LimitlessUnits.com » Comparison

How to Make Your Shooter Level Successful

Tony Huynh — Thu, 04 Jun 2009 04:00:43 +0000

Posted by Tony Huynh.
What makes a first-person shooter level successful. While I can easily fill a few books with the answer to that question, I will instead narrow the focus to two aspects that I feel are important in the creation of a good level. The first is building and maintaining an interesting world and the second is to construct good pacing and varied player experiences. I will begin by defining these concepts and then use a walkthrough of Bioshock’s brilliant opening level Welcome to Rapture as an example of how to do both of these aspects well.

Build and maintain interest in your world
Story

The first thing that builds interest in your world is story. Bioshock constructs a mystery story by asking questions and providing answers slowly. Mysteries not only build interest in your game, but also serve as an impetus to pull players forward through the game. A good mystery needs to strike a balance between asking questions and giving answers. Ken Levine stated, “We think of the mystery balloon, you have to tap it up to keep the audience interested, but if you tap it too high you’ll lose your audience… and if it gets too low. I underestimated the impact of resolving the ‘who is Andrew Ryan?’ question too early. We learned a big lesson there.” When the player is unraveling a mystery, interest is generated and maintained through making the player ask questions and slowly answering these questions as the player progresses. While questions are more interesting than answers, answers need to be doled out regularly to prevent the player from becoming frustrated and giving up. Giving too many answers solves the mystery which causes the story to lose its pull.

Mise-en-scene and Set Dress
Story can also be built through the use of mise-en-scene. Mise-en-scene literally means “putting on stage,” but in the case that I am using it now it is the placement and arrangement of set dress objects (signage, props, ragdolls, etc.) to tell a story. These little touches help flesh out the story and draw the audience into the world. Set dress and interesting things for the player to look at also serve to slow down the player and the pacing as the player will have to stop in order to look at them. Set dress objects are best served in areas that have low tension that do not provoke urgency for the player to move. I will be calling these instances out in the walkthrough of the level.

Immersion
Immersion is when players lose themselves and forget that they are playing a game. To do this successfully the level, AI and mechanics of the game have to look, behave and react as realistically as possible so that the player is not reminded that they are playing a game. Realistic water, particle and physics as well as AI that interact with each other and are doing things outside of waiting for the player to show up go a long way in selling a living world and creates an immersive experience. Bioshock also maintains its immersion by never breaking the first-person perspective. While this is a system and not a level mechanic, it is vitally important to how successfully Bioshock sustains the game’s immersion.

One often overlooked way of supporting immersion are player objectives. When objectives make sense and are rational to what the player would do if placed in the same situation it helps greatly in maintaining immersion for the player. When objectives fail to make sense to the player, immersion is broken. While Bioshock generally does a good job with objectives, one example where it seemingly failed was the objective of stabbing yourself with a syringe and injecting yourself with an unknown substance (plasmid) in the level Welcome to Rapture. Although this action is explained later in the game, at the time I thought to myself why would any rational person do that? It tore away my immersion with the game, but was effective for the later story plot and was memorable because of how out of place it was.

Varied Player Experiences
The level Welcome to Rapture largely owes its success to how many different well-constructed player experiences it provides. Pacing, atmosphere and mood tie into player experiences directly. When players speak about pace, atmosphere and mood they are generally describing how they feel while they are playing. I will start by listing a few ways that a level can dictate the player’s experience and then go on to show how Bioshock’s opening level uses these elements to vary the experience for the player.

Objectives
Objectives can push the pacing of the level. An objective that is clearly defined and is rational for a person under the circumstances like Welcome to Rapture’s “get to higher ground” helps drive the player forward eagerly and with a purpose.

Objectives not only impact immersion and pacing, but also the tone of a level. Compare the tone of “Escape from Rapture” and “Kill Andrew Ryan” and you can see how the tone has been changed. When the objective is to “escape,” it places the player in the role of the prey, while “killing” has the player in the role of the predator. In this instance the objective of “get to higher ground” and escape from Rapture helps support the type of frantic tone and mood that the developers intended for the beginning of the game.

Setting
Changing to different settings will help with both pacing and maintaining interest in your world. A new setting prevents visual fatigue and helps the player feel like they are making progress through the game. The more dramatic the shift in scenery the better. The shift in surroundings should make logical sense otherwise immersion will be broken. Note the frequency in which settings are changed in the first level of Bioshock.

Tension Level
Tension is the player’s perceived level of threat. There are a number of ways to manipulate tension levels as I will illustrate in the following sections. Keeping the tension level high is interesting and exciting for the player. However, keeping the tension high for an extremely long period of time without a periodic release causes the player to become numb and the tension will start to lose its power. Occasional releases in tension will actually ease a level designer’s ability to create tension.

Physical Space and Lighting to Increase and Limit Options
One of the most important tools in directing pace is the use of physical space and lighting. Tight linear corridors focus the player and create a faster pace by reducing the player’s options. On the other hand, larger spaces or spaces with multiple routes slow down the pace and promote decision-making and exploration. A proper mix of different sized spaces helps keep the experience varied.

Lighting plays a large role in how large a space feels. Absence of light dissuades players from going to and exploring areas. A level designer or artist can actually shrink levels and spaces gameplay-wise by taking out lights on the periphery, thus creating a tighter and more directed path. Conversely, brightly lit rooms inherently feel safer and encourage players to linger for longer.

Large elevation changes can inspire awe by enhancing drama and scale. Bioshock’s first level uses this technique to great effect in both the bathysphere ride down into Rapture as well as the elevator ride up to higher ground.

Lighting and Color to Set Atmosphere and Mood
As I have already mentioned brightly lit rooms tend to feel safer, conversely darker rooms promote a feeling of tension because the surroundings are unknown to the player. In general, levels in Bioshock are dark with contrastingly lit areas to enhance a feeling of paranoia and tension. Bioshock varies the level of tension by sprinkling in brightly lit rooms as a release and the occasional scripted event where the lights turn off altogether to dramatically ratchet up the tension.

Mood can also be created with the color of the lighting and environments. People generally connect colors like red with danger, green with sickness and blue with security.

Landmarks, Lighting and Audio to Direct Player Movement
Landmarks, lights and audio can provide navigational reference points for the player and draw attention to specific areas of a space. The player will move towards a light, landmark or sound and then pause to take note of their surroundings before moving to the next navigational point. These guideposts can be used to encourage or discourage player movement and exploration; therefore they can greatly affect a scenario’s pace.

Music and Audio
Music and audio can be used to enhance the experience that the level designer intends for the player to have. Whether the mood you are trying to create is creepiness, action or awe, music and audio are very useful ways to help in achieving it.

Item Collection
Having an item collecting and scavenging mechanic like the one present in Bioshock will slow the player down and promote exploration. Limiting your player’s available ammo and health and constantly keeping them on the brink of running out raises tension.

Wow Moments
Large scale scripted events a.k.a. wow moments can raise a player’s excitement level and inspire a sense of awe. They are generally expensive from a production standpoint, but add a real punch to varying the player’s experience. The Call of Duty series is well known for exploiting the power of wow moments. Wow moments tend to slow players down as they watch the event unfold, but this is not necessarily always the case as I will point out in the level walkthrough.

Combat
Combat provides an easy way to raise the pace of a level. The player experience during combat needs to be mixed up to prevent boredom. There are many techniques to mix up combat, but for this article I will only touch on the introduction of new weapons and enemies. For more information on improving combat through variation please see my article “How to Improve Your Shooter Combat.”

New Weapons
New weapons extend the capabilities of players and offer a new experience for a period of time as the player experiments with the weapon to discover its strengths and limitations.

New Enemies
Together with new weapons, new enemies are some of the most important ways of changing the dynamic of combat. When faced with a new AI, players must experiment and discover the strengths and weaknesses of the new enemy. The player must then adjust their tactics to deal with the new threat. The new enemy AI offers scenario designers the opportunity to mix in the new enemy type with the already introduced AI thereby creating new variations on old encounters.

Welcome to Rapture Walkthrough
Airplane Cabin
Narrative questions: Who am I? Where am I?
Narrative answers: I am Jack. It is 1960. I’m on an airplane above the Atlantic.

The first setting that the player is in is aboard an airplane. The scene begins with a shot of a smoke filled cabin of an airplane. The strangeness of this fact creates a moment of unease in the player. The player’s unease is lifted immediately when Jack raises a lit cigarette up and explains away the smoke. The sight of a person smoking inside of an airplane immediately roots the player firmly in the 1960 setting. Jack’s monologue and back story subdues the pace.

Atlantic Ocean
Narrative questions: What is a lighthouse doing in the middle of the Atlantic Ocean?
Narrative answers: None

The setting changes from the plane’s cabin to underwater for a few tense moments as the player watches in first-person as propeller blades and various other objects float through the scene and the player struggles to the surface of the water for air. The player associates the green water underneath the surface with a feeling of sickness. The setting transitions again to the surface of the ocean. The playable space here is small being hemmed in by fire and the path out is clearly marked. The opening in the surrounding fire beckons the player to keep moving. Fire races across the screen directing the player to look right to see the lighthouse landmark. The blinking light is another navigational cue to keep the player directed.

Lighthouse Interior
Narrative questions: Who is Andrew Ryan? What is this place?
Narrative answers: None

Another big setting change occurs here as the player transitions from the water into the dark interior of the lighthouse. The door closes behind the player and the player is in near complete darkness. When the lights turn off the player will generally pause and stop. This creates a moment of tension and builds fear through the unknown. After the lights turn back on the pacing slows down. The space offers the player a lot of things to see like the Andrew Ryan bust and art deco wall decorations and consequently slows down the player. The brightly lit bathysphere draws the player to it.

Bathysphere Ride
Narrative questions: Why is there a city built underwater?
Narrative answers: The lighthouse is an entrance to the city of Rapture. Rapture is a utopian city based off of objectivism founded by Andrew Ryan.

Lots of exposition by Andrew Ryan answers questions regarding the founding of Rapture. The bathysphere ride is designed to inspire awe and wonderment for the city of Rapture. As I mentioned before, changes in altitude can aid in selling drama and scale. The blue surroundings of the ocean and city promote a mood of security. The ride accomplishes the mood and atmosphere of awe through the use of music, changes in altitude and a synched to music beautiful reveal shot.

The first clue that something might be amiss is when the sign “All good things of this Earth flow into this city” blinks and shorts out.

First Encounter
Narrative questions: What happened here? How did Rapture meet its downfall? Why did that mutated freak kill that Johnny? Who is Atlas? Why is Atlas helping me?
Narrative answers: None

The tension and pace here is ratcheted up incredibly high in a hurry. There are a number of reasons for this that I will call out specifically.

The Spider Splicer is revealed. A blinking light gives the player brief glimpses of a Spider Splicer killing a man with hooked weapons. Following that the Splicer leaps atop the bathysphere and attempts to penetrate the hull of the vessel to attack the player before giving up and leaping into the darkness. The bathysphere’s door opens and the unarmed player is told by Atlas to keep moving and to “get to higher ground”.

Getting to higher ground is a reasonable objective considering that the player just witnessed the Spider Splicer gruesomely murder a man and the player has no weapons. This makes the pacing and tension high, which is a good change from the awe inducing bathysphere ride into Rapture.

Outside the door of the bathysphere the tight linear corridors reinforce the fast pace implied by the objective. It does this by focusing the player and reducing their options. The space is shrunk further by being darkly lit with the exception of the intended path. The absence of light on the edges of the space makes it feel tighter than it actually is and the darkness dissuades players from going to and exploring areas.

