made zero sense, and if he had done absolutely nothing, never would have been found out because you didn't have the key to get into the caves anyway. Him ransacking your tower and setting you on the whole story of the game is what leads to you finding out about him to begin with. The plot was straight out of a Scooby Doo episode, except it made less sense. Absolutely dogshit game.
Had the same issue with Pentiment, you can have your character stable and willing to love his wife, the game will still railroad you into being an asshole with none of your choices having any consequences whatsoever.
Rewrite the ending.
I know that making there be an actual threat in the woods undermines the entire point they're trying to make, but I feel like the whole game is setting up a harrowing mystery of paranoia and life or death consequences, and then it turns around and laughs at you for getting excited for escapism.
I think I would have made the actual answer to the mystery dependent on your choices though. As if the protagonist's deteriorating mental state acts as a self-fulfilling prophecy. If you choose to chase after the shadow in the woods, it becomes a murder mystery. If you choose to investigate the potential government involvement, it becomes a shadowy conspiracy theory on human experimentation. If you solely obsess over Catherine, it becomes questionable if she's even real or just a voice in your head.
>If you solely obsess over Catherine
Sorry, meant Delilah
Was thinking about SOMA for some reason.
Even if you didn't rewrite the ending entirely and wanted to keep the story as is, the most important thing they'd have to change is the fact that you had no way of getting into the cave to begin with. There's no reason for the kid's father to be fucking with you and trying to scare you off so that you don't go in the cave, because you don't even have the means to go in to begin with. The father has the key himself, so why the fuck is he worried? The entire plot hinges on the player not taking half a second to consider that single fact.
I assumed the father wasn't exactly in a stable state of mind. Just irrationally paranoid
You think his is the only key to that gate? That Henry couldn't contact someone to get another key?
Even assuming that his is the only key in existence for that particular gate, you have to remember that this is a vietnam vet with severe PTSD further mindbroken by the accidental death of his son. Expecting him to be rational is irrational.
Less bogged console performance
Less annoying controls
Less hipster gayry
More content like the kino DLC
More actual park rangering
Thank god their pozzed black kween game got cancelled
Firewatch had DLC?
stumbling across a cartel weed growing operation only to be dragged into a huge firefight would of been twice as interesting as this entire game.
That would be a solid twist but “quests” like the drunk teens at the lake would suffice. Ones that weren’t central to the plot and even mundane stuff to onboard the controls and different gameplay mechanics.
Yeah they added small stuff like a camera which takes polaroids which play at the end of the game and a couple Easter eggs and such
Go full psychological horror or don't get me excited for psychological horror
I forgot what happened in this game. I just remember thinking some paranormal shit was coming and then it just ended with nothing happening.
I just read the plot summary because it's a walking simulator and holy shit that story sounds boring
>Be shit at your ONE job and toast the forest.
>Just fucking leave.
Doesn't need fixing, as far as walking sims go this is the better ones
Vanaman, fuck off, you managed to shit out most retarded story that I ever have seen.
I liked the idea behind the metaphor and the story. Didn't stop the story from disappointing though.
I think it's a game where I appreciate the idea and intent to the point where I'm not sure how I'd fix it without starting over from the beginning. But at the same time, the ending and final explanation is a kind of a party pooper that kills my desire to revisit it.
Remove the pointless narrative. Just have a map (no marker) and compass and make it a variation of Fort Braggs Long Walk.
I just played it for the first time last month. I didn't dislike it. It was just
...wallpaper. Like listening to a Hallmark Channel audiobook or something.
VR mod already fixed it
Gameplay, like puzzles or enemies
>implying there is only one flaw
Whole game is shit, every aspect of it is shit, there's nothing to redeem.
>How would you fix it?
you play a park ranger in the woods
x-files shit happens instead
the wildfire is an illuminati cover up
delilah doesn't believe you until the end of the game when she's cornered by aliens
then make a sequel
make it about the firewatch guy creepypasta instead
I would've made it an actual forest ranger game, where you go around picking up trash, fixing signs and maintaining trails, maybe some wildlife encounters. Cool forest ranger stuff.
By turning it into a 60+ hour long open world game ala ubisoft.
Those illegal camper-camps don't clear themselves!
Also, there should be dozens of firewatch-towers that you can climb to unlock generic and repetetive side-content on the map.
At least there would be places to walk, instead of those jump-cut ridden cramp bush hallways.
Also even most retarded youbeeshit story is better than absolute TRASH that is firewatch plot.
The only good thing about this game is that I found out about Cheap Talk through it.
Just remove the rest of the game, let the player "play" the 5 minute long scene with the girls at the lake and roll credits where you show nothing but the artist and song name while the music plays. This way more people will get to enjoy the music without having to sit through the tripe that the rest of the "game" is.
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