PG-13? Fuck.
Thursday, July 5, 2007
Sunday, July 1, 2007
The Evolution of the Shooter
After years of sheepishly admitting that I've never played it, I finally played through Half-Life. Yeah, the original one. I started Halo at about the same time, so it was a nice contrast to play the 1998 shooter during the day, then the 2001 shooter at night. My TV has a wicked glare, so there is no console gaming (especially something as dark as Halo) during the day. Since it's summer, that means that I've finished Half-Life while I'm barely halfway through Halo.
We talked a lot about the wide road theory of game design when putting together Immortal Throne. That is: we're building a road, or a strictly linear game. Essentially the player travels the road and sees the things you've set up, and fights the battles you've placed in his way. The wider you make the road, the more it feels like the player actually chooses his own experience, when actually, all he's choosing is whether to travel down the left side of the road or the right side. Half-Life isn't a very wide road. In fact, mostly the road is a corridor wide. It's relentlessly linear, and everyone who's played it has had basically the same experience. So why is it hailed as a huge step forward in game design?
Because it never leaves that road, the writer now has a more or less linear plot that can unfold.
Everything happens from your POV. Scientists get sucked into vents, and if you see it, then you saw it. If you've turned away, then you might hear it. You might see it out of the corner of your eye (or screen, in this case), or you might just catch a glimpse of it as you're turning to look at something else. The story is told by the environment, with the occasional lapse into "you have to get to the lambda complex!" not from some disembodied voice in your ear, but from a terrified scientist who isn't willing to leave the safety of the corner he's found. We know a little bit about what happened, but we piece together the events of that day from the things we see, not what's told to us.
That's a great lesson for all game writers. Trust the audience. If you spell everything out in minute detail, your audience has probably already figured it out. If they don't get every little nuance of your world, so be it. It's their world now anyway. I'm not sure exactly what happened at Black Mesa, but I don't think Gordon Freeman or anyone involved it. I'm not exactly sure why I launched some satellite on the way to the Lambda Complex, but I figure someone will tell me eventually, or maybe not. Maybe it was the first step in bringing Breen to power, or maybe Breen was in power all through Half-Life and it was just another day at the office away from City 17, or 15, or 2.
It made me think about the story as well as what kind of ammo I was using and how to sidestep and hide from army guys.
I've heard people complain about the jumping puzzles in the last third of the game, but sonny, there were jumping puzzles throughout. I lost much more health to ladder mishaps in Black Mesa than to alien beings from another dimension. It got to the point that before attempting to get on a ladder I would automatically save the game. The last third had weird alien platforms instead of broken catwalks and mountain ledges, but it was the same gameplay.
My one complaint is the giant baby-head at the end. (Is it okay to spoil a nine year old game? I know it was spoiled for me before I played, so I guess I'm returning the favor.) Fighting a giant alien baby tells me more about the designers' fears of fatherhood than about the alien race that's trying to invade Earth (or is Earth trying to invade them? That G-man guy sure does talk funny.) The actual killing of the baby-head is anticlimactic in the extreme, because it's more a factor of whether or not you have enough ammo, than any kind of gunplay. You jump into his head when it's open, and you shoot the floor (his brain) until you're out of ammo. It takes awhile, and I'm proud to say I killed the final boss of Half-Life with the pistol (because I'd already unloaded everything else into it). Aargh!
On to Half-Life 2!!!
We talked a lot about the wide road theory of game design when putting together Immortal Throne. That is: we're building a road, or a strictly linear game. Essentially the player travels the road and sees the things you've set up, and fights the battles you've placed in his way. The wider you make the road, the more it feels like the player actually chooses his own experience, when actually, all he's choosing is whether to travel down the left side of the road or the right side. Half-Life isn't a very wide road. In fact, mostly the road is a corridor wide. It's relentlessly linear, and everyone who's played it has had basically the same experience. So why is it hailed as a huge step forward in game design?Because it never leaves that road, the writer now has a more or less linear plot that can unfold.
Everything happens from your POV. Scientists get sucked into vents, and if you see it, then you saw it. If you've turned away, then you might hear it. You might see it out of the corner of your eye (or screen, in this case), or you might just catch a glimpse of it as you're turning to look at something else. The story is told by the environment, with the occasional lapse into "you have to get to the lambda complex!" not from some disembodied voice in your ear, but from a terrified scientist who isn't willing to leave the safety of the corner he's found. We know a little bit about what happened, but we piece together the events of that day from the things we see, not what's told to us.