The mood is even tenser because of the disappearance of the Spider Splicer. Audio is used to great effect here in creating a sense of tension. The player is able to hear the Spider Splicer singing and taunting the player, but the Splicer is nowhere in sight. A blinking television screen serving as a navigation marker draws the player to it. Here the player pauses to assess the situation, but not for too long because of the implied danger. A light turns on showing the Spider Splicer. He is chased off by a security bot relieving the tension. With the Spider Splicer gone, the pace lowers and the new light draws the player to the next area. The player is given a safe environment to go through the Jump, Pick Up and Melee tutorials, which is a release and slows the pacing down further.

The arranged protest signs placed outside of the bathysphere serving as clues of dissention against Andrew Ryan are lost on the vast majority of users because the perceived danger from the Spider Splicer above, the tight corridors and blinking light from the TV cause tension to be high and the player to be directed. The player is encouraged to move fast out of this space. To really get the point across I would have placed more signs closer to the flashing television screen. Players tend to stop moving to take in their surroundings once they reach a destination.

Desk on Fire
Narrative questions: None
Narrative answers: None

The flaming desk pushed down the stairs scripted event raises the tension and pace. Combat with the Splicer keeps the pace high. After he is defeated the pace drops back down.

Gatherer’s Garden Room
Narrative questions: What is wrong with everybody here? Who is that little girl and big guy with the drill?
Narrative answers: Plasmids give the player powers.

The physical space of this room is wider than the previous room. The size of the space coupled with the scavenging mechanic promotes exploration and slows down the pace. The sparking electricity on the door draws the player’s attention to it, but the player quickly realizes that the door is not yet an exit. The use of audio calls from behind the player helps them pinpoint the location of the Gatherer’s Garden vending machine. The giant arrowed plasmid sign does not hurt either. As I previously mentioned the objective of stabbing and injecting yourself with an unknown substance breaks the immersion. The first-person cinema creates tension because the player is helpless to defend themselves and his life is threatened twice during the sequence. The Little Sister and Big Daddy are introduced. The Electrobolt Plasmid is introduced.

Tube Flooding Wow Moment
Narrative questions: None
Narrative answers: None

While most wow moments slow the pacing of the game down as players stop to observe these events, the plane crashing into the tube actually raises the sense of urgency by giving the player the feeling that they are in danger.

The linear corridor presents few options and keeps the player moving. The tension is amped up by the cracks appearing on the glass wall and vault door buckling followed by water pouring through the cracks. All of these events imply danger and encourage constant movement by the player. The realistic water effects preserve the immersion. This wow moment does the job of creating a memorable and exciting scene that varies the player’s experience.

One-Two Punch Tutorial
Narrative questions: None
Narrative answers: None

Entering into this room the player will see that the room is bathed in red light, which warns the player of danger. Combat ensues and the pace is raised for its duration. The arrangement of the corpse underneath pouring water with the protest sign, briefcase and liquor beside him tells a story and keeps player interested in the world.

Elevator Crash
Narrative questions: None
Narrative answers: None

Once inside this room the player will see an elevator crashing. This wow moment slows down the pacing. A brief combat encounter with a man on fire ups the tempo for a short time. The space opens up into a well-lit larger room. Larger spaces have more area to explore and slow down the pacing and well-lit rooms promote players lingering in a place for longer.

Elevator Ride Up
Narrative questions: None
Narrative answers: Atlas is helping the player because his family is trapped and he needs the player’s help to free them.

The elevator ride provides an opportunity to update the objectives as well as remind the player of the scale of Rapture. The altitude change emphasizes scale and drama. Music is incorporated to sell this awe factor. The player’s objective is updated from a plea by Atlas to go to Neptune’s Bounty to rescue his wife and daughter. This objective will set the stage for animosity between the player and Andrew Ryan when Ryan kills Atlas’ family, thereby easing the player into accepting (as not to break immersion) their next objective and the tone change that accompanies “kill Andrew Ryan.” The overall objective of escape from Rapture still stands.

Baby Carriage
Narrative questions: None
Narrative answer: The inhabitants of Rapture were driven insane by the use of plasmids.

Here the player finds a brief scripted moment where a woman is hovering over a baby carriage and singing a lullaby. The shadow of the female Splicer and baby carriage are splashed along the wall and can be seen well before the actual Splicer and carriage. The shadow forewarns the player and allows them to stop and become a voyeur. By listening to the lullaby and woman speaking to the baby carriage the player witnesses the extent in which plasmids have deranged the populace. Eventually the player must engage in combat with the Splicer. This scripted event hints that there is a living breathing city here and maintains the immersion.

The pistol is introduced.

Kashmir Restaurant
Narrative questions: What happened here?
Narrative answers: There was an attack by Fontaine’s men on New Year’s Eve.

When the player enters into the Kashmir restaurant they find a male Splicer banging on a door and in an argument with a female Splicer. This is another very simple scripted event that goes a long way in building the player’s interest in Rapture. It gives the illusion of a living world by giving AI lives outside of waiting for the player to show up.

The Kashmir restaurant is a wide space that has many items for the player to collect and a lot of things to look at, which slows down the pace.

There are not many outward signs that anything bad has happened here until you go downstairs. The music is playing and the place is decorated festively. Bright colors, party hats and balloons that pop and leave behind a shower of confetti are scattered about the room. This room’s festive décor is in stark contrast to the previous environments and is a nice setting change.

After the Splicer and his wife are dealt with the pace slows. The ghost in the bathroom keeps the player vested in the story. The Splicer in the bathroom stall punches the pace up with combat for a short while. The signs of battle are much more prevalent down stairs. Signs here are askew, the lack of lights in the kitchen make it really foreboding. Within the kitchen is a man slumped over with a cash register. The player can start to invent their own stories about him. The Electrobolt plasmid with water tutorial takes place. Violin music adds to the sense of foreboding.

Footlight Theater
Narrative questions: None
Narrative answers: Questions about the relationship between the Big Daddy and Little Sister and their purpose are answered.

When the player enters into this area they will see a Little Sister and notice that the room is a bright crimson red because of the carpeting. This helps the player to make the connection that the Little Sister is dangerous. Exposition regarding the relationship of the Little Sister to the Big Daddy and how they fit into Rapture’s ecology is explained. Combat with two Splicers again raises the tempo. There is another pre-fight scripted event of two Splicers looting the Big Daddy’s corpse and more combat. There is a drop down here which prevents the player from backtracking, thereby keeping the player more directed.

Rapture Metro
Narrative questions: Why is Andrew Ryan against me?
Narrative answers: None

There is sustained combat here. Access to Neptune’s Bounty is shut off by Andrew Ryan. A frantically voiced Atlas tells you to get to Neptune’s Bounty by way of Medical. The objective to get to medical happens because Andrew Ryan has prevented you from getting to your destination. This builds animosity with Andrew Ryan and sets the player up against the antagonist and prepares the player for the next overarching objective of killing Andrew Ryan. If the objective from the start is to kill Andrew Ryan who has not opposed the player in at least a few turns then you will lose the buy-in of your player and immersion will be broken.

Andrew Ryan’s Trap
Narrative questions: None
Narrative answers: Andrew Ryan is trying to kill the player because he believes he is from the KGB or FBI.

When the player enters into this room Andrew Ryan closes and locks the door on the player. The lights turn off and the player is in darkness for a short time for an immediate rise in tension. Following this Andrew Ryan speaks to the player accusing them of being from the KGB or CIA. There is implied danger to create additional tension when the Splicers try to break through the windows. The level ends when the door is opened by Atlas and the tension is relieved with the player being given an exit.

Conclusion
Welcome to Rapture is a successful level because it builds an interesting and immersive world and pays attention to constructing a variety of complete player experiences. By going through the walkthrough of the level, one can see just how many techniques are being used to direct the player experience. Although from a production standpoint it is expensive to pack so many setting changes, scripted events, wow moments, new enemies and weapons into a single level, there are many ways to direct the player experience less expensively. The important takeaway is that a big part of a level’s success depends on the player’s experience and to occasionally change the current experience to keep the level fresh and enjoyable.

How to Make Your Shooter Combat Better

Tony Huynh — Sun, 05 Apr 2009 03:34:59 +0000

By: Tony Huynh

I was asked the question, “how could Bioshock’s combat be improved?” I thought about it for a while and I am going to propose some possible fixes for the shortcomings of Bioshock in this area. While this is geared towards Bioshock, it can just as easily apply to other games featuring first or third person combat. Some of these solutions may be drastic and change the tone of the game, but I wanted to put them out on the table to promote discussion. The root of the problem with Bioshock’s combat is the lack of necessary tactical decisions for the player. The aim of this article is to see why this is the case in the areas of weapon, AI, level and system design and present some possible solutions to add a greater variety of necessary tactical decision-making for the player as well as offer other improvements to Bioshock’s combat.

1) Balance weapons and plasmids around a Paper / Rock / Scissor system

A weapon in a Paper / Rock / Scissor system is balanced around the idea that weapons have strengths and weakness and that each weapon plays a defined role during combat. For instance a sniper rifle is strong at long range, but weak at medium and short-range, while a shotgun should be strong at short-range and weak at medium and long-range. If a player enters into a long-range engagement armed with a shotgun, they will be at a gross disadvantage against an opponent with a sniper rifle. The player must then choose whether to close the distance to take away the opponent’s advantage or switch to a different weapon. The weapon’s strengths and weaknesses can be affected by any number of circumstances and not just range. An example is in Halo, ballistic weapons do more damage against flesh targets and energy weapons do more damage against shielded opponents on top of their PRS range-based system. Obviously a balanced PRS system precludes any one weapon that is the best in all situations.

The current state of Bioshock:
In Bioshock, the Paper / Rock / Scissor system is not clearly defined. 99% of the engagements in Bioshock occur at short and medium-range and most of the weapons and plasmids are good at both ranges. Despite Bioshock’s shotgun being only usable at short-range, it does little damage at short-range and the rate of fire is extremely poor making it a non-viable weapon later in the game. While Bioshock presents a lot of options to the player, the player is never enticed to use these other tactics because every encounter can be handled with the Electrobolt stun to gun combo. This combo is one of the safest and most effective ways to dispatch every type of enemy in any situation in the game. There are no weaknesses to this combo as none of the AI are resistant to it and it can hit at both medium-range and short-range.

Another key component of the PRS system is that there are tradeoffs to which weapon the player chooses to carry with them. Even if Bioshock’s weapons followed a PRS design, the player in Bioshock always has access to all the weapons introduced up to that point in the game. This removes an additional layer of tactical decision-making because the player is always carrying the perfect weapon for the situation in their inventory.

Proposed solutions:
1. Define the roles of the weapons and plasmids in Bioshock to fit into a clearly communicated three category closed-loop (PRS) system, whether it is ranges or some other system.

2. If the solution is ranges (short, medium and long) it will be necessary to change level databases to intersperse long range engagements.
a. This is extremely risky because it will affect the atmosphere and feel of the game. The benefit would be that it will add some variety to the combat.

3. Limit the player’s weapon choice down to fewer weapons and plasmids. My suggestion is two of each. By giving the player only two weapons and two plasmids the player will always be weak in at least one of these three categories and they will have to make a choice on which weapons and plasmids to carry.
a. This will have the side-effect of alleviating some of the problems with the clumsy weapon and plasmid selection I mentioned in my last article as the player can now comfortably alternate between two instead of eight selections.

