Archive for the 'Analysis' Category

Make Game Difficulty Work For You

Game designer Daniel Boutros looks at how to give games a challenging difficulty without frustrating the player in a feature on Gamasutra. The article, originally published in Game Developer magazine, establishes two tenants for how effective levels of difficulty.

  • A player must always feel like the failure of a challenge is entirely his own responsibility, and not a fault of a poorly designed product.
  • “The player must understand how and why he failed, so that he can learn from his mistake and increase the feeling of failure being his responsibility.

Boutros traces the traditional method for increasing difficulty to Rare’s shooter GoldenEye, where higher difficulty levels simply meant enemies do more damage. “In the tough mode,” says Boutros, “the game becomes very classically rooted in trial and error, using memory play as the core consistent play type. The only way a player can survive with meager resources and a damage disadvantage is by trying, dying, remembering, and restarting.”

In other words, play through and die until you’ve figured out where every sniper is, know which doors hide enemy ambushers, and know exactly where to point your rifle to take them all out. That’s not fun, and it does not create an immersive experience.

Increasing enemy damage or numbers, charging AI aggression, implementing a time limit, and restricting player resources like ammo or health are the simplest ways to increase difficulty, but the easiest solution is never the best. Rather than simply doubling enemy damage, Boutros argues that developers need to integrate these techniques thoughtfully and budget time for testing and fine-tuning them.

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The Archetypal Hero in Video Games

All of human literature, fiction and myth can be reduced to two archetypal plots: a man goes on a journey and a stranger comes to town. These basic formula are even more true of role-playing games, where the story must leave room for a main character who is controlled and sometimes even created by an unpredictable player.

The interactive aspect is what set video games apart from other media. In a traditional story, authorial control over a character’s disposition and history is absolute. Games follow the same structures and conventions of plot.

The most significant impact of these binary plots on gameplay is a reduction in the degree of creativity the player can exert over the protagonist, especially that character’s past. The man who goes on a journey must come from somewhere defined by the game’s creator; the stranger who comes to town is liberated from an established history, transferring responsibility for creating history from author to player.

Man goes on a journey

Scholar Joseph Campbell wrote extensively on the hero’s journey, that fateful series of events that drew mythic and modern heroes like Odysseus, Conan the Barbarian, Harry Potter and Luke Skywalker to epic adventure. The journey begins with the hero’s call, sometimes refused, and the crossing of the threshold. Guided by mentors like Obi-Wan and Merlin, he overcomes a series of trials, receives a boon, and returns home with boon in hand.

Because they must have a home from which they set out, these characters often have pre-established backgrounds that fit into the plot. Link starts The Ocarina of Time as a normal kid in Kokiri Forest, and Crono’s mom wakes him up so he can cruise the Millennial Fair in Chrono Trigger. In games where the player can choose the hero’s race, gender, and appearance, he becomes an orphan (Jade Empire) or an amnesiac (Knights of the Old Republic).

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‘Fallout 3′ A Modern Flavor For the Cult Classic

The upcoming Fallout 3 can’t be just like the decade old originals, so get over it. But Bethesda, who got rights to the game from worn-down original studio Interplay, looks like they’re doing a good job of adopting everything that made the originals so unforgettable and putting it in a next-generation title.

Some have made a rabble-rousing hubbub over changes to the design. A shift in perspective from isometric to first person or behind the head, unkillable children, and a reduction in party size from four to two have all drawn venomous ire from the franchise’s cult followers.

Fallout 3 definitely looks different than its predecessors, which were rendered in 2D sprites and came out about a decade ago. Even as a big fan of Fallout, I don’t mind the changes and am happy with the new game’s presentation so far.

Fallout 3's protagonist wanders a post-apocalyptic town.

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While Franchises Top the Sales Charts, Have Hope For the Future

It doesn’t look good.

Using NPD data, Forbes released a list of the top ten bestselling video games in the United States from the last 15 years. Here’s the list and unit sales, synthesized by GameDaily.

1. Grand Theft Auto: San Andreas (2004) – 9.43 million
2. Guitar Hero III: Legends of Rock (2007) – 8.2 million
3. Madden NFL 07 (2006) – 7.7 million
4. Grand Theft Auto: Vice City (2002) – 7.3 million
5. Madden NFL 06 (2005) – 6.65 million
6. Halo 2 (2004) – 6.6 million
7. Madden NFL 08 (2007) – 6.56 million
8. Call of Duty 4: Modern Warfare (2007) – 6.25 million
9. Grand Theft Auto 3 (2001) – 6.2 million
10. Madden NFL 2005 (2004) – 6.1 million

Joystiq points out that if you combine the unit sales for Pokemon: Red and Blue, that game tops the chart with 9.9 million.

