Grim Fandango's Narrative Design

Summary

The video script delves into the narrative and design brilliance of 'Grim Fandango,' highlighting its unique four-year structure and how it immerses players in a rich, evolving story. The script praises the game's art and design but emphasizes the equal importance of its narrative depth, which cleverly avoids exposition while establishing character history and relationships. The analysis particularly focuses on the second year in Rubacava, exploring how the game's open-ended narrative design allows for varied player experiences and multiple interpretations of character dynamics, setting it apart from traditional linear storytelling.

Takeaways

• 🎨 Grim Fandango is praised for its ambitious art and pre-rendered 3D graphics, but its narrative and writing are equally impressive and well-integrated with the game design.
• 📜 The game features a unique four-year structure where each day represents a year, creating a sense of being in the middle of an ongoing story with rich character histories.
• 📖 The narrative is detailed and realistic without being overly expositional, allowing players to uncover the story through various interactions without feeling spoon-fed.
• 🏆 The second year in Rubacava is particularly highlighted for its narrative depth and complexity, which is why it receives a detailed analysis in the script.
• 🚢 In Rubacava, Manny Calavera, the protagonist, must overcome three main puzzles to board a ship, and these puzzles structure the player's time in the city.
• 🔍 The game's open-ended design allows for exploration and interaction in various orders, creating a multitude of ways to uncover the story and understand the characters.
• 🧩 The narrative is constructed like a complex theorem, with each character providing pieces of information that can be combined in different orders to form a comprehensive understanding of the story.
• 🗺️ The city of Rubacava is rich with characters, each with unique perspectives and information, contributing to the game's narrative depth and player agency.
• 🔄 The order in which players interact with characters can significantly affect their perception of the story and characters, adding a layer of subjectivity to the narrative experience.
• 🎭 The script discusses the differences between video games and more linear forms of entertainment, highlighting how player choice in games like Grim Fandango can lead to varied narrative experiences.
• 🔁 Replay value in Grim Fandango comes from the ability to experience the story differently each time, with the order of interactions altering the player's memory and impression of the game world.

Q & A

What is the main focus of the video script about Grim Fandango?

The video script focuses on the narrative and game design of Grim Fandango, particularly how its unique four-year structure and the order in which players interact with characters and uncover the story affects their experience and perception of the game.

What is the significance of the pre-rendered 3D graphics in Grim Fandango?

The pre-rendered 3D graphics are significant because they are considered amazing and often get the most attention, but the script argues that they should not overshadow the equally impressive narrative and writing of the game.

How does the game's writing accommodate the game's unique structure?

The game's writing is detailed and realistic, creating a sense of history between characters without being overly expositional, and it successfully gives the player the feeling of being in the middle of an ongoing story.

What is the significance of the second year of the game in Rubacava?

The second year in Rubacava is significant because it is the most praised and talked about section of the game, showcasing the marriage of narrative and game design through its complex puzzles and open-ended exploration.

How does the game handle the player's freedom to explore Rubacava in any order?

The game handles this by having a wide variety of characters with unique perspectives and information, allowing for many different combinations of story discovery, and ensuring the narrative can accommodate various player choices without relying too heavily on specific pieces of information.

What is the 'carnivalesque' in the context of the video script?

The 'carnivalesque' refers to the idea of a narrative born out of laughter, craziness, and spontaneity, which is a characteristic of novels according to Mikhail Bakhtin's theories and is related to the freedom and nonlinearity in games like Grim Fandango.

What are the three main puzzles that structure the player's time in Rubacava?

The three main puzzles are obtaining a union card, acquiring a ticket, and stopping the last member of the crew from boarding the ship so the player can take their place.

How does the order in which the player talks to characters affect their perception of the story?

The order affects the player's perception by introducing characters and plot points in different sequences, which can subtly change the player's impression of the city and its inhabitants, making the narrative more subjective and dynamic.

What is the 'Hitchcock effect' mentioned in the script?

The 'Hitchcock effect' refers to the change in perception of a scene when the audience is made aware of an impending event before it happens, as opposed to experiencing the scene with the same knowledge as the characters involved.

