Tag Archive for ‘Immersion’

Tag Archive for 'Immersion'

REVIEW: ‘Far Cry 2′ Falls in the Uncanny Valley

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on November 26, 2008

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Far Cry 2 features a number of inventions and improvements on first person shooters and attempts to bring more realism to the genre. By doing so, it slides down into the uncanny valley where any artificiality stands out as fantastic.

The game was developed by Ubisoft Montreal, the same studio behind Assassin’s Creed, Rainbow Six: Vegas, and Far Cry: Instincts, but shares nothing with its predecessors. No Jack Carver, mutagens or feral powers.

Gameplay in Far Cry 2 is more like Assassin’s Creed than anything. Chose from nine different mercenaries and make your way through an wide open African nation fired up in civil war, doing story missions for different factions or finding side quests and blood diamonds.

The world feels natural and realistic, especially from the player’s perspective. You never leave the first person view, even during cinematics or when driving a vehicle, and you always have a visual representations of your actions.

The mercenary’s hands pick up uncovered diamonds and knock on doors. Lose to much health and you have to pry bullets out of your leg or snap bones back into place. There’s no on-screen radar, just a map and GPS that function as part of the mercenary’s inventory.

This style of gameplay eschews a detailed HUD in favor of immersive elements. Its very detail oriented but it works and brings a high degree of realism to the African world of Far Cry 2.

But however realistic, Far Cry 2 is a flawed picture of reality and enters a sort of uncanny valley where every deviation from expected realism is a glaring error. When the normally inventive enemy AI stops and stands there looking dumb it breaks the illusion even more than in an average video game.

Even devices that make gameplay more convenient — like universal ammo for all assault rifles, fixing a shot up jeep with a few twists of a socket wrench, or the helpful moving icons on the your map — seem out of place.

The writing for Far Cry 2 isn’t bad, but the voice acting is horrible. Most characters sound like robots and their sentences are clipped together. It sounds unnatural and kills the otherwise realistic mood.

This expectation of perfect realism is a problem for games that strive for immersive verisimilitude, and something that future titles which attempt to put fit gameplay elements into the game world will have to overcome. Still Far Cry 2 is a big step in a good direction for FPS games and a worthwhile experience.

Students Love ‘Fallout,’ Worry Over ‘Fallout 3′

Published

on October 22, 2008

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Michael Abbott at The Brainy Gamer has proven why we should be dissatisfied with Bethesda’s upcoming take on the Fallout franchise through the observations of newly initiated.

He handed over Fallout and Fallout 2 to his class of mostly casual gamers, who initially struggled with the decade old world.

“After exiting the vault, they had no idea where to go or what to do. Their movements were limited for no apparent reason; “action points” made no sense; and they died within minutes nearly everywhere they went,” said Abbot.

The students had trouble grasping the SPECIAL system, action points, and the severe dangers of Fallout’s nonlinear world. The game did not coddle its players or hold their hand; it shoved them into a brutal landscape where many areas offered instant and unremitting death to the unwary Vault Dweller.

But those who stuck with the games found the wonderfully engaging experience that lurks under the surface. Abbott posted some of their observations:

What is interesting about the random encounters in the game is that not all of them are hostile encounters. The kind of encounter that is very rare in games is the neutral encounter where you encounter people fighting. You can help either side but even then sometimes they will just turn around and attack you when they beat whoever they were fighting. My favorite way to deal with these encounters is to wait till a few of them die, and then it’s looting corpses time. It’s amazing what kind of nice loot you can find on them. It’s also where I got my first gun.

What effect would the isolation of the vaults have on the society? And what would changed based on the nuclear apocalypse? It would be like taking all the data in the world and deleting random parts. It would cause mass chaos, especially once the original humans (from pre-nuking) die out. Or, alternatively, there could be a safe-haven somewhere. From a developing standpoint, how could that effect the game? Could it?

I just found out that the greeter at the Den tells you to be vewy vewy quiet he is hunting rabbits, and i just stopped and laughed for about fifteen mins.

Abbott’s students got it. The dangers and aimlessness of Fallout absorbed them into that world and the character they played, a Vault Dweller newly emerged into the savage wild. He asked his students what they thought about Bethesda’s Fallout 3, long criticized by the Fallout faithful.

After a long and productive conversation I asked them how they were feeling about Fallout 3. ‘They’re totally gonna screw up that game,’ said one student. ‘They’re gonna say shoot this guy in the eyeball, like they’re giving you all these choices, but you know they’re gonna make it run and gun. You’re gonna be running around blowing stuff up, and all the shooter players are gonna love it. But it won’t be Fallout. I promise you. It won’t be Fallout.’

It remains to be seen whether or not Bethesda’s effort, which comes out next week, will take the same road as its ten-year-old predecessors. The challenging qualities that made Fallout and Fallout 2 so immersive have fallen out of favor, as Iroquois Pliskin commented on his Versus CluClu Land blog.

