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[T4keD0wN]

If i count just the last thing theyve developed:
1. Owlcat (Rogue Trader)
2. CDPR (Cyberpunk)
3. DontNod (Banishers)
4. Larian (Baldurs Gate 3)

(Would put ZA/UM as #1 or #2, but not sure the studio still truly exist)

I dont understand how current you want since OP counts the whole Like a Dragon series which goes back 2 decades, if we truly count old works by still existing studios then nobody could beat Bioware for their works from 1998-2014 and Obsidian for works from 2004-2019

 

[Shtof]

Druckmann, and it is not even close.

 

[Werewolf Jones]

As of right now? Literally nobody.

 

[RodriGames40]

After new DS2 trailer Kojima is still the best. Like head and shoulders above anyone else.

Definitely the best cinematographer by a long shot, nothing comes close... Other than the AAA goats.

 

[nemiroff]

Storyteller?

Warhorse

Also, they're one of the absolute few that can keep me from itching to skip cinematics.

 

[thief183]

Warhorse (Vavra to be more specific is the only videogame writer that knows what he is doing, all the dialogs are believable and well done).

Larian to some degree even if they are not at Vavra's level.

 

[GametimeUK]

What type of storytelling do you all prefer in your games? Do you enjoy gameplay segments which are broken up by cutscenes where control is stripped away and you watch for 5 or 10 mins etc?

Do you prefer being in a world where there are barely any cutscenes and you have full control over the character during events. Like whist people are giving you vital information about the mission, you can go around the office and smash coffee mugs off of computer monitors etc?

Or do you perhaps prefer something minimal? Where the stage is set for you and a majority of the game is built on your interpretation of the events that unfold. Your actual journey is the story.

I love all methods of storytelling, but I have a soft spot for being directly told less. As good as a "cinematic" game like TLOU is for example, you can get similar experiences from movies / TV shows. I feel a blank slate world works in favour of being able to give you something unique that only games can provide. For some other weird reason I also prefer text boxes to spoken dialogue. It's something I have only recently come to realise.

To answer the OP I enjoy Fumito Ueda's storytelling. I wouldn't say he's the best. Depends what you're looking for, but his games resonate with me.

 

[SolidQ]

The Legends of Heroes series
Yakuza series
Resident evil (if detailed learning)
and many other JRPGs

West, here not much sitting in memories
Witcher series
Syberia series
Warcraft 3
partially Mass Effect 3 and Baldur's gate 3

 

[RafterXL]

Who knows, most story telling in video games is dogshit. I guess CDPR or even Warhorse? People mention Larian but if you took BG1 or BG2 and gave it BG3s graphics, BG3 would be the third best game in the series and have the worst writing.

 

[Radical_3d]

Well, he doesn't speak much, but you can't deny that the stories he tells are intriguing as fuck.

"Best storytellers". The story telling is read the item description. Also this:

Best storyteller is obviously her:

 

[Hudo]

The problem is that as soon as you read even just a decent fantasy or sci-fi book, the writing in games really becomes the "bottom of the barrel".
At least, that's how it was for me.

Nonetheless, I still do have some people in mind where I thought they knew how to tell/write a story, or at least set up an interesting world:

• Yasumi Matsuno
• Yoko Taro
• Chris Avellone
• Michael Kirkbride

 

[Bartski]

Nigel Cucksteinn

 

[Cakeboxer]

MachineGames

 

[Raven117]

Larian studios have fantastic team of writers for their stories in Baldur's Gate 3 and they've surpassed the writing quality of CD Projekt Red. Baldur's Gate 3 has better writing than The Witcher 3 and Cyberpunk.

I just don't agree. Some of their smaller side stories were good, but the overall narrative of BG3 is just not all that compelling to me in a traditional narrative context.

Witcher 3, Neir (both of them), KDC1-2, sleeper citizen (especially the first one), Naughty Dog (I know, I know, controversial). Are all more compelling from an overall narrative to me.

 

[Raven117]

For me, there are two favoriters:

Yasumi Matsuno. The mind behind Ogre Battle, Tactics Ogre, Vagrant Story, Final Fantasy Tactics, and parts of Final Fantasy XII + more.

Chris Avellone. Having part in Planescape: Torment, Star Wars: KOTOR 2, Alpha Protocol, Fallout: New Vegas and Pillars of Eternity + more.

Man… hell yes to this

 

[Fess]

Well, he doesn't speak much, but you can't deny that the stories he tells are intriguing as fuck.

Okay, could you write a summary of the story in Elden Ring? Don't google it, just go from what you know.

I've played it for 700 hours. No idea what it's about, it's the most vague story ever. Is it about saving the world, the land between? Maybe a little. Someone needs to become the new Elden Lord I think, and the tree must burn, but I'm not sure why.
But is the world actually saved after the credits roll?