How does the video script relate to the theories of Mikhail Bakhtin and Jesper Juul?

The script uses Bakhtin's theories of the carnivalesque, dialogic, and chronotope to explain the unique aspects of novels, and Juul's theories of sequence, story, and discourse to highlight the differences and similarities between video games and other narrative forms, using Grim Fandango as a case study.

What does the script suggest about the replay value of Grim Fandango?

The script suggests that the replay value of Grim Fandango comes from the ability to experience the story in different ways each time by choosing different orders to interact with characters and uncover the narrative.

Outlines

00:00

🎮 Art and Narrative Harmony in Grim Fandango

The video script discusses the balance between the art and narrative in 'Grim Fandango,' a game known for its impressive pre-rendered 3D graphics. The game's unique structure, which divides the narrative into four 'days' or 'years,' is highlighted as a key element that immerses players in the story. The script emphasizes that the game's writing is as noteworthy as its art, creating a sense of history and realism without being overly expositional. The second year in Rubacava is particularly praised for its detailed analysis and narrative depth, with a spoiler warning issued for viewers who have not yet experienced this part of the game. The script also touches on the game's open-ended nature, allowing players to explore and interact with a variety of characters in any order, contributing to the game's rich narrative and design.

05:02

🔍 The Complexity of Character Introductions in Grim Fandango

This paragraph delves into the intricacies of character introductions and how they shape the player's perception of the narrative in 'Grim Fandango.' It explains how the order in which players interact with characters like Charlie, the Seabees, Olivia, Nick, Lola, and Maximino can significantly alter their understanding of the story. The script uses the example of Maximino's character, who can be seen as either a corrupt figure of power or a vulnerable individual based on the sequence of interactions. The narrative's non-linear nature is contrasted with more traditional linear forms of storytelling, such as film, highlighting the unique subjective experience that games like 'Grim Fandango' offer.

10:04

📚 The Theoretical Framework of Narrative in Games

The script introduces literary theories by Mikhail Bakhtin and Jesper Juul to explore the differences between traditional narratives and those found in video games, using 'Grim Fandango' as a case study. Bakhtin's concepts of the carnivalesque, dialogic, and chronotope are compared with Juul's ideas of sequence, story, and discourse. The video discusses how 'Grim Fandango' exemplifies the breaking of sequence, offering players freedom to influence the narrative's course of action. The dialogic aspect is touched upon, highlighting how games can speak directly to the player, and the chronotope is illustrated through the game's save screen, which fills in as the player progresses. The video also briefly mentions the incentives for players to engage with the game's world and the unique temporal and spatial aspects of game narratives.

15:06

🌆 The Replay Value and Evolving Memories of Rubacava

The final paragraph reflects on the replay value of 'Grim Fandango,' particularly the section in Rubacava. It argues that the game's narrative and design make it enjoyable to revisit, with each playthrough leaving a slightly different impression due to the choices made by the player. The script contrasts this with traditional games where once a puzzle is solved, there's no joy in solving it again. The video concludes by expressing a sense of sadness at leaving Rubacava and the desire to return to experience the story differently, emphasizing the evolving memory of the game that is unique to the medium of video games.

20:06

🎉 Closing Thoughts and Upcoming Video Teasers

In the closing paragraph, the script thanks contributors for their artwork, music, and gameplay footage used in the video. It also apologizes for the impromptu and less polished presentation of the literary theory section, offering to provide more detail if viewers are interested. The script ends with a teaser for upcoming videos on either dinosaurs, the Jim Henson show, or another point-and-click game, inviting viewers to share their preferences for future content.

Keywords

💡Grim Fandango

Grim Fandango is a classic adventure game developed by LucasArts, known for its unique art style and narrative structure. The game is set in the Land of the Dead and follows the journey of the protagonist, Manny Calavera. In the video, the script discusses the game's art and design, narrative, and the innovative four-year structure of the game, which is central to the video's theme of narrative and game design integration.

