Dishonored’s use of tired storytelling devices shows that game narratives are stale

In an industry that has become increasingly reserved and cautious when funding new ideas — instead preferring the safe approach of releasing sequels of already established franchises — I can’t help but show enthusiasm at playing a new release that doesn’t have a number in its name. Thankfully, Bethesda took a gamble with Arkane Studios’ relatively unknown status and decided to back them to my, and no doubt thousands of others, delight because the end result was a tale of betrayal, conspiracy, and retribution set against the backdrop of a Victorian-era, Steampunk-inspired world.

Arkane’s Dishonored has an atmosphere and world that feel like they are dripping with personality at times — probably due in part to the vivid art style and non-gimmicky, refined stealth mechanics that protagonist Corvo Attano has at his disposal that serve as the main strengths of the title. I really, really want to include Dishonored’s story as a facet of the game that makes it great, and up until the concluding chapters of Corvo’s quest for revenge, I was soaking up as much of Dunwall city that I could.