Designer’s Toilet

Everyone is a critic, including us. Having never been formally trained in game creation, we assume we know what design principals work best. With a completed total of 0 games between all of the staff here, we feel you should listen to us. Seriously, though, many design decisions are clearly not for the best and having over a hundred years experience of obsessively playing video games has given us some decent ideas. Tearing down isn’t as hard as building but it is usually a lot more fun. And if you’re wondering where the 100 years thing comes from, there are 500 of us and we have each gamed for at least a week.

Bad Design 4

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It’s nobody’s favorite time again, time to be anal retentive about game design! This column is usually filled with great games that messed up in a few spots. Today’s entry is different because two of the three games are barely tolerable.

Hell hounds? More like heck hounds!

Heroes of Might and Magic 3: Lack of Interesting Conflict — Heroes 3 has the same problem War Craft 2 had. You either win a tremendous victory, or get your ass completely destroyed. There is very little middle ground in the game and even fewer turn arounds. While it may be just because I suck at the game, I never start a game losing and then slowly make a come from behind victory. I build a massive force and crush the enemy quickly, get devastated, or slowly lose more and more ground with each battle. →  It’s dangerous to read alone, take this.

Let Us Cling Together: The joy of playing games cooperatively

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Imagine you’re delving into a dark labyrinth. You’re exploring the endless hallways, looking for a path leading deeper into the ruin when you’re ambushed by a dozen demons both ahead and behind. You’re certain this is the end… but then you realize your partner was trailing a ways behind you, and by now she should blasting her way through the enemies attacking from the rear. Thus assured, you unsheath your sword and charge on ahead… This is the magic of cooperative gaming.

I find it hard to get into any competitive game (with the exception of Smash Bros). The idea of playing against other people just isn’t as fun as playing alongside them. I tend to find cooperative games much more enjoyable, but it’s a much under-appreciated genre. Before the release of Half-Life, Valve promised cooperative play in the game but never delivered, instead creating only an online deathmatch mode. →  All this can be yours, if the read is right.

Ten years without a new genre

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A decade is a long time.

A few days ago in the comments to “Houston, Wii have a success story“, I made a rather old-fogey remark about re-hashes of games that I’d essentially been playing since 1992 or thereabouts. This got me thinking…when I complain about developers making the same game over and over, what I’m really complaining about is the fact that they’re making games in the same genres. Do you remember the sense of anticipation when you first played Wolf3D or Dune II? It didn’t just come from what you could do within that game – it was a realization of what that particular game meant for the future…because its underlying gameplay mechanics were simple enough and yet deep enough that they moved from being differently quirky games to inspiring an entire genre of development and expansion. →  Fire Post Wrestling Returns

Thoughts on immersion and graphics

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Is immersion really dependant upon graphics? In a recent piece, Craig theorized that this rationally follows from the assertion that attention to detail creates immersion. I think his premise is correct, but ultimately graphics and immersion are not as tied together as we would assume. Expectations are hugely important and cannot be left out of the equation.

A gamer raised on Xbox games may find it difficult to get into an SNES RPG.

Expectations can exist internally and externally. Those internal to a game have already been discussed on this site and are important, but so are external expectations. A new gamer playing a particularly detailed Atari game may not be immersed now, but had they played it first in 1984, they may have been.

Graphics and immersion are often only related when examining games from different systems and eras. →  Reading more, assemble!

A brief survey of localiztions

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Ever since the first text-based game came from Japan to American shores, those playing have wondered, “What did the original text say?”

…Well, I have, at least since I was old enough to tell the difference between “A winner is you” and real English. Hearing about and playing odd translations of games is a bit of a hobby of mine.

Thankfully, translations in general are getting much better. Voice acting is much, much better than it has been in the past, although it can still use some work. Let’s look at some localizations past and present as evidence.

Good Localizations

These games leave you with a good feel for spirit of the game. They rarely if ever have grammatical problems, and if there is any voice acting it is well-produced. The story has a feel that is consistent throughout the game. →  Fine, but this article then no more.

How we remember games

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Our long-term opinion of a game may have little to do with how good a game actually is. How we remember games is almost as important as the games themselves. The way we remember any medium greatly shades our opinions, whether it be a game, a book or a movie. Games, unfortunately, share certain properties of the other two media that make each prone to being colored by memory.

First, I will explain what about books and movies are different from video games in regards to how we remember them. Books are highly personal experiences; no one can walk by and share some of a book with you. All of the action, drama, character’s introspection and so on happens in your mind and in your imagination. In this regard, they are different from both movies and games. →  The review for ‘Shark Sandwich’ was merely a two word review which simply read ‘Read Sandwich.’

Graphics over gameplay: is it really all that bad?

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Whether or not graphics really add all that much to video games has been heavily debated in the last few years. And once the Wii and PS3 come out to steal the 360’s spotlight, we’ll surely hear about it all over again.

Though it may not seem like it due to the clever use of lighting and camera angles, the colossus is actually only an inch taller than you.

But, if we think about it logically, is there really a difference between the two? Some would say, “Of course there is! What are you, high? You can’t play with pictures!” And yes, they’d be perfectly correct. But what people don’t think about is the complementary effect that graphics can have on gameplay.

Take, for example, Shadow of the Colossus. Not exactly the prettiest title in some respects, but one cannot say it isn’t graphically intensive. →  Ratchet & Read

The pros and cons of unlockable content

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Congratualtions! You unlocked a new article. This one is on, you guessed it, unlockables and extras in games. They’ve been around for a while, but nowadays it seems that very few genres do not include some sort of rewards for the player to earn. Many gamers have respond kindly to this, so much so that a lack of bonus content may actually hurt a game in a review.

However, not everyone considers them rewards. There is a strong group of gamers who seem to greatly dislike unlockables, citing that a person who has spent hard earned money on a brand new game should have access to all its content without jumping through hoops. I’ve seen the debate rage on many times, but I’ve never been able to determine which side is right. →  The post still burns.

Bad Design 4

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Today I’ll be complaining about the excellent KoToR, the ancient Heroes III and the crappy Samurai Western. As usual, I lied last time when I said this entry would be looking at an issue in Final Fantasy X. Maybe next time.

Hit A. HIT A!

Knights of the Old Republic: Bad Immersion — The characters in KoToR (for the Xbox) make reference to your controller. This makes no sense whatsoever and derails any believability. It is the equivalent to an actor in a movie showing the script to the camera and asking the audience to take a look at line 36. Some comedies do this and even pull it off (Mel Brooks writes excellent jokes about the characters being aware that they’re not real) but in serious drama it should probably be avoided. →  One must imagine video games happy.

Games that shed a tear

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The issue of whether or not a video game can make us cry has been tackled several times in the past, but the issue has still not been given its due. Can video games truly impact a player with a fury of emotion, causing them to cry? Depending on the game, I say yes.

Many people say that games are wholly incapable of causing emotion in people, as seen in Margaret Robertson’s speech at this year’s Edinburgh Interactive Entertainment Festival. She cites games that made her feel a lot of emotion, but states that video games as a whole are not emotional. They’re just ones and zeroes. The players are the source of the emotion, and that you have to tap into their emotion to get a response. She seems to paint a picture that designers are not adept at doing this just yet. →  PaReader the Reader