💡Pre-rendered 3D Graphics

Pre-rendered 3D graphics refer to the technique used in Grim Fandango where 3D models and scenes are rendered in advance and then used in the game. This technique was ambitious for its time and is highlighted in the script as a significant aspect of the game's art and design. It is mentioned to overshadow the narrative, but the script argues that the narrative is equally important and well-integrated with the game's visuals.

💡Narrative Structure

Narrative structure refers to the way a story is organized and presented. The script emphasizes that Grim Fandango's narrative structure is unique, with a four-year cycle that unfolds over the course of the game. This structure is integral to the video's exploration of how the game's story is told and experienced by the player.

💡Rubacava

Rubacava is a city in the game Grim Fandango and represents a significant part of the game's setting. The script provides a detailed analysis of the second year in Rubacava, discussing the narrative and game design within this location. The city is depicted as vibrant and full of characters, each with their own perspective and information, contributing to the game's rich storytelling.

💡Puzzles

Puzzles in Grim Fandango are challenges that the player must solve to progress in the game. The script mentions three main puzzles that structure the player's time in Rubacava, which can be completed in any order. These puzzles are central to the game's design and contribute to the player's experience of the narrative.

💡Non-linear Narrative

A non-linear narrative is a storytelling approach where the narrative does not follow a straight chronological order. The script discusses how Grim Fandango's narrative is non-linear, allowing players to explore Rubacava and interact with characters in various orders, which affects their understanding and experience of the story.

💡Character Perspectives

Character perspectives refer to the individual viewpoints and information that each character in the game possesses. The script highlights that in Grim Fandango, characters offer unique insights into the world and the unfolding story, contributing to the complexity and richness of the narrative.

💡Hitchcock Effect

The Hitchcock Effect, named after filmmaker Alfred Hitchcock, is a technique where the audience is given information that the characters do not have, creating suspense or altering the audience's perception. The script uses this term to illustrate how the order in which players learn about events in Grim Fandango can change their understanding and emotional response to the story.

💡Mikhail Bakhtin

Mikhail Bakhtin was a literary theorist known for his work on the novel as a form of 'carnivalesque' discourse, emphasizing dialogue and the multiplicity of voices. The script briefly mentions Bakhtin in the context of comparing the narrative structure of novels to that of video games like Grim Fandango, highlighting the dialogic and non-linear nature of game narratives.

💡Jesper Juul

Jesper Juul is a game theorist who has written about the differences between video games and other forms of narrative. The script refers to Juul's work when discussing the unique aspects of game narratives, such as the sequence, story, and discourse in games like Grim Fandango, and how they differ from linear forms of entertainment.

💡Replay Value

Replay value refers to the enjoyment a player gets from playing a game multiple times. The script concludes by discussing the replay value of Grim Fandango, emphasizing that the game's narrative and design encourage players to revisit Rubacava and experience the story differently each time, contributing to its lasting appeal.

Highlights

Grim Fandango's art and design overshadow its narrative and writing, which are equally impressive.

The game features a unique four-year structure with Manny Calavera as the protagonist, creating a sense of being in the middle of a story.

The narrative is detailed and realistic, successfully creating character histories without being overly expositional.

Year two in Rubacava is the most praised section, offering a quiet detailed analysis of the game's narrative and game design.

The game's narrative accommodates the player's freedom to explore Rubacava in any order, reflecting a complex and open world.

The narrative design allows for multiple interactions and dialogue options, creating a rich and varied player experience.

The writing of Rubacava is compared to a complex theorem, with individual stories and player discovery affecting the overall narrative.

A map of Rubacava is introduced, highlighting major characters and their significance in the narrative.

Different orders of character interaction lead to varied player impressions and interpretations of the story.

The narrative design of Grim Fandango exemplifies the difference between games and linear forms of entertainment.

The game's replay value comes from the ability to experience the story differently each time, influenced by player choices.

Grim Fandango is considered a swan song of classic studio adventure games, bridging the gap between classic and modern indie games.

The game's narrative and design create a lasting impact, with players returning to experience Rubacava in new ways.

The video includes a discussion on Mikhail Bakhtin's theories and their relation to video games, using Grim Fandango as a case study.