4. There are Gene Banks to swap out genes; how about Weapon Banks to swap out weapons? Create Weapon Banks and place both Gene Banks and Weapon Banks liberally through the levels to allow the player to swap out weapons and plasmids frequently.

2) More Enemy AI Variety
Introducing new enemy AI that have different personalities, behaviors, strengths and weaknesses changes the dynamic of combat and greatly benefits a game’s pacing. When faced with a new AI players must experiment and discover the strengths and weaknesses of the new enemy. The player must then adjust their tactics to deal with the new threat. The new enemy AI offers scenario designers the opportunity to mix in the new enemy type with the already introduced AI thereby creating new variations on old encounters.

The current state of Bioshock:
The wholly inadequate number of enemy variations in Bioshock are all frontloaded into the beginning of the game. By the middle of the title the player’s have been introduced to every enemy type and as a result the rest of the game’s combat pacing suffers.

Proposed solutions:
1. One way to add more variety to the enemies is to arm more Splicers with different Plasmids. Imagine an Electrobolt plasmid using Splicer that was also resistant to Electrobolt attacks, but weak against the Insect Swarm plasmid. Giving specific varieties of Splicers resistances to specific plasmids and weapons would have added depth to the tactics employed by players. This would at the very least force the player to change up the aforementioned Electrobolt to gun combo technique on occasion.

2. Design and create new AI with different personalities, behaviors, strengths and weaknesses and space out their introductions throughout the course of the game.

3) Differentiate AI silhouettes to aid player planning
One of the most effective ways to convey what type of enemy the player is facing is through having drastically different silhouettes between enemies. Silhouettes assist players in being able to tell enemies apart quickly, and in turn formulate a plan on how to tackle a situation more accurately.

The current state of Bioshock:
This is an area that Bioshock does not do well. The Houdini, melee and gun wielding Splicers are all difficult to tell apart at a glance because their silhouettes are so similar. Having unique silhouettes for AI is even more important because of how dark the levels are in Bioshock.

Proposed solutions:
Now that we have a greater variety of enemies that require different tactics to defeat, we need to communicate the variety of enemies to the player quickly and effectively. Gears of War 2 does an excellent job of having easily recognizable enemy silhouettes. Scroll through their enemy list to see what I mean.

A key difference with Bioshock and Gears of War 2 is that the enemies are more human in Bioshock. While this makes the solution a bit more difficult, it is not impossible. An example of widely divergent human silhouettes can be seen Valve’s Team Fortress 2.

4) Have pre-fight AI scripting throughout
How a player perceives an AI’s intelligence is determined by what an AI is doing before a battle as much as what they do during the fight. While this does not directly affect giving the player additional tactical choice, pre-fight AI scripting helps make the AI look smarter and this will always assist in making combat more enjoyable.

The current state of Bioshock:
This is an area that Bioshock excels at especially at the beginning of the game. AIs in Bioshock have lives outside of waiting for the player to show up. The Splicers whistle, have conversations with themselves, take their imaginary babies on strolls and even dance with each other. This is one of the best examples of a game with the illusion of a living world. This is not easy to do and requires tremendous development resources, which is why it is not often seen in games. The problem in Bioshock is that pre-fight scripting falls off dramatically in the middle through the end of the game.

Proposed solutions:
More pre-fight AI scripting is needed during the middle and late stages of the game. If this is not feasible I would suggest spacing out the densely scripted pre-fight AI in the first half and spreading these through the course of the game so that there is not such a lull in the middle to end of the game.

5) Leaders with underling breaking behavior
This is a technique that was pioneered by Total War and brought over to the first person shooter genre by Halo. Whenever a much more difficult to kill Elite in Halo was defeated, the grunts in Elite’s squad would break and scatter. This added depth and tactical choice to target selection in combat.

The current state of Bioshock:
There are no leaders in Bioshock. In fact, the AIs seem to act completely independently from each other.

Proposed solutions:
1. This could be simulated in Bioshock by having the aforementioned plasmid infused Splicers serve in the role of leaders and if they are killed, the other Splicers will break and flee or simply cower and beg for their life.

2. “Wherever possible, we try to make the vocalizations a dialogue between two or more characters, rather than an announcement by one character.” J. Orkin – States & a Plan: The AI of F.E.A.R.
a. By including communication between AI whenever possible, it will make the AI at least have the illusion of working together.

6) Raise the hit points and damage dealt by your AI
This is taken from the 2002 GDC talk The Illusion of Intelligence by Jaime Griesemer and Chris Butcher. Through playtests and surveys conducted by Bungie Studios, they discovered that tougher AI (higher hit points and higher damage dealt) created the illusion that the AI was smarter.

Combat almost always benefits from the illusion of smarter AI. If the combat is too challenging however, accessibility will suffer. So making the AI tougher can only be pushed up to a point.

The current state of Bioshock:
Through the course of Bioshock the player becomes stronger by accumulating and upgrading health, eve, weapons and plasmids. The result is the enemy AI is tough at the beginning of the game, but gradually became weaker through the course of the game. Bioshock in turn occasionally scaled up the same exact AI in difficulty to accommodate the growth in power of the player. This made for uneven difficulty in the game and by scaling the difficulty of the same AI, Bioshock nullified some of the player’s sense of advancement. Nonetheless, by the end of the game the combination of player familiarity with game mechanics and avatar upgrades made the AI too weak and in turn caused the player to be left with a lowered opinion of the AI and consequently of Bioshock’s combat.

Proposed solution:
1. Create easily recognizable skins for upgraded enemies to communicate to the player that they have been upgraded.
2. Introduce new AI later in the game that is already scaled to the appropriate difficulty level of where they are introduced.
3. Maintain the frequency of player upgrades, but lower their potency.

7) Call in the reinforcements!
The way AIs are introduced can make them appear smart. AI that call for reinforcements when they see the player or if an AI is seemingly the last enemy in a scenario and calls for back up and they arrive make the AI feel intelligent.

“For example, when an A.I. realizes that he is the last surviving member of a squad, he says some variation of ‘I need reinforcements.’ We did not really implement any mechanism for the A.I. to bring in reinforcements, but as the player progresses through the level, he is sure to see more enemy A.I. soon enough.” – J. Orkin – States & a Plan: The AI of F.E.A.R.

F.E.A.R. relies on the player’s assumptions to create the illusion of intelligence, but this could just as easily be scripted in the game.

The current state of Bioshock:
I do not recall any AIs in Bioshock ever calling for back up.

Proposed solution:
Create occasional scripted moments where the player happens on a lone Splicer and she calls for help and additional Splicers come through a door or run downstairs to assist her.

8 ) Make the AI predictable
AIs need to have predictable behaviors so that players can recognize and use their patterns to outsmart them and thereby feel good about themselves.

The current state of Bioshock:
This experience came from my playthrough of the game. I had entered combat with a pistol armed Splicer, but moved away to where he could not see me, but I could observe him. He would move to the last place that he saw me to investigate, once there he would stay in his alerted state and begin a patrol. During his patrol he would stay at a constant speed (good), but would seemingly at random (bad) turn 180 degrees and start walking the opposite direction.

My goal was to sneak up behind him to use my wrench. Because he would randomly turn around 180 degrees my attempts were not always successful. Even if I manage to get to him the Splicer becomes aware of you at around 3 meters and immediately turns around to react disallowing the player the advantage of the first hit with the wrench. Let me outsmart the AI!

Proposed solution:

When an AI loses sight of the player they should move at a constant speed and never turn around 180 degrees. The AI should also not have the ability to see the player behind him (extrasensory perception) when at close range. Keeping AI actions predictable is the goal. Having predictable AI allows the player to recognize behaviors through observation and outsmart the AI.

9) The use of gameplay space and cover to create tactics
I have saved the discussion regarding cover usage and placement until now because it so fundamentally changes the way Bioshock plays and it carries the most risk. This should not be a direction that is taken lightly and without serious consideration and playtesting.

Make cover matter
Cover in shooters can be used to direct the flow of combat as well as promote tactical space analysis and decision-making by the player.

The current state of Bioshock:
Cover in Bioshock is used very little to direct battles and create fronts against enemies, the most effective way to deal with enemies I found was by standing out in the open and strafing left and right while firing.

There is very little half-cover in Bioshock, so crouching behind cover is not an option most of the time.

Proposed solution:
One of the easiest ways to promote the usage of cover for players is to have consequences for them for not doing so.

I took a look at a few other games that are praised for their combat to see what they did. I performed some tests to figure out how long it took three different games to kill the player. Each test was performed by standing the player perfectly still out in the open at medium range (my best guess at 8 meters).

Bioshock
In Bioshock, at the end of Smuggler’s Hideout, it took an average of 15 seconds to die from 3 pistol armed Splicers and 1 Spider Splicer on normal difficulty from a full health bar.

Halo 3
It took an average of 7 seconds to die from the very first engagement in Halo 3 on Heroic difficulty (the recommended difficulty).

Call of Duty 4
In Call of Duty 4: Modern Warfare it took an average of 4 seconds for two AI to kill the player when he is standing out in the open on Normal difficulty in the second engagement of Blackout (the first mission in Act 1).

This means that in Halo 3 the player dies more than twice as fast in the very first engagement of the game and in Call of Duty 4 the player dies over three times faster when compared to Bioshock at about the one quarter mark of the game where the player is up against an unusually large number of enemies. Without the immediate threat of death the player is not as willing to seek cover in Bioshock.

Encounter space design
Spaces should be designed to accommodate as many different types of playstyles used by players as possible.

What type of playstyle do you use? Do you like to sit back in cover with your medium and long range weapons and slowly whittle down the enemies? Do you sneak around the side and flank your opponent with close range weapons? Are you Rambo and want to run out in the center with guns blazing? Maybe you just want to use cover to sneak past the enemies and avoid the encounter entirely.

“Building a successful course then becomes a matter of understanding these different demographics and designing with each of them in mind.” – What SimGolf Can Teach You about Designing the Perfect Level by Alex J. Champandard

The current state of Bioshock:
While I am not saying that all the encounters in Bioshock did not allow for different playstyles, in fact some of them did this quite well, but there were far too many coverless corridors populated with enemies where the player’s options were limited to simply strafe and fire.

Proposed solutions:
The key to accommodating a wide range of playstyles is making sure that there is “interconnectivity” in the combat spaces.

“It’s very important to make spaces that highlight the strengths of your AI. A battle in a corridor doesn’t involve much strategy so there are no intelligent things for the AI to do. An interconnected space allows the AI to flank the Player, making them seem more intelligent. It also allows the Player to flank the AI, giving him a chance to watch them react to his tactics. One weakness of an interconnected space, however, is that it tends to be chaotic. So we also needed to establish a Killing Zone, an open area between two positions with good cover. Flanking is still possible in an environment with a killing zone, but the battle is much more directed. The killing zone also allows multiple enemies to fight at once without it degenerating into chaos.” – The Illusion of Intelligence by Jaime Griesemer and Chris Butcher

This is a combat space in Fracture that I worked on.

I attempted to design the space to accommodate different playstyles.
• Note the cover placement to create battle lines and the killing zone to keep the battle orderly.
• The sniping spot is for those that want to sit back with a long ranged weapon like the sniper rifle.
• Battle line 1 is to allow the option of medium ranged weapons.
• Note the flanking routes to allow for the player to flank the enemies and the AI to flank the player.
• I did not accommodate a way to avoid the encounter entirely, but in hindsight maybe I should have or at least have given it some more thought.

