This change in history will transform gameplay of the player, moving the vision of the camera, with muddier images, and the aiming less needs, and the slower and weakker physical attacks. All these effect will make with that the player differentiates its before gameplay exactly of the death of the partner, protecting it, and following the way ‘ ‘ correto’ ‘ of the narrative. This example of job of the ludonarrativa does not need to only limit itself to this game. In other First Person Shooter, as the game Call of Duty: Modern Warfare 2. In it, the player controls a soldier of a group of the elite of the army of the United States and, during the missions, he possesss diverse NPCs allies.
Those that is excellent for the narrative, when they die, simply they raise, and the game continues. Already those that do not possess relevance, when die, they simply die. With the job of the ludonarrativa, the death of these allies can intervene with the narrative and gameplay, in the same way that it could intervene above with the mentioned game, making with that the player has more concern with the other personages, and being more careful in its missions, not allowing that some of them dies, continuing with the narrative ‘ ‘ as it would have ser’ ‘. Click Brian Scheel for additional related pages. Consideraes Final Many scholars of the games consider that the scenes in graphical computation (CGs) must be abolished, therefore break the immersion of the player, and become the tedious game. However, instead of if worrying about the elements that supposedly break the immersion of the player, they would have to be worried in improving the relation between the narrative and gameplay, providing, thus, a more intense immersion.
After all, a CG would not break the immersion of the player, if it was integrated with gameplay, therefore, to advance in the game, and to acquire certain abilities, the player would have to perceive the alterations in history, and to change the route of the same one. Concluding, the ludonarrativa aims at to unify, as much in a practical way as in a theoretical way, the ludologia and the narratologia, making with that it has a deeper immersion of the player, binding it the narrative. However, we would like to add that the job of the ludonarrativa in the games does not bring security of that the game is amused, much less than the games that do not use it they are not good. Games exist that only apply the ludologia, or only the narratologia, as demons examples above, that they make success and they are well accepted for the public. However, the job of the ludonarrativa makes with that, to each time that the player plays the game, it is a different game, which had to the diverse choices during the same. References: 1.JUUL, Jesper, The Game, the Player, the World: Looking will be the Heart of Gameness.