Jesper Juul's principles of video game narratives are contrasted with Bakhtin's, highlighting the freedom and influence of player choices.

The video concludes with a reflection on the evolving memory of Rubacava, shaped by the player's unique experiences with the game.

The video credits Brian Rodriguez for the cover of 'Remember Me' and Pushing Up Roses for gameplay footage used in the analysis.

The presenter expresses interest in making future videos on related topics such as dinosaurs, the Jim Henson show, or another point-and-click game.

Transcripts

[Music]

Grim Fandango was so ambitious and the

thing that kind of gets the most

attention is it's amazing art and design

those pre-rendered 3d graphics and those

are incredible but it seems like they

kind of overshadow the the narrative and

writing of the game which I'm not trying

to say is better than the graphics and

the the game design but I think they are

perfectly equal and a married in a

really cool way so the game has this

really unique four year structure which

sees the player controlling Manny

Calavera the protagonist for about a day

and each day as a year apart with this

approach it constantly feels as if the

player is turned a middle of a story and

the game's writing needs to accommodate

this so it has to be detailed and

realistic and create the sense that

these characters have history with each

other and it does it really successfully

but amazingly it doesn't feel to

expositional either you know it doesn't

feel like you're constantly being

spoon-fed what's happened in the year

that you were missing the section where

this aspect shines the most is it's

probably the most praised and talked

about section of the game but I it's

like that for a reason and it's the

second year of the game in Rubalcaba

just a little spoiler warning this this

will be kind of a quiet detailed

analysis of year two and so if you're

your plank play grim I suggest coming

back to this video after you've done

this section of the game or if you're

playing it now and you've be in this

section then you can watch it cuz it

doesn't spoil anything further than we

recover but if you have no desire to

play grim but if you're interested in

the marriage of narrative and game

design then stick around but I highly

recommend experiencing it for yourself

first so here's some context money has

been working in Rubicon

for about a year off-screen and he's now

the owner of the casino and he needs to

leave recover fast and the only way to

do it is by boarding a ship but there's

three things standing in his way then

use tools a union card and he has to

stop the last member of the crew from

boarding so he can take his place these

are the three main puzzles that

structure your time and Rubicon they can

be completed in any order and most of

the places in Rubicon can also be

explored in any order and this crazy

openness is what makes to recover such

an impressive feat of narrative and game

design there's a lot going on in this

city and there's a wide variety of

characters and they all hold their kind

of unique perspective on the world and

their own information that is specific

to them but there are so many of these

interactions so many dialogue options

and dialogue trees and they can be

approached in almost any order and this

creates hundreds of different

combinations of ways that someone could

uncover the story of River Carver with

this in mind the ranking has to kind of

fall under a set of rules you know it's

got to give the player just enough

information from one character so that

can kind of stand on its own but also be

slotted into this the wider narrative

aruba Carver but also has to not over

inform the player or were like too

heavily on the players knowledge of the

city or rely on a piece of information

that they might have missed from another

character the writing of river cover is

like a complex theorem and and I want to

pick it apart and look at the individual

stories and how the player can uncover

them and the order they can do and how

it affects the overall narrative so

here's a map of rubaba

big thanks to matthew ripe sir i hope

i'm saying their name right but they

drew them up and they that means it so

thank you for them here are the major

characters that you'll be drawing

narrative information from all

characters in this year are important in

my opinion but here's just the bare

minimum to understand the story

so there's chowchilla charlie the

Seabees Olivia ofrenda Nick Virago Lola

and Maximino here they all are on the

map and this is where Manning starts

the beginning of the air on the map so

I'm just gonna go through the story of

Rubik over in a random order that the

player could experience and because you

uncover the story by kind of digesting

information from different characters so

this is just a random sequence of the

characters that you could talk to so

first there's Charlie Charlie which

makes sense to talk to him first because

he's in the club so he tells you that he

was kicked out of the cat races and that

Maximino has his money and of course you

don't know what either of those things

mean at all at this point so you move on

and you meet the Seabees and they say

Maximino is the big boy in town so you

