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Awesome video! Interesting points about Sagebrush, I realise that it likely has a lot in common with What Remains of Edith Finch, except that in the latter you perceive the world through the mental realities of the family members, which in turn are from the protagonist's mind as she reads through the accounts.
So, you would call it empathy when the player actively experiences an emotion e.g. they might feel sad because their favourite character died, While it would be sympathy if they can understand the emotion in their protagonist character but don't feel it themselves e.g. the protagonist's friend dies, but you've only seen them for 3 seconds. Did I get that right?
Makes sense to me. I’ve always interpreted sympathy as having a “that sucks for you” component. What the video described as some level of separation of the player from the character and the character’s experience.
Thank you for taking part in viewing the Cognitive Human-like AI Television with Game Programming Technology
To help generate further content, you may donate to Patreon: www.patreon.com/gamesovercoffee
Still the best game analysis content on UA-cam.
These videos are great! It's a crime they don't get more exposure.
Awesome video! Interesting points about Sagebrush, I realise that it likely has a lot in common with What Remains of Edith Finch, except that in the latter you perceive the world through the mental realities of the family members, which in turn are from the protagonist's mind as she reads through the accounts.
So, you would call it empathy when the player actively experiences an emotion e.g. they might feel sad because their favourite character died,
While it would be sympathy if they can understand the emotion in their protagonist character but don't feel it themselves e.g. the protagonist's friend dies, but you've only seen them for 3 seconds.
Did I get that right?
Makes sense to me. I’ve always interpreted sympathy as having a “that sucks for you” component. What the video described as some level of separation of the player from the character and the character’s experience.