 

[PaintTinJr]

Definitely not Kojima.

Amy Hennig is probably up near the top. Josh Sawyer too. Yoko Taro. Sam Lake.

Completely disagree, all of Kojima's stories are memorable from a single playthrough - for most of the gaming community which then go on to argue about the details in them - UC1-4 are all easily forgotten generic stories to setup locales of action with weak McGuffins.

The trailer for DS2 is already doing gangbusters for gaming because the story that appears to be implying anti-uniting of states against a backdrop of gun promoting characters is already far more interesting that 99% of what we are offered.

I've only played last of us on PS3 - haven't watched the show or played any other version - and was mildly entertained by the story, but hated the weak jump scare gameplay that they wrote to fit cinematics, so even her replacement's work I think is weak. The interview between Neil and Alex Garland discussing inspiration in game story telling and Kojima's work getting zero mentions instantly told me they are as they fear, total pretenders.

I don't read, but was lent a book: Incarnate Ascension, recently that was good enough to be far better source material for game writing than 99% of the current stuff we get probably because the detective stuff blended well into an Assassin Creed style history/religious overlap with an acceptable suspended disbelief for character multiplicity. Despite giving up AC games before black flag with the previous game's choice of Battle Star Galactica recursive universe rebirth story choice, the original story for AC is still one of my favourite setups to fit gaming - I can think of - belonging with Kojima's games that you remember details years after you've played.

 

[Represent.]

Neil Druckmann, not even a debate. Argue with your aunt.

Followed by Ken Levine.

Its been that way for over a decade, nothings changed.

 

[ShaiKhulud1989]

I'd say guys like Larian, CDPR (or other AAA devs like Kojima or ND) are great, but they are threading on a familiar paths of pre-created settings, sequels and trusted ways of telling an interactive story, IMO. Plus they are well-funded and that removes a lot of challenges.

For me (and It's my opinion only) Disco Elysium is hands-down the best original setting in decades that was masterfully intoduced through the full use of gaming as a media. It has a vibe of a really thick and painfully believable universe but with lots of secrets and truly unanswered questions. Too bad that the studio is basically dead now. Supergiant Games are cut from the same cloth. Their Pyre is so underrated story-wise, it's a very rare game with truly different world masterfully unfolded through the series of highly branching storylines. Hell, they've showed that the gripping and coherent storytelling is possible in a rougelite arena action-RPG.

I also absolutely love the sheer storytelling power of Josh Sawyer. Pentiment was lost on mass market due to (imo) a bit tastless and over-the-top aesthetics. But my god that was unexpectedly witty and well-written medieval detective story with a lot of history-related introspection.

Oh, and of course Raphaël Colantonio (cannot wait for his new game). The old Arkane games were very simple plot-wise at first glance, but the more you've discovered, the more beautifully layered every stort became. His leadership or simple overseeing were always a seal of quality. Thick setting, rich atmosphere and enviromental storytelling are absolutley unparalleled in all Arkane games priop to the disjointed Deathloop. Prey is an absolutely adamant masterpiece. I think it's something Ken Levin wished he could've make with 2Ks money and time in any BioShock.

 

[LordNerevar76]

CD Project Red
Obsidian
Remedy
Rockstar
Santa Monica
Warhorse Studios

+1 for mentioning warhorse. Both games, but especially KCD2, have excellent writing and immersive storytelling. The fact that they made a non fantasy story so interesting speaks volumes.

 

[Sooner]

It's Naughty Dog, or specfically, Neil Druckmann.

His stories effect people like no other. The fact that people here so such much love and hate for fictional characters he created is crazy. Even on GAF, people argue about those characters as if they forget they are not real people.

 

[PaintTinJr]

It's Naughty Dog, or specfically, Neil Druckmann.

His stories effect people like no other. The fact that people here so such much love and hate for fictional characters he created is crazy. Even on GAF, people argue about those characters as if they forget they are not real people.

And yet it has taken Kojima to show a game trailer with a release date to start the generation - as was typically the case with his MGS reveals over the last 5 gens.

Stories, no matter how annoying/enjoyable are nothing if they don't facilitate 'game'play in a game. The Last of Us was such a downgrade in gameplay compared to the UC games IMO, and the premise of the survival story has a much weaker opening than Rage IMO. Game situations they do very similar things by dropping the user into lock-in survival areas, but in Rage the experience of surviving feels unique to the player, and in the Last of Us the survival is literally by the numbers, slow, single shot interactions led by the nose to elicit the same experiences and emotions for constrained story telling.

