![]() ![]() It’s how we are shaken loose from our comfortable world of our known quantities-that small, miniscule portion of the universe that we can say we can control-and thrust into a situation we are not entirely familiar with. This is because it is relatable in so many ways despite involving things that we’ll never experience (the supernatural, space wars, dragons, etc.) because the emotional journey of the monomyth is something everyone can relate to. The monomythic structure is popular for many reasons, but the primary one would be that it just works. Lead writer Austin Grossman did a fantastic job and I actually found Corvo’s story to be quite fun (though something tells me had I gone for high chaos, it would be less fun and more fuc-well, you’ll see), but beat for beat, you could overlay a map of traditional story elements and simply connect the dots. I know that makes it sound like a bad thing, but it’s not. It’s odd then that one of the largest components is incredibly traditional and almost entirely by the book. I could go on, but trust me on this: it’s a very unique game. Second, it’s an ostensibly steampunk game that utilizes stealth mechanics that focus around the supernatural. ![]() First off, it is a new critically and commercially successful IP that comes at the end of a console cycle from a studio known for little else outside of 2002’s Arx Fatalis (although its creative heads went into it already well renowned). Dishonored, by all counts, is not a very traditional game. ![]()
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