know that Max has stolen Charlie's money

and he's a big boy in town and makes him

seem pretty corrupt and quite a bit

threatening at this point and they also

say that he gets his orders from Elmira

which is a hint as something that will

be revealed later in the story so then

you might go to the blue casket and

yield you'll see Olivia and the first

thing you'll see is Olivia being

involved with Nick and then you'll be

told that olivia is in a relationship

with max Amina so you know that olivia

is cheating on max with Nick if you also

keep talking to her she'll tell you that

Lola is in love with Max Meno now Lola

is the photo girl of the blue casket and

she takes a picture of Nick and Olivia

being involved when you enter the casket

you'll also be introduced to Nick at

this point because he is with Olivia and

you know you understand that he is

Maximian his private lawyer so all of

this kind of builds up to your

impression of Maximino

and you know that he's got like a

private lawyer he's he bought his

girlfriend a club he has to be rich he's

a big guy he steals money he's might be

corrupt he's getting orders from

different places he's connected you like

to find out laura is shot by Nick

because of the pictures she took so you

eventually meet Magda me no and he

denies that Olivia's cheating with Nick

and your

nice the Charlie's money that he has

belongs charlie and you also hear about

this blimp disaster in fall which is he

made a blimp which says marry me Olivia

it was a proposal but it also crashed

and killed Olivia's favorite cat now it

seems like that's kind of

straightforward but learning about

things in a different water really

subtly changes your impression of the

city so here's just a quick example

so before Maximino tells you the full

story about how the blimp crashed and

killed the cat there are two other ways

you can learn about it the cat that was

killed Sam spoof is has been taxidermied

and placed in a display container and

has a plaque that says you know that

sounds booth was tragically killed when

the blimp crashed into the court but it

doesn't reveal that the blimp was a

proposal so you just have the

information that the cat was killed by

the blimp then you can also find a photo

of the cat track which shows the cats

running around but you but then you can

see the blimp that says marry me Olivia

but it's before it crashes into anything

so you just have this lovely still

picture of the cats and then a blimp

that says marry me so you can take those

two pieces of information separately to

merge them together and make max aminos

but the way that you so say if you went

the Sam spoof one first so you'd be like

oh that's sad and you got the photo

you'd go oh that was the boom the

crashed but if you got the photo first

you'd be like oh that's nice you made it

someone's proposing and then you learn

by reading the plaque that oh no that

killed the cat it's kind of like the

Hitchcock effect say like there's a

there's a scene in a film where a couple

of eating dinner and then they blow up

the the scene is completely drastically

changed if you show the bomb first

before blowing up and then the audience

knows that it will blow up but as

opposed to just showing the scene where

they the audience knows as much as the

couple and they just blow up it's it's

like that because once you know the

blimp will crash and kill the cat it

changes your idea of the picture but if

you just see the picture at first you

know as much as anyone else that was

there

on that day watching the race so the

order we just went through was Charlie

Seabees Olivia Nick

Lola max so let's say you did it in the

order of Seabees Olivia Nick

Charlie Lola max Charlie and the Seabees

are from a different walk of life you

know you get Charlie's impression and

you think Charlie's just he's presented

us there's this slimy Peter Lorre type

character and he's a creepy guy and it's

like oh well probably deserved it max

max probably isn't all that bad for you

know kicking this this sleazeball out of

this cat race but you talk to the

Seabees and they're they're these

workers these working-class type guys

and they're protesting max they say is

the big boy in town he's the one that

the whole city is ruined by his

corruption it's putting people like them

out of work it's making people like them

hard to get honest work so from the

Seabees perspective you empathize with

them and think yeah max and these big

guys a corrupt and little guy and it's

not good and so it's different to what

you think of Charlie's whereas before if

you do Charlie CB you think maximum is

kind of dodgy but Charlie's dodgy - and

then the Seabees and reinforce that idea

of chav max Amir being not all that good

but alternatively if you went straight

to the blue casket and and just heard

the stories of Olivia and Nick and Lola

that's a completely different crowd from

the Seabees and Charlie they're much

more you know upper-class and in the

same sort of league as max and so you

just get it as this kind of distant

affair and tied up of local politics and

it makes max seem like this guy that's

only concerned with these three sort of

people maybe just like this very small

this cuz you know a relationship and

