Tag Archive for 'Gameplay'

FPS Combat Most Exciting When Frequently Close-Quarters

The most engaging first person shooters of the last few years force players into intense bouts of melee combat, Gamasutra reported today.

Game Developer magazine published the study last year. It used current generation FPS games — Battlefield 2142, Call of Duty 3, F.E.A.R., Gears of War, Ghost Recon Advanced Warfighter 2, and Resistance: Fall of Man — plus two 2004 titles Halo 2 and Half-Life 2.

The surveyors recorded “300 hours of physiological and gameplay data” and tested how players reacted to gameplay by monitoring brainwaves, heart rate, breathing, blinking, temperature and motion. They found, among other things, that melee combat is more fun and exhilarating than any other approach.

Close combat was the most reliable method of creating engagement, adrenaline, reward, and all the emotions that make shooters so much fun. Certainly, this is nothing new to the genre, but the next-gen games that excelled in this area were exceptionally strong at creating high-paced close combat frequently.

This graph shows how players responded to different weapons in Halo 2, with melee combat and especially the one-hit-kill energy sword reigning as most satisfying.

The chainsaw in Gears of War generated a similar response. Both these titles didn’t just allow for melee combat. They forced it through tight level design and surprise encounters.

Close quarters combat in these games is exciting because it put players in situations where they either score a one hit kill or be killed in one hit, where they can do a lot of damage or die immediately.

This frenetic FPS melee has largely been replaced with cover and distanced enemies and regenerative health, and not unfairly because it can be very frustrating or very rewarding. Halo 2 and Gears of War both did a good job of padding these close, personal encounters with standard fare, which makes the most sense and keeps the gameplay interesting.

Stardock CEO Returns to PC Gaming’s Complicated Basics

Stardock CEO Brad Wardell is devoted to reviving the classic era of PC gaming in all its excess. Stardock is currently developing Elemental: War of Magic for a 2010 release, a turn-based fantasy strategy game intended as a spiritual successor to the 1995 game Master of Magic.

Wardell talked about upcoming Stardock projects in a recent interview with Gamasutra and commented on the responsibilities of companies who take on old franchises.

“If you’re making a game that ends with ‘3,’ or Something: The Sequel, it should be similar to the original game,” Wardell told Gamasutra. “Don’t go off and say, ‘I have my own artistic vision.’ Okay, good — so call it something else. Don’t ride the coattails of the people who came before you to launch your own artistic vision.”

In the interview, Wardell also expressed interest in revisiting Toys For Bob’s Star Control II and Simtex’s classic series Master of Orion, last updated in 2003.

The CEO told Gamasutra that Stardock is building up a second full internal development team, and is tossing around various project ideas. “We’d like to do a roleplaying game too,” he said, pointing to BioWare classics like Baldur’s Gate II and Knights of the Old Republic as examples of the route he would like to take.

It would be “the same style of isometric gameplay — not first person — where I have a party that I’m interacting with,” he explained.

“I think there are a lot of people who want that. They want to have a party again. They want to have a Minsc-type character in there. You can’t have that interesting banter if it’s just one guy running around.”

Stardock earned a benevolent reputation among PC faithful after developing the excellent Galactic Civilizations II and publishing Ironclad Games’ Sins of a Solar Empire, both without any form of controversial copy protection or DRM. Their next published game, Gas Powered Games’ Demigod, comes out in early 2009.

It’s good to see a growing publishing house stay true to its roots and out to serve a small but ravenous audience of old school PC gamers.

The elaborate gameplay, structure and length of games like Baldur’s Gate II and Master of Orion got left behind by modern developers intent on mass appeal, and revivals like Gas Powered Games’ Supreme Commander fail to produce significant numbers.

Yet there’s something absolutely immersive about incredibly complicated gameplay, as anyone who tried out Steel Battalion’s unique mech controller will say. The spell system and character dynamics of Baldur’s Gate II brought that world to life, and the complicated micromanagement of Master of Orion gave the game’s universe political and economic verisimilitude.

If Stardock is truly pledged to bring back this wrongly abandoned aspect of PC gaming, then we should all be excited to see what they come up with.

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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REVIEW: ‘Crysis’ Pushes Graphics, Lacks Depth

Crysis made its name as a graphical powerhouse, with visuals beyond what current generation consoles and most supercomputers can generate. But there’s almost no depth behind this unarguably impressive presentation.

