Posts Tagged Video game

Design roundup #4.

articlesheader Design roundup #4.

  • The Psychology of Randomness – People tend to be terrible at accepting randomness for what it is, and it’s a very important trait to accommodate for in game design.
  • Testosterone and Competitive Play – Danc’s essay on playing against friends, playing against strangers, the perception of luck and skill, and pro-social/pro-dominance tendencies.
  • Groundhog Day and Video Games – Groundhog Day is a fantastic movie with a surprisingly wide-spread appeal, and I always thought its concepts were perfect for a videogame.

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Wheelman’s melee car attack.

A large part of the fun in driving games is the sense of speed. Car and simulation enthusiasts definitely enjoy taking a turn just the right way, but, as far as arcadish fun is concerned, the slowing down part is never really a high point. Now Wheelman might be disguising itself as an open-world, set-piece game based on a cheesy, over-the-top summer blockbuster that never happened (or, rather, hasn’t happened yet), but, at its heart, it’s just a good ol’ arcade game.

thumb1280x1280 2660026202 4b1f69b3b1 o Wheelmans melee car attack.

The people behind you seem a little pissed.

The driving itself borrows heavily from Burnout. Destroying other cars triggers a dramatic replay that’s pretty much the takedown effect, while going really fast and smashing into other vehicles fills up a special meter. None of this is quite as extravagant as Burnout, but it works. The focus meter grants the use of the ubiquitous boost and a few other special moves.

thumb1280x1280 2660016976 3d626621ab o1 Wheelmans melee car attack.

You can still shoot people while driving without bullet time, but it's not really accurate and takes forever to take down your enemies.

The first is the focus shot. Executing one of these slows down time and moves the camera inside the car. At this point, Milo Burik, Vin Diesel’s character, whips out a gun and any possible targets are overlaid with a circular bullseye. This bullet time section allows the player to concentrate on shooting instead of driving, which is useful for picking off pursuers and breaking through roadbloacks (which, conveniently, are often composed of a gas tanker or two).

The second special move is the cyclone. It also slows down time for shooting-gallery purposes, but it results in the player’s character turning the car 180 degrees, putting it in reverse (so it’s still moving in the same direction as it was before the move was executed), firing off a couple of shots, then finally turning it around and putting it back into gear.

Oh, and Milo Burik is also a superhuman who can leap out of the car he’s driving and hijack other vehicles on-the-go.

Is it starting to sound arcadish yet?

Well, possibly Wheelman’s most arcadish aspect is the car melee attack. Now weaponless combat is common in driving games. Rocketing forward at hundreds of miles per hour while trying to steer your opponents into obstacles — and avoiding the same fate — can be great fun. It also doesn’t require any extra input and uses existing game elements, so it’s a very organic mechanic.

In Wheelman, however, this tactic is explicitly appended by player input.

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Smashing into cops using the car melee attack.

Flicking the right analog stick either left or right propels the player’s car in the corresponding direction. At first, this might seem entirely extraneous. After all, why introduce extra input for tried and tested gameplay (it certainly wouldn’t have been my first instinct)?

Well, the brilliance of “car melee attack” is that it’s not quite the same old mechanic. In driving games, it’s necessary to turn your whole car in order to manually home in on other vehicles, i.e., the car’s front wheels turn, and the rest of it follows. Wheelman’s melee move, though, is more of an instant strafe. In execution, it allows the player to smash against adjacent cars without changing the angle of direction. It’s not at all realistic, but it results in some pretty aggressive driving where the player doesn’t have to worry about going off-course.

An interesting side effect of this mechanic is that it also alters the non-combat aspect of driving. The ability to instantly strafe adds an extra layer to the navigation of the game world, particularly when driving against oncoming traffic.

The melee car attack is definitely a unique concept, and it enhances Wheelman a lot more than some of its other flashy mechanics.

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Orange Box designer commentary.

Valve first tried out designer commentary with the Lost Coast standalone demo. Apparently it was such a big success that they decided to do the same for all the games in the Orange Box.

Now Valve is a group of some very, very smart people, and it shows.

ep1 c17 060018 Orange Box designer commentary.

Escape from City 17 at the end of Half-Life: Episode One.

Generic behind-the-scenes specials tend to tell the same old story: the development cycle was hectic, but the team eventually persevered and released a great product (even if it was a little flawed and missing some features). In between all that you might come across an interesting tid-bit or two, but don’t expect any mind blowing revelations.

The commentary on the Orange Box, though, is full of pure-gold nuggets. In fact, playing through its four commentary-enabled titles will probably teach you more about various aspects of videogame production than any game design book. If you haven’t checked it out but are in any way interested in videogame design, I urge you to do so now.

Here are just a few segments I picked out:

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Make games for the Xbox 360 without knowing how to program?

Recently I decided to use my free time (hah!) to check out the XNA Game Studio. For those of you not aware, XNA is Microsoft’s outreach program to the homebrew/indie community.

xna Make games for the Xbox 360 without knowing how to program?

The XNA community portal.

The Game Studio itself is a suite of tools that can be used to make games for Windows, Xbox 360 and Zune. It’s not quite the same as Xbox Live Arcade, but similar in scope. What really surprised me, though, were the XNA tutorial videos. There’s a whole bunch of them, and some even assume that you know nothing about programming.

So how much can you really get from ‘em? Well, the videos take you step by step through various programming concepts and conventions, but eventually you will need to learn how to program. Or at least get very good at tweaking others’ code.

Still, this is as good a start as any.

When I began to learn programming — always with the intention of making videogames — I was a bit overwhelmed. There were a lot of languages, all with their own libraries, and all dedicated to particular pieces of hardware. Also, they seemed to universally cater towards tasks that had nothing to do with what I wanted to learn.

Eventually, though, I decided not to worry too much about the starting point and just dive in. The semantics of programming languages and their APIs vary, but they carry over, and the concepts are 100% portable.

In general, software tends to resemble a clockwork mechanism; a sprawling contraption of numerous interconnected parts. The logic behind each part is never that difficult to grasp, but the whole picture can be a bit daunting. Tweak and slowly change around the parts, though, and you’ll start learning how the whole thing functions. The XNA tutorial videos encourage this, and even point out places where you might want to experiment and where you should go to learn more. There are also plenty of videogame specific tutorials, and some even include entire “construction kits” (small-scale game engines that contain numerous pieces of functionality).

Microsoft seems to have put in a great deal of effort into the XNA community, and it’s definitely worth checking out. And who knows, if you develop something for it, you might also end up selling it to millions of Xbox 360 owners.

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The greatest collectible of all time.

supermarioworld coinarrow The greatest collectible of all time.

One of the famous coin arrows in Super Mario World.

In-game collectibles are a staple of platformers and play a big part in various videogame genres. They help to fill out maps, provide points bonuses and aid the player in overcoming the game’s challenges. They also flesh out the setting, sometimes even being used as part of its architecture, e.g., the coin-arrows in the various Super Mario games.

finalfantasyvi clockelixir The greatest collectible of all time.

Apparently all clocks in Final Fantasy VI are secretly powered by elixirs.

Collectibles seem to speak to the kleptomaniac side of our personality, encouraging us to take all that we see. In console RPGs, it’s common to break into people’s homes, rummage through their belongings, and generally pillage the entire world that you’re trying to save.

And why not, really? After all, as players we want to be rewarded for exploring. It’d be awfully dull going from one empty room to another, so letting us interact with the game as if it were an episode of Supermarket Sweep might not be such a bad idea.

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