Monday 1st December, 2014

What’s been happening Mr. Stubbs?

Far Cry 3 has been happening, that’s what.

Was it any good?

Well, it was a lot of fun once the story pissed off. The worst thing about this game was being locked into missions. Second to that, I think, was the story itself. I felt so bored by all the cutscenes. I did like Vaas as a villain though, but like some forum commenters, I too thought he was under-developed. Hoyts turned out to be nothing interesting so it would have been far more interesting to see Vaas still alive and trying to kill Hoyts as well. The player then could have had the choice to let Vaas do it himself, but making him more powerful, or to try to kill Hoyts first to stop Vaas from gaining power, but having to deal with Vaas at the same time as a consequence. Or something like that. Overall, the story theme, that of slave-trading, was fine, but I thought the whole mushroom tripping and amazon-warrioresque aspects were generally pretty dumb and pointless. So many times through a cutscene I was pressing buttons on the controller in hope that the apparently non-mapped ‘skip cutscene’ button would suddenly spring into existence. But it didn’t, and I was left to voice my non-caring attitude out loud.

The story might have had more impact if the player character was one of the local islanders themselves and had to pick up weapons to save a bunch of white-American holidayers, or even make them a bit of a mix-up: French, Canadian, American, etc. In some ways, it could test the player as to how much they need to care about some random people opposed to their own fellow local inhabitants who were also in danger of being kidnapped by Vaas and his pirates. Or even, if the fellow inhabitants were getting disillusioned and slowly going over to Vaas’s side, so then some of the missions would revolve around collecting evidence through the kidnapped holidayers, or otherwise.

And with that idea in place you could even throw in the twist of if you save the foreigners, they call their parents/family to say that they are okay, but if you don’t, the families come in with their ‘big foreign weaponry’ (government sanctioned, or private) and completely fuck shit up but in doing so bomb you and the locals, thus turning them into the new and more powerful enemies.

Hmmm. Sounds like a completely different game now.

Far Cry 3 just needed to stick to its basic slave-trading template with one insane villain who was growing more and more powerful.

Here’s another way of getting around the “white guy saving the locals” colonialism aspect of the game:

1. Player is local guide that takes holiday foreigners on their trip,
2. Player is kidnapped with the foreigners,
3. Player is constantly being taunted by Vaas to become a pirate like him,
4. Player is constantly asking themselves how important saving the foreigners are, opposed to the player-character’s local community who are also in danger of being kidnapped, or losing faith and going over to Vaas,

This would have then given greater impact to the final choice of taking the life of the foreigner at the end, especially if she was the first one you saved and became a love interest who actually fought along side of you.

But then, in this version there’s no mushroom tripping either, so that choice might not work as well.

But it could.

Imagine if the syringes that the player crafted became the trip sequences whenever they were injected, and the game twisted everything around so it felt like you were fighting your own people until the effect wore off. Some players might enjoy that and do the syringes heaps, others would never use them again, but the final mushroom trip you were given took you over the edge forcing you to question everything and making that final decision more potent.

As it was I just wanted to throw my controller at the wall because the designer or writer had dared to expect me to think a final choice was hard to make when throughout the entire time I was completely invested in saving the lives of my friends. Liza’s whining throughout did nothing to change that.

Healing, Injury and Death in Video Games

There is/was an interesting discussion at AWTR¹ about the healing mechanic in games and their ability to break verisimilitude in games “in a way that magic, dragons and sword-fighting don’t.” Personally, I find just dying breaks verisimilitude in games. Every death reminds me that I am just playing a game after all, and not living through an immersive experience along with the character I am controlling.

The discussion focuses intensely on RPGs because the author is “less interested in [FPS-type games] in general” but I would like to look at two games outside of RPGs as ways of exploring the idea of realistic healing, or injury, mechanics.

The first is Dead Space. One of the aspects of losing health in Dead Space is that Isaac Clarke’s body slows down and at it’s lowest starts staggering with heavy breaths. It’s a great mechanic that adds intensity to the game when you are also low on ammo and you know that the last batch of necromorphs were a struggle to dispatch and if you don’t find health soon, those next lot of necromorphs down that dingy looking corridor are going to be the ones dispatching you. It’s intense and at least semi-realistic. That is, until Isaac finds health and all of a sudden he’s back to his old boot-stomping, leg and arm decapitating self again. It’s amazing what Med-Packs can do in the future!² Could Med-Packs actually work that quickly in the future? Well, I guess it’s possible. With a little adrenalin mixed into the concoction, I’m sure a standard Med-Pack could get you back into tip-top condition almost immediately.