Story in Crysis is little more than an excuse for the big-budget action. The main character is a faceless soldier named Nomad, an elite commando with a futuristic nano-suit that allows superhuman abilities.

Nomad is part of a US special forces team investigating a tropical island where North Koreans have taken over an archaeological investigation of ancient ruins that turn out to be a buried alien spaceship. It follows a strict formula of War of the Worlds, Half-Life, and Halo, but lacks the depth and creativity of those three.

Scripted events and minimalistic dialog shoves the story forward, viewed in the first person Half-Life-style. The characters are all extreme testosterone to the max, the situations all cliche. It’s ridiculously generic and takes itself too seriously to be fun.

I almost lost it when the gruff general refused to listen to the pleas of the scientists pretty daughter not to nuke everything. “But we don’t know what will happen! It could make the aliens stronger!” “I’ve got my orders!”

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Previews of ‘Too Human’ Enjoy Story But Not Shortness

Early run-throughs of Silicon Knights’ upcoming game Too Human have drawn interesting responses from critics.

Creator Denis Dyack has already promised that story will be essential to his upcoming opus, following the tradition of past Silicon Knights games such as cult classic Eternal Darkness.

Chris Kohler at Wired enjoyed Too Human’s story, a cyberpunk retelling of Norse mythology, but saw combat gameplay, not story, as the game’s main drive.

Too Human is not the story-driven Silicon Knights title that we, the long-suffering fans of Eternal Darkness, have been waiting for these last five years,” says Kohler.

“Just as I came to grips with the gameplay,” Kohler adds, “and just as the story seemed as if it was starting to ramp up into overdrive — the game ended.” He took ten hours to finish Too Human’s campaign, which ends in a cliffhanger.

Tycho at Penny-Arcade took a more leisured fourteen hours to finish the game and was more satisfied with his experience.

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Saber CEO Matthew Karch Adds to Debate On Story In Game Design

Saber Interactive CEO Matthew Karch, just done with last year’s time-bending shooter “TimeShift,” had some interesting comments about the role of story in game design in an interview with 1UP.

The conversation began at the “Future of Story in Game Design” panel at the Game Developer’s Conference in February. At that panel, Karch argued against Silicon Knights’ Denis Dyack, saying that story should serve the gameplay and was relatively trivial.

Dyack expanded on his original arguments in a recent interview with 1UP’s Philip Kollar, and Karch asked to do the same. “My attitude about story is that it’s important, but how important depends upon what the player is doing,” said Karch in this latest interview.

Karch clarified that the importance of story depends on the game’s genre. In first-person shooters, “story is important to give the player motivation and to immerse him in the game world, but I don’t think it’s the most important aspect of the game. If you have a great story but the shooting feels lousy, the animation is bad, and the AI is average, no one is really going to care.”

“Fallout 3″ is an example of a shooter where story will be essential, said Karch, while “Gears of War” and “Call of Duty 4″ are less dependent. “Look at ‘Call of Duty 4,’” he added. “It’s a great game, but do you really care about the story? I didn’t. No one else did, but it didn’t matter.”

Unlike Karch, I was into the stories of “Call of Duty 4″ and “Gears of War,” and was disappointed that the “Gears” story was so cursory and incomplete. I think that, if a game wants the player to invest himself in its world, story is always important. If the narrative is ridiculous or nonexistent, then it’s much more difficult to become immersed, no matter how good the mechanics are.

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PREVIEW: BioWare Fine-Tunes ‘Mass Effect’ for PC Release

Although the PC port of “Mass Effect” was recently pushed back to May 28, it’s still worth getting excited about, especially if you have yet to play through the game. BioWare promises to offer a polished version of the role-playing game originally released on the Xbox 360 last November.

BioWare has yet to say if the PC release will include any additional content, but the gameplay is being improved. Combat will take on PC shooter controls, and your two cohorts will be managed with a reformatted heads-up display, revealed just last week. In addition to better organizing party management, this HUD allows you to issue separate move orders to your party members.

'Mass Effect' PC HUD

Inventory management, which was a pain in the ass on the Xbox 360 version of “Mass Effect,” should be much more fluid in the PC release. Items that were once lumped into a long list will be sorted by type and grade.