love and love cranks and stuff it's a

very like close circle that thing what

you wouldn't think it would affect the

entire town each of these characters

build on the information of max but the

first one you guys speak to kind of sets

him in stone in the players mind of the

type of character as kind

in a way to an extent because you know

you talk to him and gets revealed the

character he really is but you talk to

Charlie you see he's kind of you don't

think it's too bad

Seabees you think oh he's not he's a big

upper class guy and he is not good he's

corrupt you might even feel bad for max

if you go to Olivia's first cuz then the

only piece of information you know about

him is that his girlfriend's cheating on

him and it's a much more vulnerable in

production than seeing the C B's or

Charlie's perspective on it and makes

him seem like the king of the city when

you took Charlie or the C B's because of

the power he has over them but you

talked to Olivia and you see that the

power Olivia has over him and it's just

a complete different introduction to max

so as you can see there's lots of

different combinations of ways the

player can be introduced to Rebecca and

its characters and like you all know and

talk about them and how they create a

different impact of the level I think

these examples make it clear that the

way you order you talk to people does

make a difference in this game not to

the sort of canonical structure of the

game like you can talk to them in any

order and they'll say the same thing but

it matters to the player it also really

highlights this kind of difference

between games and more linear forms of

entertainment say like a film you know

if you were introduced to a character in

a film and the first thing you saw of

them was their girlfriend cheating on

them that and that that is a thesis

statement for that character because

it's what the author of the work has

chosen to introduce them as but with

Grimm you have these multiple

introductions they're up to the player

to choose how the plot the character is

painted in their mind in a way it makes

it more honest and more subjective

because so one players interpretation of

the character may well be very different

to someone else's purely just because of

the the way they went about learning

about the characters

hi just a little end note here this bit

is quite brand ly and was done quite

impromptu because I just found it and

thought it would be relevant so if you

don't want to hear some posh

explanations of literary theories then

you can skip to this time here I made

this presentation quite a while ago

talking about Mikael okay Mikhail

Bakhtin I think that's how you say his

name he was this literary theorist and

he wrote these kind of points of it's

been a while since I've read his works I

forgive me if I'm not being 100%

accurate but he wrote these points that

kind of define one novelist and how it's

separate to like a play or another form

of entertainment and then Jesper Juul

who wrote this kind of similar piece on

how video games are different from

narratives of like films and books and

stuff and he wrote it in the 1990s and

so I made this little presentation just

kind of talking about how the way

they've structured these points compared

to each other and I use grim fandago as

a case study because it's a really

perfect encapsulation of why it's games

of different two films but also rooted

in narrative so baktuns principles were

the carnivalesque the dialogic and the

corona Thoth and jewels principles were

the sequence incentive and story and

discourse and they both had lots of

different points but these are the three

ones I chose to compare because they

worked very well together and so the

carnivalesque was this idea of like a

narrative or a story of a novel from

bogden's perspective being born out of

laughter and craziness and spontaneity

and this compares it to the mind being

like a carnival and how it was a much

more experimentation or experimentation

or much more experimental and direct of

train of thought way of writing

it's native but it's it's it's linear

but it's a direct sort of beaming into

the author's head but jewel talks about

sequence and he talks about how there

are fixed sequences in like other forms

of narrative but then he brings up how

games are based on the freedom of the

player and their possibility of

influencing the course of action and you

know I'm not blown any mind set because

everyone knows the games are nonlinear

but Grimm really implements this

breaking of sequence in a really

interesting way that does subtly affect

the course of an active even though it

seems like a very linear game I'll

briefly just talk over these other two

because they're not as important but

there was dialogic and incentive and but

didn't talk about the dialogic of this

being of a personal way and what she

also speaks and then the incentive which

I thought was funny that Jewel talked

about how the game talks to the player

for it to be able to understand their

world and I used this picture from grim

if I thought it was funny because it

exemplifies both how a character and a

point click game will talk directly to

the player because of the purpose of the

game but also at the funny Lankans about