That's a great lesson for all game writers. Trust the audience. If you spell everything out in minute detail, your audience has probably already figured it out. If they don't get every little nuance of your world, so be it. It's their world now anyway. I'm not sure exactly what happened at Black Mesa, but I don't think Gordon Freeman or anyone involved it. I'm not exactly sure why I launched some satellite on the way to the Lambda Complex, but I figure someone will tell me eventually, or maybe not. Maybe it was the first step in bringing Breen to power, or maybe Breen was in power all through Half-Life and it was just another day at the office away from City 17, or 15, or 2.It made me think about the story as well as what kind of ammo I was using and how to sidestep and hide from army guys.
I've heard people complain about the jumping puzzles in the last third of the game, but sonny, there were jumping puzzles throughout. I lost much more health to ladder mishaps in Black Mesa than to alien beings from another dimension. It got to the point that before attempting to get on a ladder I would automatically save the game. The last third had weird alien platforms instead of broken catwalks and mountain ledges, but it was the same gameplay.
My one complaint is the giant baby-head at the end. (Is it okay to spoil a nine year old game? I know it was spoiled for me before I played, so I guess I'm returning the favor.) Fighting a giant alien baby tells me more about the designers' fears of fatherhood than about the alien race that's trying to invade Earth (or is Earth trying to invade them? That G-man guy sure does talk funny.) The actual killing of the baby-head is anticlimactic in the extreme, because it's more a factor of whether or not you have enough ammo, than any kind of gunplay. You jump into his head when it's open, and you shoot the floor (his brain) until you're out of ammo. It takes awhile, and I'm proud to say I killed the final boss of Half-Life with the pistol (because I'd already unloaded everything else into it). Aargh!
On to Half-Life 2!!!
Wednesday, June 27, 2007
Missing
Okay, so it's been awhile. I've been busily powering through games, but forgetting to take screenshots. I finally got around to this semi-ARG, Missing, and powered through that. I'm trying to put together a project on making a permanent ARG, i.e. one that you can start at anytime and it will work. Most ARGs nowadays have a set runtime (the Halo 3 ARG just started up over at Society of the Ancients and the main Halo 3 website.)
But I'm writing about Missing. It's got a great premise: an investigative reporter and his girlfriend (who turns out to be more than a girlfriend) have gone missing. The web-based documentary film company he works for received a CD, which they at first dismissed as a prank, but have found new proof that it was sent by whoever has kidnapped the pair. It's full of puzzles and it's all encyphered, and instead of turning it over to the proper authorities, they're making it available to the public at large in the hopes that someone will be able to figure it all out. It's kind of like SETI-at-home of crime solving.
It's all very creepy, and it's an old game-- four years old, in fact. It relies heavily on websites and even email in order to tell its story, so it's a good test of whether a persistent ARG can work.
It doesn't.
There are really three reasons for this, first, a sequel called Evidence: The Last Ritual has already come out (and I have it, and it's in my "to be played" pile). So, for instance, a very early puzzle tells me the answer I need to continue is at http://www.xeniph.com/ which forwards you to http://www.xineph.com/31504052414/ which is a nifty little puzzle. If you solve it (which I did), you will not get an answer that will allow you to progress on the CD. In fact, that puzzle occurs nowhere in Missing at all, so I can only theorize that it's for Evidence. Yet some provision for players of Missing should have been made. I had to consult the one and only walkthrough on the web, which told me to go to http://www.xineph.com/aze229d which actually contains the first puzzle you must solve.
The second is the nature of search on the web. The game was designed to give you fairly esoteric terms to search and have the correct website pop up in the top five results. Apparently enough people have searched the esoteric terms (including some fairly obscure proper names) that websites who game either MSN or Google to increase their hitcount have latched onto them. So the first page will be full of garbage links and maybe somewhere on page two or three you'll find the page you need. In some cases the pages are totally gone from the search results, even though the websites still exist. This makes the game quite an exercise in internet sleuthing, and I quite enjoyed finding answers to puzzles in places where I wasn't supposed to go (again according to the walthrough).
