T w e n t y S i d e d
I give BioShock a hard time about it’s plot doors, but pretty much all games are based on plot doors. Sure, sometimes the door is a drawbridge with improbably inaccessible controls and sometimes it’s a subway in need of power and sometimes it’s an elevator in need of repair. Any game more complex than “run forward and murder everyone not on your side” is going to have some sort of structured obstacles for you to overcome. I don’t mind that plot doors exist. I mind when they are so poorly justified that they take you out of the experience.
Sander Cohen’s door works well enough, plot-wise. Much better than the next door, I think.
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Every time I see the main character produce a poster-sized full-color photograph out of nowhere I’m reminded of the sitcom where an archetypal nerd was able to produce all sort of useful objects from his trenchcoat, and was even able to make photocopies. (He’d stick an item behind his back under one arm, there would be photocopier sounds and a bright light, and he’d pull the copy out from the other side.
First person who can name the show should be ashamed.