being alone oh yeah and then there's

this this Crona toe and story and

discourse so the corona taupe it's

complicated well try my best to explain

it properly but the corona taupe is

basically vehicles of narrative and

vehicles of space and time in a story so

the example I talked about in Grim

Fandango was how something like the save

screen starts is a completely blank

tapestry but the more you play the more

gets filled in so it's kind of like a

space for the narrative to take place in

if that makes any sense but jewel made

this really cool little diagram

of how a story plays out in a game and

have discourse plays out in a game in

the temporal distance between them and

so the story is how the player is making

the game progress and the discourse is

how it's happening in real time in the

world of the game so saying grim fandago

how you spend like one night in ruby

hava probably over the course of light

it's probably like a couple hours like

four hours maybe three hours I don't

know the player can spend like ten hours

in there and it won't make a difference

is still gonna be four hours in the

world the game I thought that was

interesting too because the amount of

space and time you spend in Rubik OVA

solving puzzles talking to people does

affect your experience and comparing it

again to like a linear form of

entertainment if you spent a film if you

watched a film and it spent four hours

on one scene that should have been an

hour is obviously gonna change your

opinion and the way you experience in it

so that's another way that Grimm and

especially we work up a really exemplify

is this way of narrative design and how

it differs from linear forms of

entertainment so I'm sorry that bit

wasn't as polished and well explained as

my main points which were that you can

experience recover in different orders

and it does make a difference but yeah

it's it's always sad to leave Rupa kava

it feels like you're gonna miss out on a

lot of cool things you know which is

exactly how it should feel having to

leave such a vibrant place it kind of

seems like nowadays there's this this

kind of divide between classic studio

adventure games

modern independent point click games and

it's like they completely sectioned off

from each other and grim fandago is

often cited as being this kind of swan

song of the classic games and you know

although some of my favorite games of

the genre have come from the last few

years and they do these cool large-scale

explorations like we recover and they

have even references to it it makes me

happy that I can always go back to

recover and experience the story just

different enough that it's still

interesting and impactful to me I come

back to grim fandango like every year or

so and sometimes it's just a play we

recover and I like to try and experience

recover in a slightly different way

choosing to talk to someone first I

didn't talk to you first the first time

seeing how it paints the story and just

every time it leaves this slightly

different impression of the place in my

mind and it's amazing it's like it's a

shifting story in picture and the way in

this it's like there's no one way to

remember it I'm always gonna have this

evolving memory of it because of because

of the different ways I'm experiencing

it which is something that's only done

through games and especially games that

marry narrative and design in such an

incredible way that is exemplified in

Reba kava people say that there's not a

whole lot of replay value because once

you learn a puzzle there's no joy in

solving it because you just go through

the actions of doing it but this choice

the amount of choice in this and options

is really what makes it replayable for

me

I can come back to you and every time I

do play even I played it so many times

every time it started to leave we

recover and I think that's a testament

to how enjoyable the narrative and the

game design makes it to be in Rubalcaba

[Music]

hey thanks for watching thank you so

much - Brian Rodriguez I hope I'm saying

it right but he let me use his cover of

remember me from cocoa and I love it

it's so good it fits so well his

channels below

he doesn't really good guitar

instrumentals and thank you so much -

pushing up roses who let me use her

gameplay footage from her let's play

it's a really good let's play and it's

what introduced me to grim fandago so it

was so cool to use it and thanks again

to Matty right through who let me use

the map values and I'll link that below

- I'm sorry if that presentation bit was

a bit of a blur but I just had it round

and then - I had put it in quickly so

I'm sorry about that but if anyone wants

that I can go into further detail on

back Dan's theories and stuff and

relation to games because it is very

interesting and it's it's a worthy for a

whole video yeah let me know what you

thought let me know of your experiences

in recover and the Grim Fandango and

yeah thanks so much for watching I'll

see you next Monday I'm thinking of

making a video on either dinosaurs the

Jim Henson show or salmon max another

point cut game so Fanny if a anyone's

got a preference you can say well

whatever

I'll make them both eventually whatever

who I see next Monday bye