“While the frequent and arbitrary death, along with the cluelessness, was a pretty intimidating at first, by the end I really came to appreciate the way that these elements work together to make this really unique experience,” commented Pliskin on Abbott’s blog.

“I’m not manically paranoid about the prospect of Bethesda reimagining the game’s mechanics,” Pliskin added. “I hope they don’t lose the basic hostility the original’s setting and mechanics, though. Even though it runs counter to the tendencies of modern design… I think it’s one of the things that makes Fallout unique as a series.”

I don’t see Bethesda creating a game as testing as the original Fallout. Oblivion featured leveled creature lists that made it impossible for the protagonist to face enemies beyond his means to defeat, and dialog rarely influenced the course of the game. That’s how mainstream games are made today, and Bethesda is making Fallout 3 for a mainstream audience.

Yet I also know that the developers can’t help but be influenced by the quality of Fallout and Fallout 2, and I hope they find a way to make a new generation of Vault Dwellers feel like small fish in big ponds filled with piranahs, like they’re lost and alone in a self-destructive and self-depricating world.

MOD HIGHLIGHT: ‘Europa Barbarorum’ Puts You In Ancient World

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on September 9, 2008

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A supremely accurate expansionary mod for Rome: Total War may seem like a strange thing to highlight on a blog about game narratives, but Europa Barbarorum builds on the historical premise of the game it modifies and develops it into a more immersive experience.

The mod extends the campaign map into Saharan Africa, the Arabian Peninsula, India, and the steppes of central Asia, hosting kingdoms like the Mali, Saka, and Bactria absent from the vanilla Rome Total War campaign. All factions have been bolstered with historically accurate towns, buildings, governmental systems, family members, and military units, with names and voices in the appropriate language.

It’s a stunningly complete package that turns Rome: Total War into a history lesson. A massive volunteer team of modders, artists and historians organized even before the game’s 2004 release and have worked steadily ever since to make their mod as accurate as possible, from place names to lengthy building and unit descriptions and “this year in history” reports.

But the point of Europa Barbarorum is not education. All these complex changes to gameplay make the empire-building campaign much more immersive. They allow players to invest themselves in the historical persona of a third century BC superpower, to adopt their culture, utilize their heroes, and fight their enemies.

Conquer a new city and chose whether to make it an ally, a subjugated state, or a fully incorporated province of full citizens. Each choice has economic and military consequences, accurately reflecting the true complexity of state building. Invest yourself in the role of an evil overlord or benevolent republic and all the while feel like you’re playing a part in a very real historical narrative.

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‘BioShock 2′ Creative Director Sees Demand For ‘Challenging Material’

Published

on August 23, 2008

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Gameplayer has a great interview with BioShock 2’s creative director Jordan Thomas that covers the storytelling strengths of one of last year’s best games.

With BioShock, “2K Boston and 2K Australia wanted to build an action-narrative epic that would show respect for the player’s intelligence without forcing them to think exactly like the design team in order to ‘win,’” said Thomas.

“BioShock plays well, I think, to some of the strengths of games as a medium. Most of the first game’s story is unmitigated, meaning you get to live through or discover it directly, in the manner of a forensic anthropologist, as opposed to ‘visiting storyland’ from time to time and then returning to the entirely unrelated game experience.” added Thomas.

“If anything, we’d like to deliver an even more consistently integrated experience with any future games in the series. We hope to maintain a rich narrative atmosphere while allowing for the player to author key aspects of his or her identity with a large degree of expressive freedom. To me, that’s what BioShock is all about.”

Thomas is heading production of BioShock 2 at 2k Marin, which took up the franchise from their sister studios 2k Boston/2k Australia. Some of the original BioShock team is working with Thomas on the sequel, but the first game’s creative director Ken Levine is notably absent from the helm.

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REVIEW: ‘Age of Conan’ a Strong Alternative to Current MMOs

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on July 9, 2008

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Two months after its release, Funcom’s massively multiplayer online RPG Age of Conan is overcoming its launch problems and providing players with a world where roleplaying is actually viable.

Based in the sword and sorcery fiction of Robert E. Howard, whose 1920s and ’30s pulp fantasy invented the genre, the world of Age of Conan is just as intense and lively as the prose of its creator.

The game pits players against evil armies, dangerous beasts, wicked cultists and their summoned creatures. It’s bloody combat, which uses a demanding system of combo attacks, often ends with decapitations and fatalities.

Conan’s “low fantasy” setting is much grittier than that of World of Warcraft or Lord of the Rings. There are few real heroes, and every character presented in the opening act has bad qualities.

Age of Conan’s first act tells a story in the manner of traditional RPGs, with both single- and multiplayer content. It sets the game apart from other MMOs, and feels more like Oblivion or Baldur’s Gate.

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REVIEW: ‘GTA4′ Initial Impressions

Published

on May 11, 2008

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I picked up Grand Theft Auto 4 last week and was immediately struck by how fantastic its storytelling is.