The third is that you get email from a number of fictional characters. As part of the fiction, I was paired up with another purchaser of the CD. She was a grad student working on her thesis on the Salem witch trials. I tried to get chatty with her, since I've been to Salem many times, but my email to her just bounced. So much for realism. Later I was introduced to a hacker friend of hers, who threw together some little applets that helped with some of the puzzles. My hacker buddy was so 133t that my ISP's spam filter automatically blocked anything from his address. Not to mention that my own spam filter routinely thought all the emails from the various characters were spam, I had a couple of weeks of looking through my spam bucket for hints and clues.
So the game cannot be played without a walkthrough. The shelf-life of Missing is greater than your average ARG, but it's still finite.
The walkthrough is pretty great, with hints instead of outright solutions, then links to outright solutions. It's really one of the best of its type I've seen on the web, so I was amazed when I got to the end and found this:
He is right, the ending of Missing is a slap in the face. The last two puzzles aren't puzzles at all, they're twitch games. You have to first complete a Pac-man clone, then battle your way through a top down shooter. It was as though the author (and it is a single author) thought, "Gee, what's the hardest thing I can make an adventure gamer do? I know! I'll have them complete classic arcade games!"
SPOILERS AHEAD
Once you jump through those hoops, you have to play the killer himself in a strategy game that he's made. If you lose, a bomb will go off and kill the journalist and his girlfriend. Nice stakes, and it was a decent game, but after a couple of turns, your hacker friend breaks in and tells you that he's about to locate our heroes based on the signal from this game (or some such gobbledygook), and that you should keep the killer on the line as long as possible. Well, it's a turn based strategy game, so I took a really long time trying to decide my next move. Did the killer complain? Nope, he waited patiently. Of course, I could have left the darn thing sitting there all night if I wanted, because it was a set number of moves before the hacker broke in again and told me that he'd found them and that the police were on their way! Woot! End of game.
Really.
But see, I was kicking the killer's ass. I was going to win, and I never got the chance to best him.
Then a half hour later my friend the Italian detective sends an email (apparently texting from his phone) that he's at the place and it's dark and creepy. Then a couple of hours later I get an email that says they're safe, the a sometime after that I get an email with a link to a video of the girlfriend thanking me for saving her. The video is shitty, and where's the guy?
On the one hand, the way the game is set up dictates that this is how it must end, because suddenly we're not dealing with the carefully crafted puzzles of the killer, we're trying to get people out of a warehouse, and everybody doesn't have video cameras strapped to their night-vision goggles. When they get the victims back to the police station, they're not worried about the schmoe at the computer who helped find them, they just want a cup of coffee and a blanket. So there is a bit of verisimilitude in the anticlimactic ending. On the other hand, in a game that lived or died on it's presentation and style, this was just not cool in any way. I think they ran out of money.
END SPOILERS
And you'd think that after all this bitching it's clear that this is a bad game, but it's not. It's a great premise, it exudes style, the puzzles are great, I learned stuff about European landmarks, the sound design was amazing, the films told a great story, and the lead actress was incredibly hot.
I would do it all over again. And I will, in Evidence.
The best part? Two weeks after I finished the game, long after I stopped thinking about it, I got an email from the killer.
He's still out there.
It was all part of his plan.
And he knows who I am.
But I'm writing about Missing. It's got a great premise: an investigative reporter and his girlfriend (who turns out to be more than a girlfriend) have gone missing. The web-based documentary film company he works for received a CD, which they at first dismissed as a prank, but have found new proof that it was sent by whoever has kidnapped the pair. It's full of puzzles and it's all encyphered, and instead of turning it over to the proper authorities, they're making it available to the public at large in the hopes that someone will be able to figure it all out. It's kind of like SETI-at-home of crime solving.
It's all very creepy, and it's an old game-- four years old, in fact. It relies heavily on websites and even email in order to tell its story, so it's a good test of whether a persistent ARG can work.It doesn't.
There are really three reasons for this, first, a sequel called Evidence: The Last Ritual has already come out (and I have it, and it's in my "to be played" pile). So, for instance, a very early puzzle tells me the answer I need to continue is at http://www.xeniph.com/ which forwards you to http://www.xineph.com/31504052414/ which is a nifty little puzzle. If you solve it (which I did), you will not get an answer that will allow you to progress on the CD. In fact, that puzzle occurs nowhere in Missing at all, so I can only theorize that it's for Evidence. Yet some provision for players of Missing should have been made. I had to consult the one and only walkthrough on the web, which told me to go to http://www.xineph.com/aze229d which actually contains the first puzzle you must solve.
