This text can contain destripes about Game of Thrones, and it is advised to avoid both this analysis and the game to avoid them, since the plot is influenced by events of the series / books.
The first episode of the six in which Telltale’s Game of Thrones will be composedwe liked it and left a good taste in the mouth.
The studio was right to mount his story about a house barely mentioned in the books, the Forresters, but with a certain strategic importance, as well as in a dramatic position after the “Red Wedding” and the change in the balance of power in the north.
The family, spread strategically in different parts of the Seven Kingdoms, allows us to star stories in various key points, as well as interacting with some of the great characters of the series -with the voice of the actors of the same given the license with HBO- .
Perhaps it would have been easier for Telltale to tell a story in another time, without mixing with the events of the books / series,
So the first episode served as the presentation of those characters, introduction of their context and plot start. With the second episode, especially after seeing an end of real impact, we were confident that we would see a development of the events and a movement of the gears to move the plot further. But, reality has been somewhat different than expected.
In the best tradition of RR Martin himself, instead of seeing a clear development in the characters with whom we connect in the first episode, we have experienced what has been a second episode of presentation, centered on other characters also from the house Forrester.
It is not that the previous ones have been ignored, but their narrative development has been somewhat scarcer than previously thought. Perhaps the fact that it is a season of six episodes and not the usual five has contributed to this more laconic rhythm, but it can not be said that it was exactly what we were asking for.
The name of The Lost Lords is not trivial, since much of the game focuses on two new protagonists for the story: Sir Rodrick, heir of the house Forrester, and Asher Forrester, the second in the line of succession but exiled in Essos, living the life he has always liked: drink, women and above all, fight and battle as a mercenary. As his mother defined it: “he not only has talent for the fight, he also has the will to fight.
A hunger for it. ” Much of the content of episode 2 focuses on these two new characters, who are also shown as the two main protagonists of the story and on
which the future of the house will largely rest. Next to them there are two other linked stories, that of the third sister, Mira, in Desembarco del Rey and Gared’s, on the Wall . We will jump between these four characters in the little less than two hours that the chapter will last us.
There are no major changes to what is the basic structure of a contemporary Telltale game. we have QTEfor the action sequences – again, not too frequent and well chosen, so they do not become tiresome – and dialogues in which to choose different options and then face the consequences. Needless to say, there is nothing remotely similar to a puzzle, and that the
element of exploration and interaction is reduced to the minimum expression. Everything is based on the tension of what to say in each moment and see the consequences of our actions unfold before us. Some decisions have little or no consequence, other decisions are more serious
and can determine between the life and death of a character. There is a trick of fumes and mirrors in how this narrative is mounted, since there is a main narrative trunk that goes on no matter what happens,
Knowing that, Telltale games are put at their best when: a) all the decisions we have are really bad and we are forced to try to choose which is the least bad b) when we have the feeling that a concrete decision is going to come back later to bite our asses c) when we see that something we have chosen has a
very palpable consequence, even hard, on the outcome of a plot or the story of a character, or the way he has to interact with us. Seeing as a secondary character that we have taken in appreciation thanks us for our action, or hates us for it, has an impact, regardless of whether the plot follows a more or less determined mainstream.
The characters matter, their reactions matter, and as long as the story lasts, Telltale’s adventures succeed precisely because of that emotional impact, although they do not have the complex ramifications of action that some would like.