I would like to propose a way of getting around that in a more contemporary scenario without the mechanic causing frustration for the player. Imagine being injured; you struggle, you limp, but you can still shoot – that’s important of course, and no programmer would be daft enough to take that away from the player. But what about after finding your health pack? Do you just spring back into action like you have just been injected directly with heroin? Perhaps. If the health pack had heroin in it … So let’s assume that it doesn’t. Maybe it takes time to heal properly. Not an overly long period of time, but just enough for the player to still be cautious about what they do with themselves, where they tread, how often they recklessly poke their heads out from behind cover, knowing full well that they need to nurse that wound like their life depended on it. Because after all, that’s exactly what an in-game injury should simulate.

There is also the scenario of being able to mix different concoctions. Say a Med-Pack is slow working but heals you fully when the healing is complete, and an adrenalin pack gives you that much needed stamina boost. Mixing those two together would literally cause you to spring back into action allowing the healing pack to still do it’s work in the background³.

I like the idea of healing having a real-time consequence, especially in games like Dead Space, where your injury causes tension in high-strung scenarios. It seems to have a lot less consequence in Fantasy-based RPGs when magic is flying all over the place and healing happens as quickly as inflicting damage. In fact I want a game where being injured is a huge factor, and where injuring an NPC is just as consequential for them – they stagger, they limp, you get an easier target, but at the risk of being hit by the stray bullets that the NPC is now recklessly firing at you to try to keep themselves covered. Although I may not be a huge stealth game fanatic, Dark Souls definitely tested my patience (I passed!), while Deus Ex: Human Revolution gave me the enjoyment of choosing stealth if I desired it. Maybe it’s a case of programming, where the logistics of dividing pixel bodies up into parts that are affected accordingly might end up taking up all your programming resources. However, if Fallout 3 could do a minor simulation of it in an open-world, I don’t see why a linear shooter couldn’t do it to an even greater extent.

“The healing mechanic is perhaps small fry in relation to the overall issue of integrating storytelling and gameplay. […] But when I look at such actions from a distance, they do affect the degree to which I'm immersed in the story, and looking ways to increase immersion is never a bad thing.”(sic)

I would argue that the healing mechanic is only ‘small fry’ because no one has found a way to integrate it with a story that continues to move forward. This is where every environmental object has weight and is able to be used as cover, something to lean up against, something to rest and inject yourself with a health pack, or drink water and allow for the time to heal; a chance also to check directions, clues and inventory items. Like in Dark Souls and Dead Space where inventory checking does not pause the game, it would seem logical not to be doing this out in the open but in a secluded or safe area – the bonfires as an example in Dark Souls. Waiting for your leg to heal might be a good time to check some details with that sidekick of yours that hangs around also. I just like the idea of an injury that takes real-time to heal, creating a cautionary play-style for the player. It’s something that could do wonders for the stealth game, or the tactical horror game.

Down on page 3 of the fifteen (!) pages of comments, CultureGeekGirl says:

“I feel that the idea of death and respawning in a video game is more immersion-breaking to me than any other mechanic possibly could be. The death mechanic is deeply engrained in the way games have worked from the very start, so you have to have that to some extent, but dying always kind of jolts me out of any reality I may have invested myself in - even in really game-y games”

But no mention was made of that much maligned game Prince of Persia (2008) where death was skipped altogether and whenever you screwed up you were saved by the comforting hand of Elika. While many saw this as making the game too easy by not dying therefore not learning a lesson, few realised that it was the gameplay that didn’t make the game challenging enough, i.e. ‘teach the player anything’. Dark Souls has one of the most integrated versions of respawning to story and setting that I know of,⁴ but despite the ‘YOU DIED’ in red fading into my screen, I never actually felt like I died in Dark Souls. Sure, my humanity was stolen from me, but respawning is respawning; it’s still not dying and the game loading to a previous checkpoint as though nothing happened. Instead, it’s like being killed figuratively but still being able to keep all your memories and inventory of collectibles and losing only your souls (‘money’) and humanity (‘human spirit’), and then restarting from a previous checkpoint.

With Prince of Persia (2008) I had finally found a game that made internal sense in relation to the story that it was telling. If the character is going to win, because that’s the role of the hero in the story, then he literally can’t die. In Prince of Persia (2008) the Prince doesn’t die, he is saved each time by the hand of Elika. “Where is the fear of dying to create the challenge for the player?” asks the detractors. Admittedly, in this game, there was little challenge. But that had nothing to do with the ‘no-death’ mechanic I would argue. That had everything to do with the environmental challenges, the boss battles and the general fighting mechanics themselves being too one-button easy to traverse.

What the ‘no-death’ mechanic did was not only eliminate the loading screen, but also keep the player’s story immersion intact. Very rarely did I ever feel like I wasn’t a part of the game.⁵ Also, just as a minor note, PoP (2008) had an injury mechanic, though very basic and pretty ignorable. If the Prince was hit while in battle, he would clutch at one arm.