The second is the nature of search on the web. The game was designed to give you fairly esoteric terms to search and have the correct website pop up in the top five results. Apparently enough people have searched the esoteric terms (including some fairly obscure proper names) that websites who game either MSN or Google to increase their hitcount have latched onto them. So the first page will be full of garbage links and maybe somewhere on page two or three you'll find the page you need. In some cases the pages are totally gone from the search results, even though the websites still exist. This makes the game quite an exercise in internet sleuthing, and I quite enjoyed finding answers to puzzles in places where I wasn't supposed to go (again according to the walthrough).
The third is that you get email from a number of fictional characters. As part of the fiction, I was paired up with another purchaser of the CD. She was a grad student working on her thesis on the Salem witch trials. I tried to get chatty with her, since I've been to Salem many times, but my email to her just bounced. So much for realism. Later I was introduced to a hacker friend of hers, who threw together some little applets that helped with some of the puzzles. My hacker buddy was so 133t that my ISP's spam filter automatically blocked anything from his address. Not to mention that my own spam filter routinely thought all the emails from the various characters were spam, I had a couple of weeks of looking through my spam bucket for hints and clues.
So the game cannot be played without a walkthrough. The shelf-life of Missing is greater than your average ARG, but it's still finite.
The walkthrough is pretty great, with hints instead of outright solutions, then links to outright solutions. It's really one of the best of its type I've seen on the web, so I was amazed when I got to the end and found this:
Wow. Who goes through crafting such a complete and helpful walkthrough for a game they hate? It's just one of the many mysteries of Missing.
In closing, the greatest pleasure I received from this game was ending it. It was frustrating, for the most part, exceedingly monotonous, and the constant interruptions of having to check for clues online makes one feel annoyed throughout the entire game. The ending of the game leaves room for a sequel to In Memoriam; hopefully, however, that will never happen. The ending of this game, after all of the hard work the player goes through to see what happens at the end is inexcusable I feel. After all of the build-up and torment (playing this game), it is as if the developers hand you a a piece of garbage and say: "Here, this is for your efforts." The on-scene locations, via video clips, were nice to watch although each were very brief. The graphics were nice, and the story keeps the player interested enough to want to see what happens at the end. Aside from the aforementioned good points of the game, everything else is awful. I'd recommend reading through my walkthrough (e-mails, messages from the Phoenix, spoilers, etc) for an almost complete understanding of the game. Without playing the game, and merely reading this walkthrough, you will just miss out on the frustration and annoyances of the gameplay, and the several mini-videos throughout. Ultimately, you aren't missing much in my opinion.
He is right, the ending of Missing is a slap in the face. The last two puzzles aren't puzzles at all, they're twitch games. You have to first complete a Pac-man clone, then battle your way through a top down shooter. It was as though the author (and it is a single author) thought, "Gee, what's the hardest thing I can make an adventure gamer do? I know! I'll have them complete classic arcade games!"
SPOILERS AHEAD
Once you jump through those hoops, you have to play the killer himself in a strategy game that he's made. If you lose, a bomb will go off and kill the journalist and his girlfriend. Nice stakes, and it was a decent game, but after a couple of turns, your hacker friend breaks in and tells you that he's about to locate our heroes based on the signal from this game (or some such gobbledygook), and that you should keep the killer on the line as long as possible. Well, it's a turn based strategy game, so I took a really long time trying to decide my next move. Did the killer complain? Nope, he waited patiently. Of course, I could have left the darn thing sitting there all night if I wanted, because it was a set number of moves before the hacker broke in again and told me that he'd found them and that the police were on their way! Woot! End of game.
Really.
But see, I was kicking the killer's ass. I was going to win, and I never got the chance to best him.
Then a half hour later my friend the Italian detective sends an email (apparently texting from his phone) that he's at the place and it's dark and creepy. Then a couple of hours later I get an email that says they're safe, the a sometime after that I get an email with a link to a video of the girlfriend thanking me for saving her. The video is shitty, and where's the guy?