What can we learn from this list?

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Storytelling in Collectible Card Games at Man Bytes Blog

Storytelling blogger Corvus at Man Bytes Blog is devoting his time this week to looking at the potential for story in collectible card games. They’re not the medium you’d usually turn to for a good yarn, but, as Corvus points out, a dedicated player can construct a narrative from a good game of Magic: The Gathering.

Corvus’ post yesterday raised the issue. “While CCGs ought to be an ideal storytelling medium, utilizing strictly gameplay mechanics to convey story, they aren’t presented or structured in such a way as to generally encourage this type of use,” he concludes.

“Perhaps it’s the need to invest a large amount of personal resources, both financially in acquiring cards and mentally in memorizing card-specific rules, that overrides their ability to transport the players to another storyworld without the added benefit of animated series and digital versions that take place within a virtual landscape,” Corvus added.

Magic, says Corvus, offered a traditionally hardcore game of rules and stats for a niche of gamers put off by a trend in roleplaying games towards character development and story. “Magic contained all the flavor of AD&D and none of the pesky plotline nonsense that was suddenly infecting the RPG world,” he adds.

Corvus’ second post looks at why card games like Magic don’t work as storytelling mediums. And his conclusion?

While any set of game mechanics can be treated as a narrative, there’s a tipping point at which the mechanics are so vast that the audience receives very limited returns for their application of narrative consistency. This isn’t a bad thing, it’s just a thing. Clearly, Magic has proven itself to be a phenomenon with strong cultural appeal and it has outlasted many of the pretenders to its throne. I cannot even fathom the Herculean task of maintaining game balance within such a vast system for 15 years.

Corvus offers an interesting perspective on an interactive medium that does not work for telling a story. I’ve never been into collectible card games, for the same reasons as Corvus. It seems that were they to become simpler and with more room for creativity outside of the rules, in the manner of roleplaying games like D&D, card games offer narratives just as valid.

Designer Adam Maxwell Sees ‘No Places For Writers In Our Industry’

“Auto Assault” creator Adam Maxwell said that game writers are irrelevant next to designers in an editorial on Gamasutra.

“Writers do not dictate the way players interact with the world, nor do they dictate the way the player experiences the content that they themselves may create. These are the responsibilities of the game designer,” he wrote.

“Even when the writer has written the dialogue, decided the plot, created every character and conceptualized every setting,” it’s the designer who puts the world together, said Maxwell. “When it comes to playing the game, to interacting with the world presented within, a writer has no real power.”

This is in stark contrast to Denis Dyack’s opinions. Dyack devotes a while section of his “Too Human” team to content. Rather than releasing writers after the plot is set, as Maxwell proposes, Dyack has them work closely with the designers to ensure that their concept of the world is implemented and that art and gameplay supplement the plot.

Maxwell is ignoring the spirit of cooperative enterprise that makes games great.

He compares games to Hollywood, and agrees with Roger Ebert that “authorial control is not something native to video games.” Do directors have absolute authorial control? Absolutely not. Films are a team effort, produced with the work of hundreds of people on and off the screen. The director doesn’t turn actors and lighting engineers into puppets, but allows their creative input to become a part of the final piece.

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Mad Max-creator George Miller Turns to Gaming

When I first heard that George Miller is working on a fourth Mad Max film, titled “Fury Road,” my first thought was, “Awesome.” When I learned that Miller was teaming up with God of War II director Cory Barlog to produce a Mad Max game for concurrent release with the film, I thought, “Even better.”

Prominent filmmakers, including Miller and Steven Spielberg, are flocking to the game industry, where cinematic products are becoming increasingly viable.

In a two part interview with Newsweek’s N’Gai Croal, Miller talked about his attraction to games.

I realized that the kind of filmmaker that I am, I unconsciously try to make films that are as immersive as possible,” said Miller. “My cutting patterns and compositions try to exaggerate–well, not exaggerate, but try to enhance a kind of three-dimensionality and an immersive quality to my storytelling. That of course is what games do so well.”

Miller sees games as a more open way to explore a narrative. “Film is a pretty closed narrative–it moves along at 24 frames a second, it’s extremely linear, and in that sense rigid, whereas games bust that open. So in a way, with games being more exploratory, it’s closer to what a novelist can do in many way,” he said.