“The death mechanic is deeply engrained in the way games have worked from the very start.” We know, as discussed in a number of other online critiques, that win states are a simple part of gaming that drives player accomplishments, and dying seems to be tied up in the failure state. But that certainly doesn’t mean it has to be. It’s just there because so many games are combat based and death seems the logical failure of playing these games - “you’re supposed to stay alive, idiot!!” But why can’t it be “You’re supposed to traverse that area without the walls collapsing around you and setting you back at the start and needing to find a new way, idiot!!” Sounds like too much thinking would be involved. But I do like the idea of being injured setting you back as a failure because now you have to work harder to achieve the goal that you could have achieved easier if you weren’t injured. See, now that’s an injury that makes sense and would become a challenge to overcome: “Don’t get shot! No, you’re not going to die, but you are going to have to work a whole lot bloody harder at this section now that your injury is slowing you down, idiot!”

Bored with Combat: Part 2

The tedium of combat in a world that you can't explore via the new sky-hook mechanic has turned what could have been a wondrous exploration of both narrative and world building into a boring task of objective completing. The sky-hook works great as a melee weapon – gloriously violent – but that is a secondary use and its main reason for existing is never fully explored. I find myself bored every time I reach a new area and have to fight my way through it just to open a new door, only to be greeted with more combat – which I have to fight my way through just to open another door...

In such a world where everything is floating high in the sky and there are rails that connect certain sections, I wonder where the ability to use those rails to explore and travel between areas is. This great new mechanic has been completely underutilised in favour of combat and action. What we could have had instead was the challenge of finding the right rail to land on and not be swept away from the target by the wrong rail, using the freight hooks to swing between buildings with more of a fun free flow effect that could have been part of a puzzle that unlocked the next area – rather than having to constantly battle through enemies to reach the next area.

There's just no genuine fun in this game.

There's no genuine exploration in this game.

There's no genuine character development because all the characters ever do is fight their way through enemies, as though that alone is going to develop them. I could see both Booker and Elizabeth having greater development if they were allowed to genuinely argue, or at least disagree, on a path to take using either the freight hooks or rails, having them part ways, end up in the same place and then challenging the other to go back and try the other route. When the player completes both routes and gets through the obstacles in their way (not combat obstacles!), while also collecting collectables via the alternative route, there would be genuine appreciation at the end of it, a genuine feeling of "Oh, okay, so you can do it. Maybe I have a bit more faith in you now ...oh hey, what did you find?". There's always an opportunity for some great banter in interesting situations that video games seem to completely miss.

The linearity isn't stifling, because good narratives have linearity, but the ability to explore and have a fun and wondrous time exploring is stifled through not allowing sections to breath without combat, not allowing characters to get to know one another outside of combat; and what seems most important to me at the moment: not allowing the narrative to be developed without the constant interruption of combat.

The tedium of combat has made Bioshock: Infinite boring.

Bored with Combat: Part 1

Bioshock: Infinite may be the last action orientated game I play. I seem to be far more interested (but not distracted) by the sky-hooks that take you around the place, while all the shooting is just so par-for-course that it's become boring. I still remember fondly the intense action scene in Dead Space 2 when Isaac is riding on top of the giant drill and having to fight off a constant barrage of necromorphs, but that was kind of a special moment amongst quite a lot of action that probably wasn't necessary, but was still fun. In such a visually impressive environment, I wish Bioshock: Infinite had taken the Prince of Persia (2008) route and delivered a more relaxed journey with less frequent combat.

But the sad fact is that most video games are specifically built around combat. Game mechanics may be first on the list, and these may vary from travel mechanics, to weapon mechanics, to puzzle solving mechanics; but invariably they are melded with combat to create action.

Of course, it's not my goal to disparage combat, only to question whether it should be so prevalent. We know it's prevalent because of the amount of 'war-shooters' that continuously are made at the same rate that barrages of enemies are launched at players in-game, and also, because that's about the same rate that they get purchased on. There will always be a market for that. I think, due to younger players requiring action to constantly feed their rate of imagery intake, whereas, perhaps, us older generations don't need to feel hammered over the head constantly by gunfire and explosions. The younger generation will always have the numbers.

But when will game designers make the games that they want to make and nothing else? No publisher breathing down their necks demanding that the game needs to reach a wider audience, therefore needs to be simplified... Obviously I'm no longer talking about Irrational Games, since apparently they were given free-reign by 2K Games.

Hopefully with the intervention of Sony aligning the PS4 with Indie developers, games will become exactly what the developers intended. That would be a grand old thing to see.