On the one hand, the way the game is set up dictates that this is how it must end, because suddenly we're not dealing with the carefully crafted puzzles of the killer, we're trying to get people out of a warehouse, and everybody doesn't have video cameras strapped to their night-vision goggles. When they get the victims back to the police station, they're not worried about the schmoe at the computer who helped find them, they just want a cup of coffee and a blanket. So there is a bit of verisimilitude in the anticlimactic ending. On the other hand, in a game that lived or died on it's presentation and style, this was just not cool in any way. I think they ran out of money.
END SPOILERS
And you'd think that after all this bitching it's clear that this is a bad game, but it's not. It's a great premise, it exudes style, the puzzles are great, I learned stuff about European landmarks, the sound design was amazing, the films told a great story, and the lead actress was incredibly hot.
I would do it all over again. And I will, in Evidence.
The best part? Two weeks after I finished the game, long after I stopped thinking about it, I got an email from the killer.
He's still out there.
It was all part of his plan.
And he knows who I am.
Friday, May 11, 2007
Unstuck
Immediately after making that post, I went back and finished the game.
One more flaming boss.
One more flaming, mutated boss.
:sigh:
One more flaming boss.
One more flaming, mutated boss.
:sigh:
Stuck
First off, I have now determined that I cannot keep this updated during the busiest time of the year. It's been awhile since I've updated, mostly because of ARG-mania, then grading mania (more like depression).
But I've had the week off, and now that I've kicked the Oblivion monkey off my back, I dug into the backlog and booted up this gem:
I've given this away as a prize in class, and I've heard nothing but great things about it, so I suppose it was time. The conventional wisdom says that Psychonauts didn't sell because it looked too weird and no one knew what the hell it was. So let's clear that up:
It's a platformer.
If you like jumping puzzles, this is the game for you. Sure it's got quirky art direction and a story, but when you're done watching both the prerendered and in-engine cutscenes (what's up with that? Could the engine not handle some of the things they wanted it to do?) I've now been playing it for about two weeks, and I'm almost done (I think). A few things to talk about here.
Stop with the invulnerable bosses. Every boss in the game has some sort of trick, and your standard attacks generally don't work. Or maybe they work, but only when the red doohickey is showing on the boss's chest. The most egregious example was shortly after I learned telekinesis (picking stuff up and throwing it) I had to fight a giant fish. The fish kept opening its mouth, sucking everything in (including me) and then spitting it all out again to hit me with flying debris. So I figure I should probably use my newly-learned TK to throw stuff at him. No dice. Okay, maybe I have to get it right into his mouth (the soft upper-palate or something). Nope.
Off to the FAQ. [SPOILER] I'm supposed to break the boxes that are flying around with my old punching abilitie. The boxes are, coincidentally, full of tacks, and when he sucks the tacks in, they damage him. This leads me to my next gripe--
If I need a FAQ to complete your game, then maybe we're both doing something wrong. I feel like consulting the FAQ is cheating (a bit), but life is too short, guys. I don't want to have to die 35 times in order to figure out that I have to punch the box on the ground instead of the fish that's threatening me. I'm a relatively smart guy, and I can figure things out with a hint or two, but there were just too many times in this game where I was at a loss as to what I was supposed to do next.
Stop with the "This is The End- OH! No it's not! There's one more boss!" I figured out who the bad guy was, I defeated the mad scientist, I blew up the evil lair. Hell, the game even autosaved and told me this was The Point of No Return. So I should be at the last boss fight, right? No. There's a boss fight, alright, then there's an escort mission, then another boss fight, then jumping puzzles!!!!!!!!!!!!!, and then I suppose there's going to be another boss fight, or maybe something else. I don't know, I'm stuck at the jumping puzzles. I thought I was going to finish this darn thing on Monday, and here it is Friday and I'm still not done. I think I'm about done, but each challenge is just so darn difficult that it takes me ages to get by it.
For instance, before I started writing this I was stuck here:
Yes, I'm standing on a steak and I have to jump to that netting over there that coincidentally is on fire. Below me the water is rising, so I have limited time to do everything.
According to the FAQ:
Yikes! I spent all of Wednesday night trying these first two jumps. I couldn't do it. Yesterday afternoon, I nailed it. I got to the top of this series of impossible jumps. I screamed in triumph!! Then I looked for where to go next-- I jumped to a meat platform, and the waters rose and killed me in an instant.
So I did it again.