To tell it’s gangster-themed plot of Serbian immigrant Niko Bellic’s arrival in Liberty City, GTA4 uses excellent cut scenes with great characters and writing. Niko and friends often continue the conversations while driving to mission objectives, adding more to the story and cutting down on boring grind time.

Gameplay contributes to the narrative development in GTA4, adding to the player’s immersion in Niko’s world by keeping him there. Trains, taxis and helpful paths to show you where to go on the radar make getting around the massive Liberty City easy, without the need to frequently pause the game and check the map or have a convoluted interface.

Niko’s cell phone is cleverly used to manage plots, chose which missions to do, ask Niko’s friends to hang out or help out, and to talk to characters while on a mission. It also plays other roles in the game, such as sending and receiving pictures. It’s a very good device for managing a complicated game without breaking the immersion with convoluted and show-stopping menus.

The plot for GTA4 is fairly linear, and the missions are as well. Some missions are unique, but most have Niko either hunting down a target in a scripted chase scene or fighting through a building full of enemies, and there’s really only one way to do either of those.

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REVIEW: ‘Call of Duty 4′ and the Zenith of Scripted Events

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on April 8, 2008

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Ten years ago, “Half-Life” changed the way video games told stories.

Rather than introducing the player to Gordon Freeman and Black Mesa with an opening cinematic or text, the game let you play through a heavily scripted opening sequence on an unforgettable tram ride past toxic waste and robots, the intercom buzzing very revealing announcements in the background.

Scripted events worked wonderfully for “Half-Life,” turning the game into a cinematic, immersive experience, but games today have found new methods to do that. Scripted sequences still exist, but they are amorphous and hidden or written spontaneously and influenced by player action.

Infinity Ward, makers of “Call of Duty 4: Modern Warfare,” didn’t get the memo. What they created is a game which tells its story through incredibly complex scripted sequences that pan out with a movie-like choreography. (For this review, I’d like to look at the game’s narrative merits, rather than its very impressive graphical or multiplayer ones.)

Each level includes uncountable preprogrammed events. Helicopters and jet fighters fly overhead on cue. Tanks roll past your position. An enemy will crash into the tower you occupy. They’re very cinematic, but they repeat each and every time you play through “Call of Duty 4″ with a monotonous, robot-like precision that actually detracts from the game’s life.

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Reflecting on ‘Morrowind’

Published

on March 3, 2008

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I stumbled on a fantastic piece of “The Elder Scrolls 3: Morrowind” fan-art whilst browsing the ever-time-consuming DeviantArt and it got me all nostalgic. The picture is titled “Morrowind Days” and drawn by DA user SnowSkadi.

And that about sums the game up. Everything that made “Morrowind” (and “Tribunal”) so utterly fantastic. Sure there were technical problems, things that could have been done better, unbalanced gameplay. But whatever, that’s life. And for every flaw, every inconvenience, there was something so real and lifelike about that world where you would get destroyed if you set one unprepared foot out of Seyda Neen and into that memorable cave of slavers.

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‘Grand Theft Auto 4′ More Realistic Than Predecessors

Published

on February 28, 2008

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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.”

REVIEW: ‘Assassin’s Creed’ Has Immersive World, Bad Story

Published

on February 21, 2008

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“Assassin’s Creed” is more than meets the eye. Behind the roof-jumping, sword-swinging medieval gameplay is a bizarrely science fiction explanation. The modern day setting — where bartending assassin Desmond Miles is kidnapped by a mysterious corporation bent on tapping his genetic memories of medieval assassin Altair (got that?) — not only explains the Holy Land gameplay but also more conventional aspects of the game, aspects normally taken for granted.

[Spoiler Warning: This review covers many aspects of the game's plot, but does not reveal the ending or anything really significant.]

For example, when you die in “Assassin’s Creed,” you revert back to a checkpoint. Sounds normal, but it’s not. Rather than dying, the game says that Miles becomes desynchronized with his genetic memory of Altair. What appears to be a health bar is explained as a synchronization count, and going back to a checkpoint is explained as going back to a previous memory to ensure proper synchronization.

All this seems semantic, but it has the effect of turning player death, which should be a jarring aspect of a storyline, into a fully rational occurrence. (Imagine it in a book: All the main characters just died because you read the chapter wrong, and now you have to read it all over again.)

“Assassin’s Creed” draws from the storytelling technique of its predecessor, “Prince of Persia.” Both games were developed by Ubisoft Montreal, and “Assassin’s Creed” takes the platforming model of “Prince of Persia” and plunks it in an open world with a very much expanded fighting mechanic. When you die in “Prince of Persia,” the Prince tells the story speaks up and says, “That’s not how it happened.” If the Prince plummets to his death during the game, it’s a failure on the player’s part to stick to his plot, just as dying in “Assassin’s Creed” is a failure to adhere to the memories of Miles/Altair.

This “memory” theme of “Assassin’s Creed” lends itself to other aspects of gameplay. Selecting from old assassination missions to replay, while essentially just a level selector, is disguised as a menu of genetic memories. Teleporting from one town to another instantly is fast-forwarding through the memory of Altair’s travels.

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