Cover placement is very important in providing opportunities for players to tackle encounters the way that they want to. Having a mix of battles take place in open areas as well as tight confined spaces and corridors will add variety to the gameplay to keep the player from becoming bored.

10) Use large-scale cinematic scripted events in combat
Large-scale cinematic scripted events like explosions, buildings toppling and helicopters crashing add excitement and help to break up the monotony of combat. Few games do large scale scripted events in combat as well as Call of Duty 4. The real trick is to make sure that players see these events.

The current state of Bioshock:
While there are certain big moments that happen in Bioshock, the Airliner cabin crashing through the walkway tube comes to mind, there are not any that happen mid-combat.

Proposed solutions:
1. Place enemies defending the hallway where the airline cabin comes crashing through. Have them get killed by the airline cabin collision.
2. Come up with and implement additional cinematic scripted moments that occur in combat.

11) Death for a player should not be meaningless
Combat does not work without the fear of consequences. When death is meaningless, the need for the player to use tactics is diminished. Conversely if death is too harsh, players will never want to experiment with anything but tried and true methods. A balance needs to be struck.

The current state of Bioshock:
The current implementation of Vita-chambers removes any need for tactics as dying is meaningless. Each time you die, you instantly respawn nearby with half health and the enemies do not recover any health. A tactic I abused a few times is to pull a Big Daddy close to a Vita-chamber and rush him with my wrench. When I died I simply respawned and repeated my tactics with the wrench until he was dead. I have heard a lot of people complain about the Vita-chambers, but there is a trade off here. The experience may have felt cheapened for the player, but this makes it so every player can see the end of Bioshock which is very valuable.

Proposed solutions:
I know I suggested a compromise to have injured enemies regain a modest amount of health if a vita-chamber is used in my last article, but if the goal is to promote tactical combat I would go so far as to recommend removing Vita-chambers entirely and rely on a system of checkpoints. There are certainly tradeoffs here and this negatively affects accessibility of the game so this needs careful consideration before implementation.

12) Healing
The question of how the player is healed becomes much more important with the removal of Vita-Chambers from the game. Here are the pros and cons of the very common Recharging health and Bioshock’s Persistent health systems as I see it.

Recharging health
Pros
• Promotes the use of cover (as it is the only place to regain health during combat.)
• It is easier for designers to tune difficulty for individual engagements because they will always know the player will have a certain amount of health before each encounter.
• It is easier to create a consistent difficulty curve for the game because each encounter can be tuned to be more difficult in relation to the last without worrying about how much health the player currently has.

Cons
• If there are permanent health upgrades they are exponentially more powerful.
• Players do not have to search for health packs.

Persistent health (Bioshock’s health system)
Pros
• The player must worry about every hit, because all damage is permanent.
• Players must search for health packs.

Cons
• Careful attention needs to be paid to a player that gets stuck in a low health situation right before a tough encounter.
• Cover can sometimes be ignored because players can stand in the open and regain health with a press of a button.

Neutral
• Designers can ensure a proper amount of health for the player by placing health pickups preceding an encounter.

Proposed solutions:
Having listed out the pros and cons of the two systems as I see it, I do not know which system I prefer. The main issues of contention are the exponential power increase of health upgrades for the recharging health system and the difficulty of balancing each encounter for the player in the persistent health model. If I had to choose between the two, I would go with the persistent health system because it promotes the player searching for powerups.

The system I propose is a hybrid bucketed health system where the player has a number of buckets of health. Each bucket replenishes itself as long as it is not completely depleted. The bucketed health system maintains the need to have the player search for health and simultaneously encourages cover usage during combat to replenish health. Permanent health upgrades could come in the form of additional buckets of health.

Conclusion
This article is meant to offer suggestions to enhance the tactical decision-making of the player in Bioshock’s combat. Many of proposed solutions have large tradeoffs and affect the game negatively outside of combat. Since the goal was to improve combat and spawn discussion points, I largely ignored these problems. To read a less combat-oriented and more balanced list of suggestions at improving Bioshock read my last article, Bioshock: The Most Important Game of the Generation.

What’s Bad About Call of Duty 4: Modern Warfare Multiplayer?

Tony Huynh — Sun, 22 Feb 2009 04:46:45 +0000

Sorry for the delay in posting this article. It ballooned into a much more in depth game design critique than I had originally planned. I hope you enjoy it.

Despite the fact that Call of Duty 4 has been out for well over a year and has a clear sequel in Call of Duty: World at War, over one hundred thousand players continue to log in every evening on Xbox Live. If you think Infinity Ward must be doing something right, you would be correct. Read my other article about what they are doing right also if you are interested I wrote up my campaign playthrough notes in a previous post. However this article is not about what Call of Duty 4 has done right, it is about what Call of Duty 4 does wrong.

The Bad
At the start the player’s options are very limited and new players are thrown right into the fray against rank 55 opponents to be endlessly slaughtered. Which brings me to what I consider to be the biggest flaw to the multiplayer design.

Call of Duty 4 Does Not Do Enough to Protect New Users
The first few sessions of multiplayer gaming for a new player are the most important and a game should go out of its way to ease these new players in and provide them with the best experience possible. By allowing new players to acclimate slowly, the game does not alienate new players and can keep its player base higher for longer. New players in Call of Duty 4 are punished. As mentioned earlier, brand new players are matched against experienced players from the start. In Call of Duty 4, experienced players not only have better map knowledge and mechanic knowledge (handicaps common to new players in other shooter games), but they also have better weapons and perk options. The results are ugly.

My experience with first-person-shooters is extensive and I consider myself much better than the average shooter player. The first few matches I entered I was killed endlessly by the much more experienced and better equipped players and had horrific kill to death ratios. I would be running along and instantly die from airstrikes and helicopters and have no clue how to prevent them or what was happening. It was a very frustrating experience. It is a good thing that I had the perseverance to continue to keep playing and took the necessary lumps to finally have success and fun with the game. Not everybody is as willing to continue playing despite constantly dying and having a frustrating experience. Call of Duty: World at War partially solves this problem by having game playlists that are only open to players of rank 1 through 10. This keeps the rank 11 – 55 players from destroying new players over and over and ruining their experience.

M16 is not for n00bs
New players are given the choice of five distinct weapon choices at the start. At the top of the menu of choices is the M16. The problem with this is that since the M16 is at the top of the menu and is highlighted by the cursor when the selection screen appears on the console versions, it is the gun that most beginners will select and use first. The M16 is not a beginner friendly weapon. The M16 has a three-round burst shot that has a low rate of fire that requires successive trigger pulls to fire. This all adds up to a weapon that has an unfamiliar mechanic and requires precision to use effectively. This makes the M16 a terrible weapon for a new player to begin with and one that very few will find success without extensive practice. Fortunately there is an easy fix for this problem. The MP5 is a fully-automatic weapon that shoots out 800 rounds per minute. The MP5 is better suited towards new players as they can hold down the trigger to fire and the massive number of rounds fired mitigates the need for pinpoint accuracy. The fix is to replace the positioning on the menus of the M16 and the MP5 respectively.

Some of the Maps are Not Beginner Friendly
To be beginner friendly a map should have easily recognizable landmarks to orient players so that they do not become lost. One of my favorite maps of all time is Zanzibar in Halo 2. That map has a giant windmill in the center that makes it very easy for players to use as a landmark. Another benefit to having easily distinguishable landmarks is that it aids in effective teamwork and communication. A level designer can facilitate this by creating distinctive environment geometry that will allow players to communicate their opponent’s locations to each other effectively. Using Halo 2’s Zanzibar map as an example: “There’s a guy on top of the Windmill!” Everybody on the team will instantly know where that is because the environment geometry is so distinctive. Most of the maps in Call of Duty 4 do this very effectively. Crash is another example of map with the downed helicopter serving as an effective landmark. The maps in Call of Duty 4 that do not do a great job are Backlot, Crossfire and District. While these maps do have subtle recognizable differences to orient you, these subtleties are lost on new players. The first few times I played on these maps I could not tell where I was and become lost on a number of occasions. The labyrinthine streets all look very similar and there is nothing obvious to orient new players.

Call of Duty 4’s Slippery Slope
Once a team starts losing in Call of Duty 4 it is extremely difficult to come back to win. There are fewer comebacks and more lopsided victories in Call of Duty 4 than in any other first-person-shooter that I have ever played. The reason for this is the respawning system, rewards for kill streaks and territorial control.

The Respawning System
The respawn system in Call of Duty 4 is one of the most complained about systems by the Call of Duty community because players are often killed immediately upon respawning. So how does this system work and why is it failing?

C_Stick of the Gamespot forums theorizes that the respawn system “waits for an enemy airstrike, or puts you in an open area under an enemy chopper, or in the middle of two enemy run-and-gunners, or right where you get sniped if you take three steps in any direction.” That may not be far from the truth.

From studying respawning patterns in the game, my best guess at how the respawn system works in Call of Duty 4 is that it respawns players near a teammate furthest from the enemy. This seems like a logical system in theory, but in practice it does not work. As players die and are respawned next to each other they have a tendency to get increasingly clumped together. The situation gets worse when the teams that are dying are surrounded by the enemy and are forced back and contained by the other team into small pieces of territory. This can be seen on any of Call of Duty 4’s maps, but it tends to happen most often around the airplane hangars in Countdown and various corners of the Backlot map.

Containment generally happens in areas that have islands of cover (a space with lots of cover, but surrounded with open no-man’s land) or corners of maps because teams can be pinned down in these areas and it is difficult to leave without exposing yourself to enemy fire.

This is disastrous to contained teams because when clumped together their firing lanes are limited and they become much more susceptible to area of effect attacks like grenades and airstrikes. This leads to waves of people dying over and over just as they spawn in and games that become lopsided and out of reach quickly. The only way to end this negative feedback loop is to have a player escape from the enclosed enemy lines to start the team respawning elsewhere. So how do we fix this? There are two problems here, the first problem is map design and the second is the respawn algorithm itself. I will address map design first.

Map Design
Map designers need to pay attention to map flow. Map flow is what paths players generally take through a map defined by firing lanes, available paths through the level and cover placement. Maps should always have multiple (at least 2, but more is preferable) protected routes from any place on the map. Careful attention needs to always be paid to map corner boundaries because these areas are restricted by the edges of the map. There should be no islands of cover that are hard to leave without dying. These islands typically force players to linger in these places because they cannot leave without exposing themselves and the longer players stay in these islands the more likely teammates will begin to spawn next to them and be trapped in the same situation.

[Countdown Example]

The above image shows the locations on Call of Duty 4’s Countdown map where teams are often isolated and become bunched up.

Notice that there are no viable exits from the hangar that do not expose the players to enemy fire. Also note, the amount of space that the no man’s land takes up in front of the hangars.

For this particular example, I would recommend cutting entry holes through the hangars at both ends and placing additional cover at these entrances to allow for better map flow.

Respawn Algorithm
A suggestion for the respawn algorithm could be to have a player occasionally respawn furthest away from the enemy regardless of whether an ally is close or not. This suggestion is not without its own tradeoffs in that players may complain that they are spawned way off from the action and alone. Another possible solution could be a player chosen respawn system similar to Battlefield: Bad Company. Whatever the ultimate solution, this should be at the top of the priority list of must fix items for Call of Duty: Modern Warfare 2.