Tried to make it to a different meat platform. Died again. I've now done this most difficult part of the entire game over and over and I can't survive mostly because I have no idea where to go next!!
ARRRRRRGH.
I haven't even fired it up today.
This is why people don't buy games like Psychonauts. There is no recourse. I can't turn down the difficulty. I don't even think there are cheats. I just have to do it.
I'll do it. Eventually.
But I've had the week off, and now that I've kicked the Oblivion monkey off my back, I dug into the backlog and booted up this gem:
I've given this away as a prize in class, and I've heard nothing but great things about it, so I suppose it was time. The conventional wisdom says that Psychonauts didn't sell because it looked too weird and no one knew what the hell it was. So let's clear that up:
It's a platformer.
If you like jumping puzzles, this is the game for you. Sure it's got quirky art direction and a story, but when you're done watching both the prerendered and in-engine cutscenes (what's up with that? Could the engine not handle some of the things they wanted it to do?) I've now been playing it for about two weeks, and I'm almost done (I think). A few things to talk about here.
Stop with the invulnerable bosses. Every boss in the game has some sort of trick, and your standard attacks generally don't work. Or maybe they work, but only when the red doohickey is showing on the boss's chest. The most egregious example was shortly after I learned telekinesis (picking stuff up and throwing it) I had to fight a giant fish. The fish kept opening its mouth, sucking everything in (including me) and then spitting it all out again to hit me with flying debris. So I figure I should probably use my newly-learned TK to throw stuff at him. No dice. Okay, maybe I have to get it right into his mouth (the soft upper-palate or something). Nope.
Off to the FAQ. [SPOILER] I'm supposed to break the boxes that are flying around with my old punching abilitie. The boxes are, coincidentally, full of tacks, and when he sucks the tacks in, they damage him. This leads me to my next gripe--
If I need a FAQ to complete your game, then maybe we're both doing something wrong. I feel like consulting the FAQ is cheating (a bit), but life is too short, guys. I don't want to have to die 35 times in order to figure out that I have to punch the box on the ground instead of the fish that's threatening me. I'm a relatively smart guy, and I can figure things out with a hint or two, but there were just too many times in this game where I was at a loss as to what I was supposed to do next.
Stop with the "This is The End- OH! No it's not! There's one more boss!" I figured out who the bad guy was, I defeated the mad scientist, I blew up the evil lair. Hell, the game even autosaved and told me this was The Point of No Return. So I should be at the last boss fight, right? No. There's a boss fight, alright, then there's an escort mission, then another boss fight, then jumping puzzles!!!!!!!!!!!!!, and then I suppose there's going to be another boss fight, or maybe something else. I don't know, I'm stuck at the jumping puzzles. I thought I was going to finish this darn thing on Monday, and here it is Friday and I'm still not done. I think I'm about done, but each challenge is just so darn difficult that it takes me ages to get by it.
For instance, before I started writing this I was stuck here:
Yes, I'm standing on a steak and I have to jump to that netting over there that coincidentally is on fire. Below me the water is rising, so I have limited time to do everything.
According to the FAQ:
This is, perhaps, the most difficult section of the entire Meat Circus. To make things easier on yourself, once you are on the first fence, try to jump to the inside of the second fence and then stay on the inside of the fences. You'll need to use double-jumps and a bit of floating to get between each fence. Be sure to constantly rotate your camera to allow yourself the most direct view of each jump.And the other FAQ:
Get as high as you can before you DOUBLE-JUMP and glide to the second screen, then shimmy left some more and do similar jump to reach the third screen [this is a hard jump].Ya gotta love the stoic calm of the FAQ-writer.
Yikes! I spent all of Wednesday night trying these first two jumps. I couldn't do it. Yesterday afternoon, I nailed it. I got to the top of this series of impossible jumps. I screamed in triumph!! Then I looked for where to go next-- I jumped to a meat platform, and the waters rose and killed me in an instant.
So I did it again.
Tried to make it to a different meat platform. Died again. I've now done this most difficult part of the entire game over and over and I can't survive mostly because I have no idea where to go next!!
ARRRRRRGH.
I haven't even fired it up today.
This is why people don't buy games like Psychonauts. There is no recourse. I can't turn down the difficulty. I don't even think there are cheats. I just have to do it.
I'll do it. Eventually.
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