Rockstar North orchestrated GTA 4 to be the most immersive, yet this goal defeats its gameplay design. In comparison to previous grand theft auto games, IV draws a more clearly defined player character in a less forgiving world. Gone are the stars to lose wanted levels, replaced by a system where the goal is to escape action, rather than confront it. In general, the missions are scripted to deliver engaging experiences, but these experiences are at the hands of rockstar's designers, no the players own. One of my own best experiences from grand theft auto was vice city, where I decided to jack a bus and charge it head first into a convoy of army vehicles. I slammed that hummer so hard it literally flew into the sky, off the map. That is the type of magic that you won't see in the new grand theft auto, where Niko is more likely to crash out the front windshield than ram a hummer into the stratosphere.
The experiences that matter in video games are the ones we can reflect on and say, "oh damn, I did this." Whether nailing a warthog carrying our flag with rockets, setting up an elaborate trap in BioShock to kill some splicers, or solving a puzzle in professor layton by drawing a diagram or chart, these were all experiences I had, games in which I created the answer - and thats the real story that I want to tell and be told.
> For more on the topic, read Richard Terrell's "I": Videogame's Greatest Character:
http://critical-gaming.blogspot.com/2008/06/i-videogames-greatest-character.html
Monday, June 16, 2008
Friday, February 22, 2008
Gameplay Design: Dual-Analog Combat
Mass Effect’s gameplay was burdened by an overly complex control scheme, which made navigating the menus a game within itself. A gameplay system can not exist in a vacuum, but must be built around the control scheme, as the control scheme dictates how the player engages with the game. Yet, this is not necessarily a limiting thing; using buttons for different functions, in a context sensitive manor, can engage the player in new ways.
The control scheme presented below is intended for a sword-fighting, character driven game, such as Knights of the Old Republic or Assassin’s Creed. The scheme relies on the dual-analog sticks. which control one hand of the character. When the player engages in combat, he automatically locks onto the first enemy; the player can swing each analog stick in different directions, to control the movement of the swords. The player navigates with the triggers and bumpers. The combat works in a flow of offensive/defensive, where the players attacks are first pushing forward onto the enemy; if he overextends his attacks, the enemy could take the offensive, and force the player to parry the attacks against him.
The control scheme presented below is intended for a sword-fighting, character driven game, such as Knights of the Old Republic or Assassin’s Creed. The scheme relies on the dual-analog sticks. which control one hand of the character. When the player engages in combat, he automatically locks onto the first enemy; the player can swing each analog stick in different directions, to control the movement of the swords. The player navigates with the triggers and bumpers. The combat works in a flow of offensive/defensive, where the players attacks are first pushing forward onto the enemy; if he overextends his attacks, the enemy could take the offensive, and force the player to parry the attacks against him.
Story Design: Faction System
“Stories by the player, not to the player.”
Stories are trapped in the quintessential problem of being told to the player, not by the player. Games, which distinguish themselves in the ability to grant individual autonomy, most often have stories limited to one predetermined result. However, this problem can be solved by driving the story through a faction system. A faction system is multiple, competing organizations, which the player can seek out, join and support. The player’s chosen faction rises in strength and stature, as the player fights for its cause. As the faction rises, its values and ideology take effect on the world; the player can ultimately set the course of the story through the faction he chooses to support.
To illustrate, imagine playing as a character caught in a world tearing itself apart. Various faction groups have emerged, each one fighting for power. An imperial monarchy, utilizing its wealth, has attempted to gain control through raw force. You could join their ranks and ascend to the rank of general, in support of this totalitarian regime. A resistance movement has formed, trying to win sway with the lowly masses; some of its members are willing to commit mass violence to undermine the imperial power. As the player, would you slaughter innocent life in the name of a greater cause? Alternatively, you could join a hidden force which puppet-masters politicians and eliminates threats; their goal is “security”, but with an amoral, consequentialist “ends justify the means” philosophy. As the player, it is your responsibility to choose which faction you support, and in which ways that faction will shape the world. Could you cleanse the imperial empire of corruption? Or would a revolution be the best means of brining change? With a faction system, the player determines the fate of the story and the world.
Stories are trapped in the quintessential problem of being told to the player, not by the player. Games, which distinguish themselves in the ability to grant individual autonomy, most often have stories limited to one predetermined result. However, this problem can be solved by driving the story through a faction system. A faction system is multiple, competing organizations, which the player can seek out, join and support. The player’s chosen faction rises in strength and stature, as the player fights for its cause. As the faction rises, its values and ideology take effect on the world; the player can ultimately set the course of the story through the faction he chooses to support.
To illustrate, imagine playing as a character caught in a world tearing itself apart. Various faction groups have emerged, each one fighting for power. An imperial monarchy, utilizing its wealth, has attempted to gain control through raw force. You could join their ranks and ascend to the rank of general, in support of this totalitarian regime. A resistance movement has formed, trying to win sway with the lowly masses; some of its members are willing to commit mass violence to undermine the imperial power. As the player, would you slaughter innocent life in the name of a greater cause? Alternatively, you could join a hidden force which puppet-masters politicians and eliminates threats; their goal is “security”, but with an amoral, consequentialist “ends justify the means” philosophy. As the player, it is your responsibility to choose which faction you support, and in which ways that faction will shape the world. Could you cleanse the imperial empire of corruption? Or would a revolution be the best means of brining change? With a faction system, the player determines the fate of the story and the world.
World Design: Building Function into Environments
“An environment is only as good as the interactivity is presents to the player.”
Game environments are often limited in the function’s the environment provides to the player. Functions are mechanics available to the player; they are built into the environments when they are accessible within the levels. As it stands now, most environments are devoid of function, besides being a set for the enemies to exist on. Maps, without functions built into them, are simply static, dry and unengaging.