Kills Streaks
In Call of Duty 4 players are rewarded for kill streaks. The player is given a UAV reconnaissance that reveals the location of all enemies on the mini-map for their entire team at three kills, three large area of effect bombs dropped from an airstrike at five kills and a support helicopter that comes equipped with a very damaging machine gun at seven kills. While the positive feedback given from the UAV, airstrike and helicopter rewards the player that achieves a kill streak, it makes it very difficult for the opposing team to come back. The kill streak mechanic rewards players and teams that are already winning and gives them an even greater advantage. This is like giving a team that scores in basketball possession of the ball again so they can score again. The argument can be made that a member of the losing team can have a five and seven kill streak and bring a helicopter in to help their team make a come back, but the losing team is less likely to be able to do this considering the winning team’s control over any non-covered territory with their previous airstrike and helicopter and the aforementioned respawn killing issue. I am not saying that the losing team cannot achieve the same, only that it is harder for them and that this mechanic can make teams that are already winning by a slight margin completely out of reach.

What is the best way to fix this problem? I have a few suggestions that involve slightly lowering the advantage given by the kill streak rewards and making the rewards harder to achieve. Here is a rundown of the rewards and suggested modifications.

UAV Reconnaissance
This is powerful, but it is mostly ok in its current form. It might be useful for the development team to explore with a smaller localized reconnaissance effect for it, centered on the person who triggered it. I say explore because there are a number of risks involved with this change that would be impossible to foretell without rigorous play testing. Foremost would be how to communicate (UI elements) what the size of the reconnaissance effect is to players.

Airstrike
The airstrike itself is bad. It is very frustrating to be killed via airstrike. You are given little to no warning and then you are dead. Not to mention the huge framerate hits (on the Xbox 360 version) when it occurs. The current implementation of the airstrike does not enhance gameplay. Thinking about gameplay as a “series of interesting choices” what are your choices as a player being airstriked? There are no choices, because you instantly die without warning. The only gameplay choices happen before the airstrike. The player has is to prevent the opposing team from ever achieving a five kill streak (not like you are not trying already) or fight entirely from under covered buildings on the off-chance that an airstrike might happen.

As the player who calls in the airstrike, there is a risk element in that you must bring up a map that covers the entire screen in order to call it in leaving the player unaware of their surroundings. This gives the airstrike a slight risk versus reward to its use and this risk element should be preserved in any change that is made.

My suggestion is to change the airstrike to a laser designated airstrike that must be equipped, aimed and fired. This would be a similar mechanic to the airstrikes during the Heat level in the single-player campaign of Call of Duty 4. This would also limit airstrikes to within line of sight of the player and prevent airstrikes from ignoring battlelines and gut enemy positions. To address the framerate issues, limit the airstrike to a single bomb so that the framerate hit is not as prolonged. Lastly, there should be a voice over warning for the airstrike and a slight delay before the airstrike occurs. With the warning the player would at least get a chance to run to cover to avoid the airstrike instead of just randomly dying.

Helicopter Support
The Helicopter is pretty close to where it should be. My suggestions are for just a few minor changes. Raise the kill streak necessary for the helicopter support up to eight from seven. With airstrike kills counting towards achieving the seven kill streak necessary for the helicopter, the helicopter is very easy to get. My second suggestion is to have the helicopter give 10 experience points for killing it. This small reward will prompt more people to shoot at it instead of ignoring the helicopter and allowing it to roam around picking them off and eventually flying away. My third suggestion is to make the RPG a HARD counter for the helicopter. Currently the RPG does not kill the helicopter outright. It requires a RPG attack and a little more. I would propose that the RPG should kill the helicopter in one hit. Let’s look at the RPG as a weapon.

Carrying RPG changes the player’s silhouette making them much easier to spot and kill.

The RPG takes up the 1st Perk slot.

Firing the RPG leaves a long lingering smoke trail back to its source.

This is why they should do an extra hundred damage on a direct hit and kill the helicopter outright.

While I am on the topic of what to have in the sequel to Call of Duty 4: Modern Warfare, I had a few more quick suggestions.

1. Give the player more custom slots as a reward for prestidging like in Call of Duty: World at War.

2. Find some way around ending the game when a hosts leaves. Halo 2 and 3 does host migration, although I do not find this to be the ideal solution either.

As a caveat, my suggestions may change as I put in more time with the game and discover more of Call of Duty 4’s intricacies. This is only a snapshot in time.

Conclusion
The bottom line is if you can get past Call of Duty 4 multiplayer’s initial frustrations, it becomes very addictive and fun. If, like me, you are one of those willing to pay the steep price of entry, there is a lot about Call of Duty 4’s multiplayer that will keep you coming back for more.

What’s Good About Call of Duty 4: Modern Warfare Multiplayer?

Tony Huynh — Fri, 20 Feb 2009 03:15:49 +0000

I have been spending what little free time I have with Call of Duty 4: Modern Warfare’s multiplayer. I recently reached level 55 out of a possible 55 and decided to gather my notes together into a post.

The Good
The combat in Call of Duty 4 is a cross between run-and-gun and tactical with stronger leanings toward the tactical. CoD4 is a polished, mostly-balanced and skill-based FPS experience.

Persistent character
While Call of Duty 4 is not the first shooter game to have persistent characters, Rainbow Six comes to mind; it executes it better than any shooter game that has come before it. The persistent character can rank up through experience gained through kills and meeting any of dozens of challenges. The challenges encompass everything from getting a certain number of kills with a weapon to humiliation tactics like killing an opponent and then picking up and using their weapon to kill the same opponent again. Constant level based rewards are a proven mechanic and it is used to great effect here. The system is simple and the choices are important, yet limited. The choices include which primary and secondary gun to equip, one attachment for the primary gun and lastly there are three slots of perks to choose from. New options are opened up as you level. The player is given 5 slots to create custom classes with and during a game you can choose between any of them to play with. The persistent character keeps players coming back and playing to unlock the next perk or gun. These unlocks also keep the game fresh as new options are dolled out at regular interval for players to experiment with.

Perks
By gaining levels players unlock new weapons and perks, which offer additional options to customize their character. Perks range from extra damage on weapons to having a final opportunity to pull out a pistol in a last ditch effort to kill your enemy before dying. Perks are a great way to customize your character and since only three can be equipped, players must weigh their choices carefully. Each perk is designed to only fit in one of three slots. A perk like Juggernaut (greater health) is a tier 2 perk and will only fit in perk slot #2. Stopping Power (greater weapon damage) is also a tier 2 perk and will only fit in slot #2. This was intentional and designed so that the player cannot have both Stopping Power and Juggernaut perks on the same class. The player must decide which they would prefer and only take one.

Here are some balancing suggestions for CoD4’s perks.
Frag Grenade x3
I really hate no skill random grenade spam kills. Lowering the primary grenade number down to 2 from 3 would go a long way in resolving this issue.

Add Call of Duty: World at War’s Toss back perk
Tossing back grenades maybe new and important COD4’s single-player campaign, but it is almost always suicide in multiplayer. The Toss Back perk in CoD: World at War resets the fuse timer on grenades and would be a great addition to CoD4.

Bomb Squad
Remove this perk entirely and add its functionality in with the Sonic Boom Perk.

Weapons
In a first-person-shooter the gun is effectively your character and modern guns with all their moving parts and high tech nature simply feel and sound more powerful than their World War II equivalents. This is a big reason to why I like CoD4 over CoD:WaW. WaW’s weapon’s feel weak in comparison and it is just weird to see red dot sights and silencers on WWII weapons. The weapons of Call of Duty 4 are incredibly lethal and are surprisingly well balanced. There are a few anomalies in their balance, but in general the team at Infinity Ward have done a fantastic job. The weapons can be customized through the choice of one attachment selected from such selections as a silencer, a red dot sight or an ACOG scope. These are unlocked through achieving a certain number of kills with the specific weapons. Further, players can choose the paint scheme on their weapons (new paint schemes are unlocked after a certain number of headshot kills on opponents are reached). There are just enough options and slots to customize that the player feels unique, but not so many that it becomes inaccessible and clumsy.

These are the weapons that I currently like using.
Skorpion
I really like the Skorpion machine pistol. It has drawbacks like a small 20 round clip that will often have you reloading and having to switch out to the secondary to finish off multiple opponents, but the lack of recoil and its 50 damage per round up close is insane. I also like it because so few people use the Skopion so that makes me feel special.

P90
I like using the P90 with the silencer. The iron sights on the gun do not block your vision very much so the gains from the red dot sight are minimal. The gun has a 50 round clip with low recoil and I have found that it is ideal for ninjaing around levels.

MP5 / AK – 74
Both of these guns have good damage at the short to medium range distances. The two are so similar in stats that the two guns are nearly redundant. The AK – 74 has slightly greater consistent upwards recoil, but this can be compensated for. The MP5 has less recoil, but the recoil is more erratic.

M16
The M16 in the hands of a good player is really out of control. I almost never equip my class with this because it is such a popular gun that I can generally find this weapon laying around the map and when I do I always pick it up to replace my secondary weapon.

M40
I generally equip this sniper rifle with the ACOG. For some strange reason the damage is increased with this attachment from 70 to 75 damage. Use stopping power for very reliable one shot kills.

On a side note, the grenade launcher (n00b tube) is really annoyingly effective. Since I do not use it, I might be biased in saying the damage needs to be toned down on it.

Modes
I will not go into too many specifics in each of the modes, but if you want to wrack up kills to complete your gun challenges use free-for-all mode.
Mercenary Team Deathmatch is probably my favorite mode and the one I play the most often. While it is team oriented there are no set teams allowed to play together. This means that all the players are playing solo and teams are shuffled around after each round. This lets me get in a few team-based games without running into organized clans. There should really be more modes other than team death match that use mercenary rules. I understand that this may shard the user base, but for a person like me who just wants to hop on for a few games it would be a great option to have.

Come back tomorrow for a much more interesting article on what I think is bad about Call of Duty 4: Modern Warfare multiplayer. I will cover such topics as:
1. Call of Duty 4 does not do enough to protect new users.
2. M16 is not for n00bs
3. Call of Duty 4’s Slippery Slope balance
4. The flawed respawn system
5. Kill Streaks

Update
What’s Bad About Call of Duty 4: Modern Warfare Multiplayer Mode? has been posted up. Click here to go to it.

Akira Live-Action Adaptation Director’s The Silent City

Tony Huynh — Thu, 12 Feb 2009 19:11:10 +0000

I remember hearing a while back that a live-action adaptation of the 1988 anime Akira was being created and that it was starring Leonardo DiCaprio. I quickly forgot all about it until I saw Ruairi Robinson’s short film The Silent City. Ruairi Robinson is tapped as the director of the new Akira film and watching his short film has got me excited about the prospects.

The Silent City directed by Ruairi Robinson.

The Making of Silent City
If you were wondering how Ruairi Robinson and team put together their final amazing sweeping camera shot like I was, here is a documentary on how they made the film.

Resident Evil 5 Demo Impressions

Tony Huynh — Tue, 27 Jan 2009 05:23:27 +0000

The Resident Evil 5 Demo got released today for Gold members on Xbox Live Marketplace. I raced home from work and just finished it. I have written down some of my impressions for those of you interested.

Once you load up the game, you are given the option of choosing between two separate levels, one is called Public Assembly and the other is called Shanty Town. Here are my impressions in easy to follow list format.

Good
1. It’s Resident Evil 4 + 1
I loved Resident Evil 4. This is more of the same, so already it is good.

