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Teaching the Player p2: Reactive vs Planned Game Design

                Past Articles in the series can be found here

 

Old Man: It’s dangerous to go it alone. Here, take this.

                Link: But, what am I supposed to do with it?

                Old Man: <shrugs>

 

Some of the more thrilling parts of life are the times that you’re anxious, you don’t know what’s coming up, but it’s approaching fast and all you can do is traverse yourself through it. You’re given something new and unexpected and you are forced to adapt with the goal of thriving in a new environment. This can also be a source of fear and concern because you aren’t in the normal comfort zone that you once thrived in when getting to this point, yet you’re expected to perform at the high quality that got you to this point? You don’t even know if the rules have changed at this point, the tools being the same, or the uses of any new tools that you may come across.

Of course I’m referring to game design and not my previous post, silly person. But why can’t these causes for frustration and anxiety translate between gaming and real life? If the tools you’re given aren’t explained to you and the tasks that are presented to you require a certain level of proficiency using those tools, how are you supposed to operate at a level of high proficiency?

Continue reading “Teaching the Player p2: Reactive vs Planned Game Design” →

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E3 Game Dump – Entwined

Entwined_04

Genre: Rhythmic/Atmospheric

Console: PS4. Plans for PS3/Vita Cross-Buy

Controls

Twin stick – asynchronous

The basics are that you move the left stick for the Red character and the right for the Blue. The player then tries to go through the correctly colored gates until their “sync” meter (the top bars) fill up, extend and gently touch tips so they both synergize together.

The Rhythmic part comes in where the gates and sounds played arrive on beat to the background music, making the experience more unique to each player and helps build the atmosphere to each of its soundscapes.

Continue reading “E3 Game Dump – Entwined” →

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Teaching the player: Prelude and First Screens

You know what sucks in a game? Being force fed how you are supposed to interact with the world. You know what also sucks? Not knowing what to do, or knowing exactly what to do and making it nearly impossible to accomplish. There are a myriad of ways this can be done correctly or incorrectly and I’m sure there were active decisions as to why certain designs were chosen, but they all contribute to or take away from the player experience in one form or another and it’s left to a good level designer to understand what works best for their game and how to design the level around making the most out of the player experience.

Continue reading “Teaching the player: Prelude and First Screens” →

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Dialogue Delivery p5: How, not what.

Obligatory Past Post Countdown:

Player Paced Dialogue Delivery [link]

Character Paced Non-verbal Dialogue Delivery [link]

Character Paced Verbose Dialogue Delivery [link]

Character Paced Short-Form Dialogue Delivery [link]

 

Stepping away from the focus on “what” is said, it’s still important to talk about the setting of the delivery. For all of the previous articles, we’ve only talked about dialogue and plot points delivered through extremely disruptive cutscenes. I don’t mean disruptive in the sense that it causes the player to drop the controller out of frustration, but disruptive in that it shifts your agency from playing to watching for a short while. The player stops “playing” the game and starts “watching” the game for a short or extended amount of time. This doesn’t necessarily cause a distraction for the player, but it does give an idea to the pacing of the game for the player. If the cutscenes feel long and troublesome, it can quickly demotivate the player from wanting to continue playing the game. So today, let’s focus on the two major pacing types used in gaming.

Continue reading “Dialogue Delivery p5: How, not what.” →

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Child of Light and the new “Indie” scene

Child of Light is another one of those games that is hard to categorize. It’s a game marketed as an indie game but clearly developed by a major developer, Ubisoft, which can be fairly misleading for players if they don’t pay attention. This usually means that Child of Light gets graded on an easier scale because of the “indie” aspect in mind and while I don’t believe it should, I still think that the game is exceptionally done for what it is.

If only all games looked like a PBS storybook.
If only all games looked like a PBS storybook.

It’s essentially a basic platfomer with classic JRPG combat using elements to try and make the battle system more active than simply being “turn-based”, a clearly defined art-style that captures a whimsy of 80-90s European ‘Storybook’ Animation, a soundscape that’s as euphoric and resounds with the environment as Ni no Kuni (PS3) and one of the only other games in the past few years that made me enjoy an older style JRPG (the other actually being Ni no Kuni). If you’ve read any other articles of me criticizing The Final Fantasy franchise, the reigning poster child of what’s right and wrong with JRPGs, you’d know that I’m not entirely too happy with the current direction of the franchise so it’s great to see another game that can get me to be excited about an RPG that is of a slower pace like older Final Fantasies.

Continue reading “Child of Light and the new “Indie” scene” →

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Dialogue Delivery part 4: Short but Provocative

The story thus far:

Player-Paced Dialogue Delivery

Character-Paced Delivery w/ No Dialogue

Character-Paced Delivery w/ Verbose Dialogue

 

Verbosity in games, much like any medium, is hard to get right. The dynamics of a game and the habits of a gamer are those that contribute a response towards quick reward systems. Run right and jump = Progression. Turn on console -> Start Game -> Join Game -> Start Killing things, all in a matter of a minute or two. But becoming programmed to this sort of habit goes against what verbosity tries to deliver. We’ve talked about how being verbose can be used correctly before, about not letting the mechanism for delivering the dialogue interfere with the agency of the player as they go about through the game. The delivery should only interfere when absolutely necessary but not for too long otherwise it pulls the player out from the immediate sense gratification that a game presents, but it means that shortened dialogue delivery needs to be discussed.

Continue reading “Dialogue Delivery part 4: Short but Provocative” →

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How overrated/underrated are games to critics/gamers? You can almost see the fanboy bias in the graph sometimes
How overrated/underrated are games to critics/gamers? You can almost see the fanboy bias in the graph sometimes
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Critics and Players likely don't agree about much, except that they like to play games.
Critics and Players likely don’t agree about much, except that they like to play games.
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Dialogue Delivery: What Story Do You Think It Is? pt2

We talked about the way dialogue and story elements were delivered in older generation-style games in the previous post which talks about player-paced plot-delivery and how clunky this mechanism is, especially when compared to the evolution of plot-delivery and character-paced delivery that we’ll discuss in this post.

There are two means of delivering the dialogue gaming, using either the In-Game Engine (IGE) or using pre-rendered Full-Motion Video (FMVs).

 

The IGE delivery uses the in-game gestures that the characters are normally seen using. They are made up of primitive gestures that when tied in sequence make up the acted emotions of the scene. These primitives are generally simple gestures like move over to point A, waving your hand to say “Hi”, putting your hand to your chin to show “I’m Thinking,” looking down to show “That’s Depressing/Disappointing.” For those who’ve played any MMORPG, these are simple emotes, showing a generalization of what emotion you’re trying to portray, but are blocky and look irregular because the motions aren’t fluid and are 1-dimensional.

FMVs, on the other hand, are scenes crafted by hand or by motion-capture suits in order to have the choreography and the dynamics of the scene seem realistic, being lived out on screen, rather than actions being dictated to them “Now look angry. Now look frustrated. Now look like you’ve been inspired with an idea.” In PS1/N64 ear games, FMVs were choreographed by the 3d artists, meticulously moving the arms and legs to proper locations, keyframing the locations that characters needed to be at in order to make the scene seem believable and compelling. Nowadays there is a mixture of this 3d-Artist ballet intermingled with real actors providing motion-captured animations so that the timing, the delivery and the drama feel organic because of its timing, the subtle strenuousness of basic movement when walking across a room while monologuing.

But these are the only the delivery systems for plot and dialogue, but the actual content being delivered can vary and impact how the player engages and experiences in the games themselves.

Continue reading “Dialogue Delivery: What Story Do You Think It Is? pt2” →

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