By comparison Rage let's gameplay and user skill determine how much of that story experience the user feels in those moments scaled by the user's skill and capability to expressing themselves - even on their first play thru. In confined spaces where player movement is reduced, Rage's gameplay feels more frantic, but no less expressive, whereas the LoU ends up feeling like a fish in a barrel piece of deterministic gameplay, all for the benefit of the storytelling and nothing useful for gameplay.

So surely the best 'storyteller in games' is one that at least remembers the medium is gaming - not film or tv - and uses story to facilitate meaningful gameplay, rather than story that compromises gameplay because the story doesn't really needed to be a game, maybe an interactive ride at Disneyland or more successful as a TV show, no?

 

[Schmendrick]

Druckmann, and it is not even close.

 

[Sooner]

The Last of Us was such a downgrade in gameplay compared to the UC games

Are you drunk? TLOU gameplay is fantastic, especially part 2. TLOU 2would have been a great game with zero story.

 

[rofif]

Soma will stay with me forever.
That ending. holy shit.

 

[rofif]

Druckmann, and it is not even close.

I know it's not popular but what he did with tlou part 2 is special.
he made me hate it with real emotions. I remember calling my friend "this game fucking sucks, this mucle bitch omg, now I have to play as her"
Only to call him in 2 days "dude this is the best game ever, come pick it up and you tell me".
He plays it and says the same thing. The game just fucks with your real emotions.
But the story COULD have better pacing and less obvious "Ellie kills the dog, Abby pets the dog" you know.

 

[SpokkX]

CD project
Larian
Warhorse
Owlcat
Remedy
Kojima
Yoko Taro

No - not any playstation studio anymore

Just noticed - no US studio either

 

[StereoVsn]

Warhorse with KCD2 was extremely impressive.

Otherwise I am partial to Ryu Ga Gotoku Studio as while they have a whole bunch of silliness, the main storylines are very good (as a J-Drama) .

Also, Owlcat was quite good with latest Rogue Trader title. Larian has a good writing team.

Obsidian used to have great writing but that's done and gone.

CDPR I just don't know. I "think" they have good writing team left in there but kind of have some doubts.

 

[Humdinger]

That's hard to say. I've been a big reader my entire life, so my reference point for "good writer" is set by written fiction, not by videogames. From that perspective, I don't see many people in videogames who can write a half-decent story, much less a good one.

There are games that I have enjoyed for their stories, though, given the limitations of the medium. The Uncharted trilogy, Mass Effect 1, TLOU1 (not the second), the first Horizon (not the second). I also enjoy the stories in Yakuza games, although I admit they are ridiculous and melodramatic.

 

[StereoVsn]

Obsidian. Avowed was though. Hopefully it was a one off.

Outer Worlds sucked as well.

 

[PaintTinJr]

Are you drunk? TLOU gameplay is fantastic, especially part 2. TLOU 2would have been a great game with zero story.

Never played the second one, only played the first on PS3 and thought the gameplay was very poor and a slog, a mere inconvenience to tell an average story, that's arguably less entertaining than the first few episodes of budget show Vanessa Helsing, and felt cheated the way it was bigged up as the next great first party exclusive with great trailers, to be so underwhelmed. There was no way I was playing a part two, so I'll have to take your word for it, that it's great, but given you like the story of the first game it doesn't encourage me to think our critical viewpoints are the same.
In a world of no demos, if the first game sucked, I'm out at that point.

edit: I play games to express myself in gameplay, not to be a vessel for vain writers - that seem to vacation at Blue Mountain State Thad Land too often - to stoke their egos.

 

[PixelatedBeast]

Remedy
Naughty Dog
Capcom
Rockstar
CDPR
Sony Santa Monica
Kojima
Insomiac
Quantic Dreams
Square Enix
EA
Sega
Take2


Outside of a few indies AA dev studios, no one else touching these studios/publishers without a 10 foot pole. To be honest, I dont really consider JRPGs to have good storytelling if I have to read a description from a silent NPC. Its always hit or miss for me. Sometimes it feels okay, then sometimes it feels like Im looking at the budgets cuts.

 

[rubik's dude]

I also enjoy the stories in Yakuza games, although I admit they are ridiculous and melodramatic.

In terms of writing and storytelling, they're definitely akin to a crime soap on crack.

 

[Trogdor1123]

I've always liked how From does it with so many layers and secrets but it's also obtuse which most people don't get until they sit down and spend a bunch of time with it which most don't so I get people disagreeing

 

[Edgelord79]

Outer Worlds sucked as well.

Ugh ya forgot about that garbage.

 

[SweetTooth]

Well, he doesn't speak much, but you can't deny that the stories he tells are intriguing as fuck.

I agree

 

[Topher]

Druckmann, and it is not even close.