2. It’s very pretty
The game is beautiful. The character models are detailed and the game runs very smooth and everything looks great.

3. Difficulty
The game is hard, but stays on the challenging end without crossing the line into the frustrating. The difficulty was just right for a veteran of survival horror games.

4. Cooperative elements
The Shanty Town had two really cool parts where Chris and Sheva must separate and cover each other. In one, Sheva is thrown around the roof to the next building. There, Chris must defend her as she makes her way down to unlock the door for you to join her. In another sequence Chris boosts Sheva up onto the roof and she covers you while you work your way around on the lower level. This was easily the best part of the demo.

5. Mini-Bosses
The two mini-bosses can take a lot of hits and really get the adrenaline going. They both have instant kill attacks, so I had to be very careful and use guerrilla tactics against them. It was damn fun.

Neutral
1. Recycled zombies from Resident Evil 4.
The RE4 zombie animations still hold up decently well, but I would have liked to see some additional behaviors and animations from the rank and file zombies. It is still fun fighting RE4 zombies though, so this is not a negative. One thing carried over from Resident Evil 4 that I am sick and tired of is the Zombie behavior of running up to you and then standing there waiting for you to shoot/knife him. That needs to go.

Bad
1. It is not scary
This is not surprising considering direction taken by Resident Evil 4, but Resident Evil 5 has gone a step further.

The main problem is the setting. A bright nondescript African village at daytime would not by my first choice for a location of a survival horror. It completely lacks the atmosphere of RE4’s Spanish villages at night. Also the zombies are not muttering “morrir es vivir” over and over, which was really creepy in RE4.

Like Resident Evil 4, the controls and camera are too functional to cause the player to be scared. This is a great article summing up this important trait of survival horrors .

2. Controls
The default controls, Configuration D, has very similar controls to Call of Duty 4 surprisingly enough. The player can now strafe, but not while aiming. The player must stop in place for aiming, firing, calling Sheva to follow and knifing. If you are going to go down the path of having halfway decent controls and camera you might as do it right and just rip off Dead Space’s control scheme and be done with it. Unfortunately this is not the case with RE5. I know about the whole survival horror needs bad controls thing, but RE5 has good enough controls and camera that it essentially defeats this intentional aspect of survival horrors. So if you are going to go down the survival horror route then go with awful controls, if you are going to go action game go with great controls, don’t sit in the middle and frustrate both sides.

I am also not happy with the addition of the fast selection of inventory items from the directional-pad as it destroys all the suspense of having to shuffle around in your inventory while a zombie is bearing down on you. Now all you have to do is click the directional pad and your weapon or item immediately appears in your hand ready to use.

3. Friendly AI
Sheva constantly blocks my path and runs in front of my gun. In a survival horror every bullet counts and while I am methodically going through zombies with my knife she unloads on every non-threatening zombie with a rifle round so that she is constantly out of ammo. Also if you do not constantly call her to move, she will very likely become injured or even die to the one hit kill mini-bosses. This causes you to lose and since there are no checkpoints in the demo, you must start from the beginning. Just save yourself a bit of frustration and get a friend to play co-op with you.

Don’t get me wrong; based off the demo Resident Evil 5 is going to be a very good game and I will be a day one purchaser. I do sort of miss the old survival horror aspect of the earlier Resident Evil games as opposed to both RE4 and 5 that are definitely pushing into the action genre. Nonetheless Resident Evil 5 is one of the games I am most looking forward to this year.

Resident Evil 5 comes out of Xbox 360 and PS3 March 13, 2008.

Roger Ebert is Right: Games are Not High Art…Yet

Tony Huynh — Mon, 19 Jan 2009 01:48:42 +0000

Some of you may have heard about Roger Ebert’s disparaging comments about video games. If not, I will sum it up for you here.

“The nature of the medium [video games] prevents it from moving beyond craftsmanship [however elegant or sophisticated] to the stature of art. To my knowledge, no one in or out of the field has ever been able to cite a game worthy of comparison with the great dramatists, poets, filmmakers, novelists and composers. For most gamers, video games represent a loss of those precious hours we have available to make ourselves more cultured, civilized and empathetic.” – Roger Ebert

Later, Ebert updated his opinions that games are art, just not high art.

“A year or so ago, I rashly wrote that video games could not be art. That inspired a firestorm among gamers, who wrote me countless messages explaining why I was wrong, and urging me to play their favorite games. Of course, I was asking for it. Anything can be art. Even a can of Campbell’s soup. What I should have said is that games could not be high art…” – Roger Ebert

This may sound blasphemous, but in a way, I agree with Roger Ebert’s assessment of our industry. Video games are currently not high art and they are an inferior medium to film and literature. I am not saying that video games can never be “high art,” it is that games have not yet reached that point. Video games have many challenges that other mediums do not have. Video games are a relatively young art form, are difficult to create, have to be “fun” and mass-market games have spiraling budgets, which cause a reluctance to experiment. If we are able to move past the video game industry’s self-imposed limitations, games have the potential to be the most powerful and important art form we have. In this article I will define what I believe “high art” is and discuss the challenges that the gaming industry faces to attain this important recognition.

Other gamers may challenge what I am saying by pointing to games such as Shadow of the Colossus, Ico, or Okami as “high art.” I would disagree. Stylized graphics do not make a game high art. High art is a work of importance. Works of importance are pieces of art that have cultural significance that include social commentary. Games as a whole are missing these key ingredients. Where are our games that deal head-on with themes like religious fanaticism, racism or the holocaust? While there are hundreds of films and books dealing with these topics, video games in the pursuit of fun and sales, avoid these touchy subjects at all costs.

Games = Fun
If you look at all the end of the year best of video games lists, what one word determines the placement of these games on those lists? Fun. If you peruse the talk schedule of the Game Developer’s Conference (GDC), it seems every other talk is based on how to make games fun. Being a game designer, the main discussion point in every game mechanic meeting is how to get the section of gameplay to be fun. Maybe all of this focus on fun is a bad thing. That possibility is just what Warren Spector discusses in his article; “Fun” is a Four-Letter Word.

But, the word “fun” has other problems. It kind of locks us into a “games are for kids” mentality. It implies that games are good for just one thing: passing time in an enjoyable manner, for want of a better definition.

And perhaps most damning to me is that all this focus on passing time puts a ceiling, of sorts, above us that separates us from other media, media that are allowed to strive for something other than simple “fun-ness.”

Movies, books, musical compositions and so on are – or can be – fun to watch/read/listen to, but there’s nothing in the definition or judgment of those other media that requires fun. We’re the only medium that says to itself, “This is what you must be and all you will ever be.”
– Warren Spector

The mandatory “fun” is what pigeonholes the video game medium into a escapist distraction and puts a self-imposed limitation on video games that prevents it from reaching the high art plateau. I recently watched the movie The Terrorist and asked myself the question, was that movie fun? The film was thought provoking, sad and even disturbing, but can hardly be described as fun. What separates films from games as a medium is film’s willingness to tackle difficult subject matter. In the case of The Terrorist, it chronicles the life of a pregnant female suicide bomber leading up to the assassination of Rajiv Gandhi. It is hard to imagine a video game based on the same subject matter. This drives home how mature an art form film is and how much further video games have to go to be considered high art. If we do not limit ourselves to games = fun, we could one day see video games encompass so much more. Perhaps video games could be relabeled as interactive media and we could then see games be on equal footing as films. We could have games that genuinely explore and tackle real cultural and societal issues.

Budgets and Sales: Willingness to Experiment
The reality we live with right now is that fun blockbuster video games receive all the press, accolades and most importantly, sales. Publishers make games to sell and games that tackle societal ills or are not “fun” are unproven. Game budgets are now commonly soaring into and beyond the 20 million dollar range and as games get more expensive, publishers are becoming less and less willing to take chances. It is difficult for game developers to tackle difficult subjects that may alienate or divide their intended audience of Western males age 12 to 35.

Here is an example of a game developer’s willingness to make decisions based off of sales. Seth Schiesel of the New York Times wrote an article questioning the Ubisoft Montreal’s decision to Anglicize the main character of the Prince of Persia.

“What are we to make of a “Prince of Persia” who talks and behaves like a 17-year-old American mall rat? A “Prince of Persia” with blue eyes, fully Anglicized facial features and what looks like a tan he picked up on spring break? Is it taking a video game too seriously to shrink in distaste from such characterizations?”

It was no mistake that the Prince of Persia is Anglicized. This was done to not alienate the developer’s intended Western audience. Yet the game gets a pass for blatantly disregarding reality, simply because it is a game. If we want games to be viewed as high art, we have to look more closely at our games and not take the approach that all that matters is sales.

It is this sales driven mentality and unwillingness to take chances that have placed a ceiling above this industry’s head and stymied the growth and acceptance of games by the mainstream. If we do not occasionally move away from the big-action-summer style of games, we will never reach that pervasive mainstream audience. Games may be expensive to produce, but so are movies and even large budget movies do not shy away from socially important issues.

The first step to having games be accepted as high art is to be willing to take on criticism and be held accountable for our decisions. We can no longer fall back on the excuse, “It is just a game.”

Complexity in Games
One of the major disadvantages of the video games medium is that games are very complex and difficult to produce. In order to create a mass-market game, it can take team sizes in excess of 100+ developers, each specializing in one of these four disciplines: programming, design, animators and artists well over two years. To a certain degree, independent filmmakers are on an even playing field with bigger budget film projects. The differences between a low budget independent film and a big budget film are much less discernable from the audience’s perspective than an independent video game and a big budget blockbuster video game. With film, anybody can pick up a camera and with post-production and editing software readily available, can make a highly polished mass-marketable film. This is not the case with the complexity required to bring a polished video game to market. It is much more difficult for smaller budget and more experimental games to gain acceptance by wide audiences because the production values between these types of games and games with much larger budgets are so wide and easily noticeable to even a casual observer.

Just as technology has made the independent filmmaker more on par with a studio production, I am hopeful that the day comes when technology closes the gap between independent games and big budget games. There are signs that this movement is already in progress with game development suites like Adobe Flash and Microsoft’s XNA studio. When independent gamemakers are able to remove the disparity between their products they will be more able to compete for the consumers’ dollars and it will empower our industry to push and experiment with new social themes and genres.

Video Games are a Young Industry
When film first took form, few would have called it a “high art” form. It took over a hundred years before it gained that distinction. Many parallels can be drawn from when film was in its infancy to video games of today. When film first appeared on the scene it was a spectacle, but frowned on as not comparable to live theater. The same can be said of games in comparison to films today. It heartens me that the video game industry has come so far and so fast on the technology front, but we cannot neglect our responsibility to our audience to move them to think. We cannot simply dismiss Roger Ebert’s criticism, but instead we need to take it as a challenge and use our medium to make our audience more “cultured, civilized and empathetic”. By doing so we elevate video games as a whole into the realm of high art. Games are a young form of media and in the years to come we will be given the opportunity to answer our critics and gain the respect of the mainstream, let us not waste it.

Conclusion
We are at a crossroads and must confront the self-imposed limitations we have placed on ourselves and start viewing video games as something more than mere escapist fare. It as a challenge to our industry as a whole to produce games that tackle difficult themes and strive for more than simple “fun.” Video games have boundless possibilities and are uniquely suited to surpass any other mediums that currently exist because there is a level of connectivity through open-ended and collaborative interactivity that no other media can hope to match. If we are willing to take head-on serious societal themes and not shirk our responsibilities, I believe we will see the day that the video game is looked upon as more than a way to mindlessly pass time, but as deeply important and socially relevant.