Grand Theft Auto is the classic example of a game where the environments are rich in functions. Payphones are not just props, but provide assassination missions; Motorcycle jumps are not just cool, but also tests to see how far the player can fly. These mechanics challenge the player to engage the environment; Crysis did this in making the environment part of the gameplay.
Games can grow once levels are no longer places for games to happen, but part of the game themselves. Trees, currently static, could be chopped down by the player. Coupled with a building mechanic, the player would gather the wood necessary and build his own home. The home would be both a headquarters and point of pride for the player. Making the environments real engages the player into the world.
Assassin’s Creed did an excellent job of building the function of exploration, by making any part of the city accessible. However, the other environment functions, such as protecting innocents, were underdeveloped. Different functions, such as being able to steal objects for wealth, would provide a more engaging experience.
Game environments are often limited in the function’s the environment provides to the player. Functions are mechanics available to the player; they are built into the environments when they are accessible within the levels. As it stands now, most environments are devoid of function, besides being a set for the enemies to exist on. Maps, without functions built into them, are simply static, dry and unengaging.
Grand Theft Auto is the classic example of a game where the environments are rich in functions. Payphones are not just props, but provide assassination missions; Motorcycle jumps are not just cool, but also tests to see how far the player can fly. These mechanics challenge the player to engage the environment; Crysis did this in making the environment part of the gameplay.
Games can grow once levels are no longer places for games to happen, but part of the game themselves. Trees, currently static, could be chopped down by the player. Coupled with a building mechanic, the player would gather the wood necessary and build his own home. The home would be both a headquarters and point of pride for the player. Making the environments real engages the player into the world.
Assassin’s Creed did an excellent job of building the function of exploration, by making any part of the city accessible. However, the other environment functions, such as protecting innocents, were underdeveloped. Different functions, such as being able to steal objects for wealth, would provide a more engaging experience.
Building Elements: Gameplay, Story and World Design
Video Games are the convergence of three elements: gameplay, story and world. Gameplay is everything that the player provides to the game; the world is everything that the game provides to the player. Story is the sum of motivations that drive a player to play; these goals can be both internal and external to the game.
For example, Tetris’ world is the colored pieces and square board. Gameplay is controlling the movement of the pieces. The story is the high score board, or any other goals for which the player plays the game. Games need to motivate players; but at the same time, they should be fun without requiring motivation. In Tetris or Guitar Hero, the player can play without goals, just to enjoy the experience.
An excellent game needs to have a well developed gameplay, story and world. BioShock’s success can be attributed to these three elements; the art-deco underwater utopia of Rapture provided a world that actually engaged the player; posters, statues and banners defined BioShock where other games are lost in monotony. With a good foundation, the story could blossom; well developed characters like Andrew Ryan, drove the player to unravel the mystery and finish the game. However, these two elements would be useless if the player did not actually enjoy playing the game; the solid combat system challenged the player, requiring him or her to develop a way to play with plasmids and tonics, rather than the standard run and gun experience. While BioShock is far from perfect (it suffers in its linear level design) the game established solid gameplay, world and story elements, engaging the player to play.
Games, ultimately, need to be enjoyed; through the dialectic of challenge and reward, the player is engaged and immersed in the world created. Granting the player the ability to control how he plays, what his goals are, and how he impacts the world around him, provides a greater level of success achievable by the player. The following three essays discuss ways in which these goals can be achieved.
For example, Tetris’ world is the colored pieces and square board. Gameplay is controlling the movement of the pieces. The story is the high score board, or any other goals for which the player plays the game. Games need to motivate players; but at the same time, they should be fun without requiring motivation. In Tetris or Guitar Hero, the player can play without goals, just to enjoy the experience.
An excellent game needs to have a well developed gameplay, story and world. BioShock’s success can be attributed to these three elements; the art-deco underwater utopia of Rapture provided a world that actually engaged the player; posters, statues and banners defined BioShock where other games are lost in monotony. With a good foundation, the story could blossom; well developed characters like Andrew Ryan, drove the player to unravel the mystery and finish the game. However, these two elements would be useless if the player did not actually enjoy playing the game; the solid combat system challenged the player, requiring him or her to develop a way to play with plasmids and tonics, rather than the standard run and gun experience. While BioShock is far from perfect (it suffers in its linear level design) the game established solid gameplay, world and story elements, engaging the player to play.
Games, ultimately, need to be enjoyed; through the dialectic of challenge and reward, the player is engaged and immersed in the world created. Granting the player the ability to control how he plays, what his goals are, and how he impacts the world around him, provides a greater level of success achievable by the player. The following three essays discuss ways in which these goals can be achieved.
Tuesday, February 12, 2008
A Manifesto of Constructive Design
The game media, in its effort of understanding games as a medium akin to film or prose, has begun to apply a critical perspective towards games. This pursuit, while valuable in enhancing our understanding of games, is bound by only being able to look at what already exists. The purpose of constructive design is to provide a form by which designers can build and discuss new forms of play; first through constructing systems, but then tested through prototyping, both digitally and paper based.
To build better games, we must break down their parts, and then ask how can we improve those parts. For example, in Assassin’s Creed, the player is limited to pressing one button to control combat. Would the game be more immersive if the player controlled his weapons through the analog stick, along the lines of Age of Conan? At constructive design, we encourage throwing everything on the wall, and seeing what sticks.
To build better games, we must break down their parts, and then ask how can we improve those parts. For example, in Assassin’s Creed, the player is limited to pressing one button to control combat. Would the game be more immersive if the player controlled his weapons through the analog stick, along the lines of Age of Conan? At constructive design, we encourage throwing everything on the wall, and seeing what sticks.
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