BioWare is also improving the game’s already impressive graphics for the PC release, says 1UP’s Jeremy Parish. Textures look more detailed, colors more vibrant. Character animations may need improving, according to 1UP’s preview.

Performance-wise, “the development team wants the game to run smoothly, even on a lower-powered system,” writes Parish, “although they won’t say precisely what they consider ‘lower-powered.’” Because the game will be installed, load times are much reduced (although I’m somewhat frightened by how much hard disk space the extensive dialog will take up).

I’m glad BioWare chose to focus on gameplay for the PC release of “Mass Effect.” The original was a great game bogged down by a clunky interface and party control, both of which should work much better with a PC. This more polished version of one of last year’s best games should hold us over until the promised “Mass Effect 2.”

EDIT: The PC version of “Mass Effect” will also include the “Bring Down the Sky” DLC and its 90 minutes of additional gameplay for free, reports Shacknews. There’s one more reason everyone who bought the Xbox 360 release should have held out: Xbox users had to pay 400 Microsoft Points, just over $5, for the content.

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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Story Essential to Denis Dyack’s ‘Too Human’

Silicon Knights’ Denis Dyack discussed the importance of story in making games in part one of an interview with 1UP’s wunderkind Philip Kollar.

Dyack founded Silicon Knights and is currently working on “Too Human.” He participated in a “Future of Story in Game Design” panel at the Game Developer’s Conference last month.

In the 1UP interview, Dyack adds to the issues raised at the panel, commenting on the future of story in specific genres of games, but the most interesting part of the discussion has to do with Dyack’s own studio.

Silicon Knights has a dedicated story, or content, department rather than a few writers. “It’s all based around this thing we call engagement theory, which is written like a formula: ‘engagement = story + technology + gameplay + artwork + audio.’” Each of those five components has its own director and department.

“We’re always evolving the content. Don’t think the content department does just story, either,” said Dyack, adding that the content team also works on in-game cinematography and on building tension through level design. “Whatever it takes to tell the story in the game, that group concentrates on, and they are busy from beginning to end just like all the other departments.”

Dyack is involving story in every aspect of game design for “Too Human.” I can’t wait to see what this approach yields when the game is finally released (still TBA).

Edit, March 18, 2008: Part two of the 1UP interview with Dyack is up. Dyack and Kollar talk about how games compare to other mediums. “When it comes to our fiction and the types of content we create, there’s no reason we can’t aspire to Shakespeare,” said Dyack.

‘Grand Theft Auto 4′ More Realistic Than Predecessors

A preview of April’s “Grand Theft Auto 4″ at VideoGamer.com shows a departure from the almost cartoony gameplay of the past few iterations in the series.

Damage to cars affects their performance: get in a head-on collision and your car will slowly grind to a halt. Tanks, airplanes and bicycles are cut in the interest of realism. Niko, the game’s protagonist, gets text messages when he fails a mission. The world itself is more realistic, with destructible environments and animated crowds of pedestrians who do more than walk up and down the street.

A lot of what made the previous GTA games so fun and engaging were devices like the star count that could be called unrealistic, but the article is quick to point out that these aren’t being left out.

Still though, GTA 4 is no Holodeck. During my few hours of hands-on time I experienced plenty “oh yeah, this is still a game” moments that reminded me that, despite Rockstar North’s efforts, Liberty City still plays by virtual rules.

Pull a gun on a random bystander, perhaps someone casually walking down a street, or withdrawing money from a cash machine, or sitting on a bench reading a newspaper, and they’ll either run away or cower - and that’s it. Cause death-filled carnage in an area, drive the cops absolutely crazy, escape their line of sight and search radius (visible in the mini-map in the bottom left hand corner of the screen) and then return to that area, and everything will be returned to normal. Fail a mission and you’ll be sent a text message offering you the chance to reset and retry. I’m not criticising the game here. I’m just saying that you shouldn’t expect a virtual world simulation. Liberty City is quick to react, but it has a hard time remembering.

Liberty City is still a world open to experimentation. The violence is over-the-top, and satire and humor are ever-present.

It remains to be seen how much of the game will be influenced by this struggle for realism. Hopefully we’ll see a good modern crime story instead of a retelling of “Scarface” or a rap-infused gangbanger mess. Either way, I think the added realism will make what has already proven to be an incredibly immersive series even more so.

Also, Rockstar will be careful to not include a scrapped sex game in “GTA4.”