It’s just another way to tell stories,” added Miller. “If you’re much more interested in games than movies, then you might enter the story through the game. Or you might enter the story through the film and move towards the game. It’s still the same story. It’s still the same characters. It’s still the same world. It’s just that you can approach the characters and the world from different angles.”

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Adding Stories to Sandbox Games

“Civilization IV,” “Rome: Total War” and “The Sims” don’t usually make the Best Video Game Story list. Single player play in these expansive sandboxes generally boils down to a massive skirmish against computer bots, and the game ends not when you slay the last boss but when you check off the last objective.

Gamasutra has an interesting feature by Neil Sorens on turning the stale check lists and computer bots of sandbox games into user-developed storylines and characters.

“When a player creates a family in ‘The Sims,’ the resulting game — based on input from the player — tells the life stories of the members of that family,” writes Sorens. “Designers can and should do more to exploit these player-generated stories.”

The problem as Sorens sees it is that players cannot see the stories they naturally create in these massive worlds. Say you declare war on the Russians in a “Civilization IV” campaign. You might do so because the Russians are there and you have a big army in need of employment. Under Sorens suggestion, the game justify this campaign for some story reason (Russians killed your dog, you hate Commies, they abused people of your national religion, etc. etc.).

Sorrens advocates that story-driving exposition replace the bar graphs, charts, and reports that generally represent player statistics, achievements and attributes in big sandbox games.

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Raph Koster Foresees the Decline and Fall of Core Gamers

Industry guru Raph Koster has an opinion piece over at Gamasutra about the future of games for core gamers. Koster, the lead designer behind Ultima Online, sees the industry’s future as full of “lower-budget, asynchronous, low time investment, web-based games” emphasizing micro-transactions.

This future is geared not towards yesterday’s hardcore gamers, but to today’s market of casual gamers, of moms and gradmas and people who don’t follow daily gaming news in their RSS syndicator. They play Wii Fit and Wii Sports and ignore No More Heroes and Assassin’s Creed, games made for that small market of people who know and love games.

However, Koster’s conclusion is a positive one. He sees the mainstream, casual audience and the niche, hardcore one forming some sort of syncretism.

The mainstream will get tugged in the direction of the niche. As the world has become more science-fictional, we have seen the memes of SF appear in everyday life. Stuff from James Bond and Lord of the Rings is now common currency. The boundary lines between niche and mass market are very thin these days, and will likely get thinner. So even the casual stuff is going to have a heavy tinge of the stuff that we the geeks love.

Given the nature of games, I’d expect to see a continuation of the trend to complexify the casual, because that’s what games do: grow more complex as people master the basics. The high-end casual market isn’t very casual anymore (some match-3 games are not only expensive to make, but downright esoteric in their rules).

In other words — gamers may not want to become like Your Mom. But Your Mom is gradually becoming more of a gamer.

In my opinion, this is simply a sign that games are a healthy, growing medium. It is inevitable. Will it mean an end to complex games like Mass Effect that take story seriously? Only time will tell.

Game Award Shows Get It Wrong

Both Spike TV and Time named their top games of the year this past week, and both demonstrated that most game awards shows are not fully representative of the gaming industry.

Spike TV named BioShock Game of the Year and Halo 3 Most Addictive Game Fueled by Dew. Despite the “X-treme” pomp and circumstance and GameCock’s ridiculous outburst, I thought the recipients were all very deserving. A panel of U.S. journalists chose the awards and included Dan Hsu, Jeff Gerstmann, Dean Takahashi and Chris Kohler.

It is a step in the right direction for Spike, who’s past awards shows have been irreverent to say the least, but they still have a way to go. As long as they pack their shows with explosions, tits, Samuel L. Jackson and bad rock music to appeal to the 15- to 30-year-old male demographic, it’s impossible to take their choices seriously.

The “Top 10 Video Games” section of Time’s 50 top 10 lists was written by their book critic, Lev Grossman. Grossman listed Halo 3 as the best game this year, with The Orange Box and Rock Band holding the second and third spots.

“Halo 3 has become the perfect hardcore first-person combat simulator,” Grossman said. The game has been refined to a degree where “every combat is even-sided and complex and can be waged in multiple ways, using an arsenal of long- and short-range weapons, plus grenades and hand-to-hand moves.” I enjoyed Halo 3, but there are games that do all this and do it better.

“Every level is perfectly paced and balanced and graced with soaring architectural compositions,” said Grossman. Maybe he didn’t make it to the Cortana rescue mission at the end.

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