I would like to thank Amadeo Plaza for our discussions on this topic.

Gears of War 2 Through the Eyes of a Game Designer

Tony Huynh — Tue, 13 Jan 2009 05:19:12 +0000

I finally made time to play through the campaign of developer Epic’s Gears of War 2 and wanted to share my thoughts on the game. I will begin by saying that this post is not so much a review of the game as a slightly more organized version of my notes taken while I was playing the game. With that being said, there will be spoilers. Continue reading at your own risk.

Gears of War 2 continues the nearly non-existent story of Gears of War. The Locust horde has been sinking entire cities and steadily pushing humanity back. The game begins with humanity clinging to their last stronghold of Jacinto and the Gears setting out on a counter-offensive to prevent their last bastion from being undermined.

In the following sections I will outline the aspects, levels and events in the game that left a more lasting impression on me.

A nice lengthy starting video helps to catch the player up on the setting and events. This video is something I felt was missing from the original Gears of War and does a great job in establishing the setting.

After the video, the player gains control of the protagonist Marcus Fenix and can choose to go through training or skip it entirely. Training is handled in a very novel way. Fenix takes on the training of a rookie recruit. The player, as Fenix, orders the rookie to perform each of the game’s mechanics, before the player performs the actions himself. The advantage of this is twofold. The first is that it maintains that Marcus Fenix, being a badass veteran, does not need training.

The second is that as Fenix orders the rookie around, the rookie AI shows the player the action before the player has to perform it himself. For example, Fenix will bark out, “show me how to take cover rook!” The AI takes cover and the player is shown how it is done, before he performs the maneuver himself. If you want to see another great tutorial that uses the AI to show the player the mechanics and controls of the game, look at Lost Planet.

The first real level of the game takes place in a hospital and starts out fairly slowly on the action quotient. The interior corridor setting does do the job of familiarizing the player to the basic cover mechanics without a lot of distractions. The developers placed dynamic flat panel monitors on top of the desks used for cover. The well-placed monitors were often shot off during the firefights and gave the action sequences more movement. The other thing that I noticed was when certain events occurred that would bring you closer to an accumulation achievement, such as performing 30 Active Reloads, the game would display a progress indicator to show you how far you are along to gaining the achievement. While I generally do not go out of my way for achievements, I found that these indicators would dictate the way I played the game. I would purposely keep specific weapons in order to get the achievements. I have a feeling this will not be the last time we see this mechanic used in other games. Epic also replaced their collectible dog tag system from the original Gears of War with a journal collection that serves the same function as dog tags, but they also give the player additional back-story in text format.

The one great bane of developers in first and third person shooters is that when we place down scripted events, we can never guarantee the player will witness the moment because we have no control over where the player’s camera is facing. Gears of War got around this problem by inventing the third-person-look-at (Y button) mechanic. This ensured that players knew where to go and are able to witness the scripted events that the developers spent so much time implementing.

One of the moments that are keyed off of Epic’s camera look-at-system is later in the mission when the action moves to the exterior. Locusts have taken over the high ground and are bunkered in on a turret. The turret is just out of the range of the weapons you have been introduced to at that point in the game. Just when the hail of fire from the enemy turret becomes frustrating a friendly helicopter flies in and takes out the enemy turret. The Y Button pops up on the screen during the event and when pressed by the player moves your camera to frame the event ensuring that none of the action is missed.

Another annoying thing about having friendly units with the player in other shooters is that when they run in front of your gunfire, they always scream at you like it is your fault for hitting them. This is different in Gears of War 2 in that when Marcus Fenix shoots his friends he is the one that screams, “Would you get the fuck out of the way please.” This really makes the player feel more like the hero.

Later in the game there is a sniper mini-game that was so well executed you just had to smile as you played it. There is a squad of Locusts who are moving and at range. A conveniently placed sniper rifle allows you to pick them off. Once you start firing, the surviving Locusts run off the screen out of your line of sight, which adds a timed element to the mini-game. Marcus counts out each kill with the sniper rifle. This mini-game did not have any bearing on the story, but it was just a simple moment that tests your sniping skills and was fun. More games need to add moments like these.

The next fun scene was when you are approaching a shut door and without cutting to a cinema the door opens on its own with a loud audio stinger and a bunch of creepers burst out of it rushing the player. This is one of those surprise moments that make you immediately slam down on the gun trigger and flail your weapon around spraying everything. Experiences like these remind me why I am a gamer.

The tank level had the player driving through a dark tunnel with the only illumination coming from the tank’s headlights. After landing the tank from a steep drop, the tank’s engines and lights malfunction and shut off. For several moments the only things you can hear are Locusts and then you begin to see the iridescent glow coming off their carapaces creeping closer. Meanwhile the tank’s crew is frantically trying to repair the tank. This was a suspenseful moment and was just awesome when the tank crew manages to fix the tank just in time.

During the locust queen’s castle mission you enter into a room where the enemies are not yet aware of your presence. There is a flamethrower-wielding locust on the bridge with his back turned to you. Since the player has already run into these locusts prior to this moment they have already been taught that these locusts carry flammable fuel in their backpacks for the flamethrowers that blow up if shot. In this case, if you shoot his pack he blows up and the bridge he is standing on collapses in glorious fashion with him. Having cool stuff happen when the player shoots is great because it almost guarantees that the player will see it.

There are a lot of different enemies in Gears of War 2. They vary greatly from one another in both their silhouettes and sizes, making them easy to differentiate from the varying types of enemies. The lesson here is that when each enemy type is dramatically different in size and silhouette it helps players quickly assess the threat of the situation and decide how to tackle the different scenarios designers create.

Chapter four of the last act is one of the most enjoyable levels because of how ridiculous everything is. As the game progresses the action continues to ramp up and by the end it is just out of control. This level has you falling through the floors of a building. You survive another falling building, which lands on its side and then you ride an elevator sideways through the building. It is so crazy, but you are having so much fun it that it does not even matter. The level ends with you and Dom commandeering a giant Brumak and using him as a mobile weapons platform to wreak havoc on the Locust hordes. It is just the absurd fun you can only have in a videogame.

The overall design theme of Gears of War 2 was unique and fun ways to introduce and use cover. This is a list of the different ways that I can remember that Epic introduced or had the player interact with cover.

A living rock worm that is attracted to red colored fruits that hung from the ceiling that the player can shoot down to entice the worm to move.

Player operated switches that turn cover on and off.

Enemies that attempt to remove your cover through the use of these switches.

Pillars that fall and create additional cover.

Rolling destroyed cars into place for cover.

The Boom Shield portable cover.

Picking up injured enemies to use as cover.

The sheer number of different locales and art pieces for the game are also amazing. Just off the top of my head.

Above ground forest

Hospital

Underground city

Underground cave

River

Inside the worm

Research facility

Snowy Forest and frozen lake

Locust home city

Jacinto city

All of the settings were very different and distinguishable from the others. The amount of art required to pull this off makes my head hurt. The artists at Epic are simply on another level.

The gameplay pacing was excellent. There was an incredible amount of gameplay variety and the designers constantly mixed things up so you never did anything for too long. There were on-foot segments, various vehicles that felt really different from each other, and rail shooting.

As I mentioned already, Gears of War 2 keeps outdoing itself over and over and reaches a great crescendo. The gameplay is lengthy and there was more than one time where I thought I was nearing the end of the game only to find the story twisted and offered so much more. The greatest accomplishment for this sequel was that I actually found myself caring about and getting involved with the story, which is really amazing considering how little I cared about the original Gears of War story.

Finally, it is very fitting that Gears of War 2 was EPIC. There are explosions, buildings collapsing and helicopters flying overhead everywhere you looked. You felt like you were part of a bigger war.

Issues I saw and improvements I would have liked to see in the game:

1. Bugs:

The number of obvious bugs that the game shipped with surprised me. While none of these were game breaking progression stoppers, I just expected better from Epic and because of these bugs the game does not feel polished. During my single play through of the campaign I saw all the geometry disappear and all the dynamic objects including people fall through, my squad warping everywhere in my line of sight dozens of times and lots of floating objects and players.

There are noticeable hitches when the game saves.

I saw Dom standing in front of a sentry gun blasting away at him and he just stood there not dying or even reacting.

The AI on a few occasions got hung up on static mesh and just kept running into walls over and over.

The flamethrower wielding AI would fire their short-ranged flamethrowers at me even when I was 200 meters away.

There are no interaction animations when carrying turret weapons. These include the kicking of doors and using switches. It is just bizarre when you are wielding a turret and the doors open by themselves. A minor issue, but noticeable nonetheless.

2. When you are alone, which happens very often in the game, the reviving mechanic does not work. In these segments, when you are injured, very often the enemy AI will ignore you after you have fallen and you are forced to wait until you bleed out and die before you are able to play again. This is very annoying. A very simple solution would have been to kill the player outright if there is no partner in the vicinity to rescue them.

3. Having the pick up a downed enemy to use as a human shield and the dive for cover move on the same button is just frustrating; especially when you accidentally do the opposite of what you intend to. The controller mapping on this is just bad. When an enemy is downed X, Y, and B buttons essentially have the same effect (different ways of killing the enemy). The only different option is on the A button (same button as dive), which picks up the downed enemy to use as a human shield. Having 3 options doing the same thing is redundant. Drop one of these killing moves and replace the button press with the human shield option. This would prevent the player from mistakenly diving when they mean to pick up a human shield or vice versa by only having the A button for dives.

4. Seeing the scene through Dom’s eyes as he is reunited with his wife is very jarring as the rest of the game is told through Marcus’ perspective. When telling a story, you have to be careful of not breaking the perspective from which the game is told.

5. The voice acting fluctuates in the game from bad to good. The voice actors for Dom and Carmine are noticeably worse than the rest of the cast.

6. Lastly, how does your robotic companion Jack just appear and disappear into and out of thin air like that?

I have to say that I am more than impressed by the game. Epic really outdid themselves on this title. The scope of the game and the variety of gameplay in Gears of War 2 is mind-boggling. I do not say this of many games, but the sheer amount of content in the campaign alone makes this game worth the $60.

My thoughts and impressions of the game were based off of a play through of the single-player campaign at the Casual difficulty.

Low Skill Cap and Luck (RNG) in World of Warcraft PVP

Tony Huynh — Mon, 15 Dec 2008 05:33:29 +0000

Wow is built and designed around the casual player
WoW is built from the ground up to be accessible to new players. Blizzard’s VP of game design Rob Pardo described the design philosophy of World of Warcraft as the “donut design.” This is where the outside of the donut consists of the casual players, while the center is where the hardcore players reside. WoW is a game built for casual players with enough depth to draw in the hardcore players. When Blizzard designed the Player-Versus-Player (PVP) system for WoW, this design philosophy carried over and resulted in the inclusion of the global cooldown and luck or random number generator (rng) as WoW players call it.

Neilyo 14.5 Part 1

Neilyo 14.5 Part 2

The global cooldown
While reaction times and the number of inputs does play a factor in World of Warcraft PVP, it is greatly limited by the built in one second global cooldown between inputs. This places a lowered skill cap on how fast a player needs to input commands to be competitive. There are exceptions to this as certain abilities are off the global cooldown, but for most cases this holds true. It does not matter if you have an amazing ability to input commands at a very fast pace, you are limited to the artificial limit imposed.