 

[Radical_3d]

 

[Topher]

 

[Radical_3d]

 

[PaintTinJr]

Really? So what was the big takeaway the gamer has from any of the UC games he worked on or the LoU? Even if I stretched my memory and said the in game shock moments I experienced in the LoU are meaningful for the moment and characters, where is the overarching depth for the viewer/gamer to take away from the game?

If you asked the same question of say something like Snake Eater, the lasting depth to the story is to question: is there such a thing as a patriot? or what is a country? because when you consider all the people working on opposite sides of the fence in the name patriotism, ultimately doing the biding of faceless bureaucrats that act like world order crooks pitting friends/family/brothers-in-arms against one another that have willingly sacrificed themselves for their mission and orders as 'patriots' of their country, it is a strong takeaway IMO for the target American market - even looking at it as a Brit.

Even the controversial MGSV leaves the lasting question with gamers to what extent they support or reject nuclear weapons as a suitable deterrent based on telemetry tracking of if gamers had bought nuclear weapons for their base to help maintain world order.

And the same goes on with all of his games, where he's subliminally presenting a question about a big important topic, and presenting his argument macroscopically in the story moments even if there's a high probability that gamers may take the story at face value and miss the depth completely, but it is still there as important brilliant writing IMO, with far more legacy than the contemporary shock moments of events that come from an Alex Murphy execution scene in Robocop playbook.

 

[Topher]

Really? So what was the big takeaway the gamer has from any of the UC games he worked on or the LoU? Even if I stretched my memory and said the in game shock moments I experienced in the LoU are meaningful for the moment and characters, where is the overarching depth for the viewer/gamer to take away from the game?

If you asked the same question of say something like Snake Eater, the lasting depth to the story is to question: is there such a thing as a patriot? or what is a country? because when you consider all the people working on opposite sides of the fence in the name patriotism, ultimately doing the biding of faceless bureaucrats that act like world order crooks pitting friends/family/brothers-in-arms against one another that have willingly sacrificed themselves for their mission and orders as 'patriots' of their country, it is a strong takeaway IMO for the target American market - even looking at it as a Brit.

Even the controversial MGSV leaves the lasting question with gamers to what extent they support or reject nuclear weapons as a suitable deterrent based on telemetry tracking of if gamers had bought nuclear weapons for their base to help maintain world order.

And the same goes on with all of his games, where he's subliminally presenting a question about a big important topic, and presenting his argument macroscopically in the story moments even if there's a high probability that gamers may take the story at face value and miss the depth completely, but it is still there as important brilliant writing IMO, with far more legacy than the contemporary shock moments of events that come from an Alex Murphy execution scene in Robocop playbook.

lol…I am not getting into any of that. A real discussion on Naughty Dog is a rabbit hole I actively avoid for reasons. I think their story telling is fantastic. If someone disagrees then that is completely fine. I'm just leaving it at that.

 

[Raven117]

lol…I am not getting into any of that. A real discussion on Naughty Dog is a rabbit hole I actively avoid for reasons. I think their story telling is fantastic. If someone disagrees then that is completely fine. I'm just leaving it at that.

I felt the same way listing ND on my list.

 

[PaintTinJr]

lol…I am not getting into any of that. A real discussion on Naughty Dog is a rabbit hole I actively avoid for reasons. I think their story telling is fantastic. If someone disagrees then that is completely fine. I'm just leaving it at that.

No worries, that's all good.

I'm sure if I told people how much I enjoyed the Wonderful 101 story or Valkyria Chronicles (original) and someone disagreed and said they were rubbish writing I'd have to say: "that's completely fine, we like what we like"

 

[rubik's dude]

Larian's stories are generally "save the fate of the entire universe", which gets predictable. Plus they are often sarcastic regarding the story, as if they want to acknowledge it's a game and not really important.

Personally I like the sarcastic writing in Larian's games. It reminds me of the Marvel movies, but not in a derivative/cheap imitation kind of way. They do it well because that's what they've always done, even before Marvel movies were a thing:

 

[YOU PC BRO?!]

Lots of standouts but my pick is Ryu Ga Gotoku Studio - Seriously, the Yakuza games have some of the best storytelling in gaming.

 

[BbMajor7th]

Disco Elysium, Nier Automata, The Witcher 3 - all top picks for me.

There are obviously a lot of facets to writing - most games go hard on plot and concept and ignore character and dialogue. My favourites generally focus on the latter.

Dialogue writing is borderline a lost art in 2025.

 

[AJUMP23]

Anuma with botw and totk.

 

[NotMyProblemAnymoreCunt]

Kiseki Series
Yoko Taro
MonolithSoft

 

[AngelMuffin]

From