Monthly Archives: December 2002

I love all of these pop-up ads. “Is PORNOGRAPHY saved on your PC? Stop wondering and check now!”

Like I really need help to figure out where my porn is.

Here’s the value of the impression of near-infinite possibilities in a game world or system (“world” being a generalized term from here on out) — they give the impression that there is more to the world at hand than what the player is directly being fed; that something exists outside of whatever specific tasks lie in the player’s path. This creates a sense of place, and of being within that place.

As a result, the player becomes more involved and atached to his or her actions — and those actions become more enjoyable and interesting. The game becomes more personal due to this sense of being; you can say that the game world has a deeper personality — that it is greater than a simple reach of understanding. Just as a character becomes more interesting and “real” as his or her personality becomes more complex. Just as either complexity or near complete mystery make a character more fascinating. Either way, it’s difficult to entirely pigeonhole the character.

Next topic.

Is it just me, or are Nintendo’s major games starting to all feel very similar? I got this when playing Metroid. I realized at some point that it feels like Super Mario World, or Zelda 3. They’re starting to mush together now. Distinct and interesting characters and slightly different mechanics are about all that separate them. Same concept almost exactly; made out of the same elements. Super Bomb and Speed Boost blocks are exactly the same as bricks and Question Mark Blocks and Exclamation Blocks and… it goes on. Castlevania, although it lately tries hard to mimic the Nintendo style of design, still manages to feel a little different. Not necessarily better, but at least it still kind of works on its own rule set. It ends up at about the same place, but through a slightly different combination of elements.

To step on a tangent here: the recent games are obviously inspired by Nintendo’s style as much as they are by the earlier action-based Castlevania. The games are a little less refined and focused, however. There is a wide variety of items which serve no really useful and special purpose (even for the sake of collection, which is itself becoming a tiresome goal). The level design is good, but disorganized. New weapons and abilities are often neglected outside of a few specialized situations. There’s a lot of clutter, put to little use. And yet, they are competent (Igarashi’s more so than those of They Who One Were Kobe). In the case of HoD, even somewhat organic.

I don’t think I’m going to include many more items than will be actually be useful, in my own game.

Next topic.

PC-style adventure games work on more or less the same set of concepts as the console-style adventure, only the setbacks are of a different nature. Less action-oriented problem solving. In the Lucasfilm/Sierra games, puzzles tend to be item- and riddle-based. In the Myst style, they tend to be wholly environmental and logical in nature. There is no real inventory, as in the other styles of game. One’s tools are all in one’s own mind, and in what mental devices one is able to cobble together from the enironment at hand.

The Lucas-type, character-based adventures are a little more clumsy and less pure, in a sense; they rely on physical items as the machines, or often merely as the keys to other machines. They lay everything out for the player, and all one is expected to do is figure out what goes where, and how (logically or not). Bring item x to locatino y in order to open door z. The more interesting mechanics tend to be a little more sophisticated; they involve deciphering the use of certain machines, either within the inventory or the environment.

Occasionally there is the element of deciding what action to take with these machines, upping the player’s involvement, but also the potential frustration if the game isn’t designed well enough to deal with its own system. This is a carry-over from the Infocom and Zork days.

The console-style adventure has more of a tendency to be action-based. Environmental and mechanical logic puzzles are rare, although inventory-based “key” puzzles are not uncommon. Often, however, the “keys” are integrated into the character. Rather than existing as random icons, they become facets of the character or additions to its moveset.

The “doors” which are opened (machines operated) with these keys often — at least in the Nintendo system — are in the obvious default shape of blocks. All manner of blocks! A relatively pure example of this mechanic is Mario. A combination of this concept with an inventory would be Zelda. A halfway point is Metroid — where items are gradually accumulated, but add directly to the character mechanics rather than an inventory.

Biohazard is an incoherent amalgam of the inventory-based Lucasfism-style game with a second mechanism, that links resource management with an awkward battle system. Where this becomes frustrating is in the combination of action and scarcity. The game does not control very well, and is based around surprising the player with difficult-to-manage situations. Due to much earlier errors and indiscretions, it is not at all uncommon to become stuck in a stalmate of sorts where the player has no recourse but failure. The player can become trapped in a very real way, causing all of his or her dedication and patience to come to nothing.

This is poor design. There should always be a mechanism for escape and eventual progress. This is similar to the flaws in a powerup-based shooter like Gradius; one mistake, and it can be next to impossible to recovr. The difference is, in Gradius it is usually possible — if incredibly difficult — to build one’s self back up to where one used to be. In a well-balanced fighting game, a player with little remaining health should still be capable of winning, given enough skill. This isn’t always the case with Biohazard.

What makes a game like Mario or Zelda or Metroid so satisfying, conceptually, is the variety in its callenges, and in how ineffably they blend togeter as pieces of a larger coherent whole. That is, the integral elements of each system all tie into a common scope of reference, making each independent system merely one aspect of interaction with the game world given.

If simple exploration on its own isn’t enough in Metroid, one has a gradually-expanding set of character based “keys” to use, and one knows that related “doors” might potentially be anywhere. If none of these abilities are enough, there is an implicit trust between the player and the game that a later ability will solve the problem. If there are no more abilities to be gotten, then the solution must be something that the player has overlooked.

Where Metroid Fusion failsm ir at least pushes its luck, is by either breaking or stretching that trust which has been built up through three previous games as well as by the inherent makeup of Fusion itself. The player is often trapped through the course of the game, occasionally in a precarious situation, with only one unobvious, difficult-to-detect, means of escape — either to safety or simply to further progress. The game is somewhat redeemed by allowing that escape, but such frustration is trying on the player. After a few situations like this, it becomes obvious that something is just not right with what the game is asking of the player. It’s abusive.

Ultimately, the game can be beaten by anyone with the perseverence, and every item can be obtained — a crucial point of Metroid’s appeal — however the game doesn’t always play fair.

Beyond this, the puzzles have become terribly overt and incongruous. They’re clever, sure, but obviously contrived to fill a formula. The entire body of the game carries this mark of contrivance. Fusion feels like Nintendo By Numbers; pieced together by a design team either rushed, lazy, inexperienced with a game of this sort (and yet observant of its obvious qualities).

The game is clever; not creative. The surrounding elements and the game concept are creative (in terms of the new elements introduced, and the elegant reinvention that they necessitated). This is part of what makes the game so confusing, for me.

And I’m tired. And my copy of Phantasy Star Collection has actually moved from its resting spot in New Orleans, where its’ been for over a week. Now it’s been sitting in Portland since last night. They didn’t bother to bring it over today, for whatever reason. Hm.