StarCraft is a good example of a game without such a skill cap. For elite StarCraft players the number of inputs per minute is something to brag about. Some of the players can consistently achieve as high as 500 inputs per minute. These players constantly practice and strive to improve their inputs per minute and their ability to micromanage multiple units.

The global cooldown also lessens the mistakes that players can make. Because a WoW player is limited by the global cooldown and can only input so many commands per minute they are less prone to make mistakes because there are simply fewer decisions and inputs necessary. This makes the game much more accessible to players who are simply incapable of entering 500 commands per minute. The global cooldown supports the casual player by making the game easier for them to be successful. The great advantage of this is that it makes World of Warcraft PVP much more popular and accessible to more people.

Luck gives PVP greater accessibility and helps turn the casual player into the hardcore player
Luck (rng) is a difficult balance in a game like WoW. Too little and the game becomes stale and inaccessible to novice players, too much luck and players become frustrated. However, luck supports the design tenant of the donut by giving less skilled or out-geared players a chance to win or at least make games close.

Luck is valuable because beginners will enjoy the game more when luck allows them to occasionally win against a more seasoned or better-geared opponent. Conversely, if WoW did not have a luck component, a less skill opponent would never win and this constant negative reinforcement will drive away many novice competitors. It is necessary to reward novice players occasionally to keep their participation and push them to get better at the game. For example, the poker variant Texas Hold’em is popular and maintains its popularity because the game rewards new players and keeps them interested in the game by allowing them to win on occasion through luck alone.

Neilyo Interview

Luck increases the skill cap
Without luck (RNG), WoW PVP involving two equally skilled opponents or teams would be a pre-scripted affair whose outcome would be predetermined from the start. The game would play out something like this. The attacker begins with an attack and from then on each player might as well read off of a script and perform the best possible move in succession until the conclusion of the match. While WoW gives players the illusion of a lot of options, there is almost always a best move or path at any given time. If both sides play “perfectly,” the race, class and spec of the characters or the teams’ combination of classes determine the game because certain classes or team matrixes simply outclass others. The only time this pattern can be broken is through human error. For all the negativity that luck in the game of WoW receives, the game without it would be a very straightforward experience without much deviation.

For WoW, luck has the very strange property of actually increasing skill cap. Players need to be able to react to broken patterns not only from human error but also from bad luck. Players need to switch to a different track or branch in the previously mentioned script to adjust for attacks or defensive measures that fail due to bad luck. This keeps matches from degenerating into a stale affair. If a Rogue’s kidney shot (a move that stuns the opponent) fails due to being randomly dodged, he needs to adjust his next series of moves for his now interrupted stun lock. Another example, this time involving a team, is if a Druid’s cyclone, a spell that incapacitates another player, is resisted, the team must now communicate and coordinate another member to use a different ability to continue the incapacitate effect on the opponent. Luck forces teamwork and emphasizes adjustment to failed attacks.

Luck mitigates some of the balance issues
WoW is a far cry from being balanced and with so many abilities and classes and team combinations possible it likely never will be. Luck helps to mitigate some of these issues by giving lower tier classes or class combinations a chance against higher tier class or team combinations. Let’s say a Warrior, Warlock and Druid team dominates a Rogue, Mage and Priest team (whether it does or not is immaterial to this discussion) luck can help to turn the tide and the dominated team can actually pull off a win over the dominate team. When a weaker class matrix can occasionally overcome a dominant one, it helps to mask the fact that the game is not balanced.

WoW’s shift to the hardcore
Games over the course of time tend to eliminate luck and cater more and more towards the hardcore. WoW is not the exception to this rule. The shift to a lessened duration of stuns instead of an outright resist percentage and the removal of Mace induced random stuns are examples of this.

Conclusion
The World of Warcraft design philosophy of catering to the casual player is supported by the global cooldown and built in luck element of PVP combat. These pillars of the design keep the game popular and accessible to a wider audience and mask many of the balance issues in the game. Luck also has the effect of spicing up the game and increasing the skill cap as players and teammates must adjust to failed attacks. Lastly, if you are a hardcore player that does not like luck in your games, the World of Warcraft has already changed in your favor and over time will continue to move in this direction.

Best Games of All Time by Genre Part 2

Tony Huynh — Wed, 10 Dec 2008 03:34:16 +0000

These are the video games that have defined their genre. They are the standard by which all other games in their category are judged. This is part 2 of this list.

Click here to go back to Part 1 of this list.

Best RTS of All Time
StarCraft (1998)
Platform: PC
Developer: Blizzard Entertainment
Publisher: Blizzard Entertainment

Starcraft has withstood the test of time like no other game before or after it. It is a game that is easy to pick up, but is so deep that even after a decade, millions of players are still developing new strategies and continue to evolve the gameplay. The ability for players to easily save and share replays of games was instrumental in elevating the techniques and strategies being used. The replay feature allowed players to be able to study games and learn from their mistakes and even watch their opponent’s strategies and adopt or adapt to them.

Despite StarCraft’s three completely unique races, it is the most balanced RTS ever created. All three races had completely unique units and equally skilled opponents would have very even chances of winning and could employ numerous different strategies to do so. Countless tournaments in the decade since the game’s release have proven StarCraft’s balanced gameplay. Blizzard has the best track record of any developer to continue to support a game well after release and StarCraft is no exception. Blizzard continues to release occasional patches and balance tweaks that keep the game fresh. This has been necessary as players continually push the gameplay balance with the discovery of new strategies. Despite the evolving gameplay in StarCraft, the game continues to be remarkable in how balanced the three races are as new strategies for one race are countered by new strategies created for their opposing factions. Here is a site dedicated to Starcraft replays.

No entry about StarCraft can go without the mention of the South Korean attachment to the game. StarCraft is a televised national sport in South Korea. The game has corporate endorsed teams of professional players. The players are big personalities and celebrities who are recognized and worshiped by their huge following of adoring fans. StarCraft tournaments are nationally televised events with slick production values and play-by-play announcers or “shoutcasters” as they are called. Here are some of the GOMTV tournaments translated into English. They are very interesting to watch even if you only know the rudiments of the game.

StarCraft, in spite of its age, is the most relevant and popular RTS today. There can be no doubt that it is the greatest game of its genre.

Best Action-RPG of All Time
Diablo 2 (2000)
Platform: PC
Developer: Blizzard North
Publisher: Blizzard Entertainment

Diablo 2: the Mouse Killer. Diablo 2 and its predecessor Diablo have likely destroyed more mice than any other game in existence. I owned an expensive gaming mouse and when Diablo’s million click gameplay destroyed it, I ran out to the store and quickly replaced it with a steady succession of $2 mice and kept my replacement expensive mouse well away from the game.

Diablo and its successor single-handedly invented the action-RPG genre. Dozens of “Diablo” clones continue to be produced, but to this day none can match up to Diablo 2. The randomly generated dungeons, loot, and monsters in Diablo 2 keep the game fresh even after dozens of play-throughs. Diablo 2 remains popular on Blizzards free online service Battle.net because of its addictive easy to pickup gameplay, randomly generated content and Blizzard’s patented brand of long-lasting support and updates to the title.

In many ways, Diablo 2 laid down the groundwork for World of Warcraft. From the branching tiered tree of talents, the UI, to the randomly generated set of colored loot, World of Warcraft owes much of its success to Diablo 2.

Best 3D Fighter of All Time
SoulCalibur (1999)
Platform: DreamCast
Developer: Namco
Publisher: Namco

There was some internal debate between this game and Virtual Fighter 2, but in the end I have to give it to SoulCalibur for the following reasons.

SoulCalibur introduced three revolutionary gameplay mechanics.
1. Eight-Way-Run
The introduction of the eight-way-run gave very intuitive control over the player characters. It is a feature that truly opened up the 3D fighter to the third dimension. Whereas previous games functioned for the most part in 2D, with the only lateral movement coming from a short sidestep, SoulCalibur allowed the player to circle, or continuously move in any of the eight directions. The game controlled how you would expect and was incredibly intuitive.

2. Increased Move buffer
The move buffer is the window of timing that a player had while executing a move before the next controller input was accepted and executed. In both Virtual Fighter and Tekken, while a character is performing a move, the player needed to wait until a move had finished before inputting another move, otherwise the command input would not be accepted. This forced players to be very exact with the timing and execution of moves. SoulCalibur’s increased move buffer allowed players to input and string their attacks without waiting for a move to finish. The command would be accepted and after a move completes the next inputted player command would be executed. The move buffer coupled with the eight-way-run gave new players responsive controls and maneuvers that were simple to execute and impressive to behold. The mechanics of SoulCalibur opened a traditionally hardcore genre to a much wider audience.

3. Guard Impact
SoulCalibur is a part of a rare collection of games that opened the genre up to a less hardcore audience, while still maintaining all of the deep gameplay that a hardcore player expects. Each of SoulCalibur’s characters had deep move sets, air juggles and combos that allowed the expert player to easily set them apart from the novice player. The inclusion of the Guard Impact counter put SoulCalibur well out of the reach of its competition. The Guard Impact is performed either high or low and deflects incoming attacks. If the opponent performs a high attack at the same time that you perform a high Guard Impact it would deflect the attack while at the same time stunning the attacker and not allowing them to perform any other moves besides a counter guard impact for a short period of time. This would allow for really ridiculous strings of Guard Impacts as the attacker would try to mix up their angles of attacks and add delays before executing an attack in an effort to breach the defender’s Guard Impact defenses.

No other fighter encompasses the ebb and flow of combat like SoulCalibur. No words can fully describe the feeling of a long string of guard impact reversals between two good players. While SoulCalibur did not invent the 3D fighter, its mechanics made it truly 3D and introduced the genre to many new players. SoulCalibur was so far ahead of its time that in four iterations and nearly ten years the gameplay has remained nearly identical to the original with only a few minor tweaks.

Best RPG of All Time
Baldur’s Gate II: Shadows of Amn (2000)
Platform: PC
Developer: BioWare
Publisher: Black Isle Studios, Interplay

Baldur’s Gate II is an epic, timeless masterpiece that marks the last of the truly great RPGs. It sort of makes me sad going back and revisiting this game, because this game book ended a great style of games that developers today will likely never return to. They really do not makes games like this anymore.

Baldur’s Gate II is the last title to use the AD&D second edition rule set and was so accurate that I found the AD&D Player’s Handbook indispensable and constantly open and on my lap as I pored over it to find the best way to min/max my characters.

The story and writing for the game really shines. There is a great deal of text in the game, however it is really well written and the story plays out as if you are reading a great novel. The storyline is so good that even this game’s epic side quests easily outclass most other full RPGs’ main story lines.

The decisions players made in Baldur’s Gate II carried real weight and affected the outcome of future events. Many modern day RPGs distill choice down to good or evil. The player in Baldur’s Gate II had to make decisions that were often gray. The complex characters would support your decisions, offer their advice and even discuss events amongst themselves. With the numerous combinations of characters that the player could select to be apart of their party, this attention to detail was amazing. The player could choose to start up romantic relationships with members of the opposite sex with many of the characters in their party. The writing for these segments were very well done and often memorable. Baldur’s Gate II is one of those few titles that kept you up and playing until 4AM because you had to find out what happened next.

Baldur’s Gate II’s countless optional side quests, different combinations of characters and meaningful decision-making created almost unlimited replay value.

This is the definitive role-playing experience.

Click here to go back to Part 1 of this list.