Posts Tagged videogame

The Trap Door Bits

thetrapdoor3 The Trap Door Bits

The multi-purpose trap door.

The Trap Door is an old claymation TV series that also got a videogame treatment. It’s particularly noteworthy because it came at a time when videogame genres were not that well defined. This resulted in some unique mechanics transplanted directly from the show.

The highlights:

  • The game contains only basic movement, and the ability to raise/pick-up or lower/drop-down various objects.
  • There’s no inventory or in-game menus of any kind.
  • The game is split into multiple missions, each one involving creating a different meal for “the thing upstairs.” Making these meals involves navigating a handful of screens that comprise the castle and utilizing the various bizarre items and monsters at hand.
  • Only a single item can be carried at any one time, but items can also be flipped upside-down. This often results in other items falling out, which can themselves also serve as containers for other items, and so on.
  • Raising/lowering a lever opens/closes the titular trap door. You have to open it to let certain monsters out, and quickly close it to keep others in. If something is standing on the door while you open it, it gets launched into the air.

    thetrapdoor4 The Trap Door Bits

    Your overlord has the oddest cravings...

  • Although the monsters that come out of the trap door directly relate to your current quest, they’re still randomized and give off a feeling of wonder — you never quite know what to expect next.
  • Part of the HUD is a constantly growing meter that represents your overlord’s impatience. When it reaches the top in easy mode, the mission is switched (each mission requires making a different dish), but on the hardest difficulty you simply get the game over screen.
  • Certain objects are too big to be picked up, but they can be pushed around the environment. Properly positioning them is part of numerous puzzles and goes hand-in-hand with the context-sensitive process of dropping items (they can be placed back on shelves, dropped into other items, thrown into the trap door, etc.).
  • Jumping down the trap door kills you.
  • Picking up the talking skull will cycle through a series of clues dealing with the current mission.
  • Monsters can travel from screen to screen and even interact with one another, i.e., the ghosts — for some reason — will hunt down the worms that you use as ingredients.

    thetrapdoor6 The Trap Door Bits

    Sending up a finished meal.

  • One of the trap door creatures hops around and is used to squeeze juice from a vat full of eyeballs. Another one breathes fire and can be tricked into boiling a cauldron of slugs. Another one still will fly around and will need to be stunned by launching something at it using the trap door. Once hit, it will become stunned and will lay an egg onto a frying pan, a key component of one of the dishes.
  • A drop-weight in one of the rooms can be used by manipulating a lever — this allows the player to crush objects and kill rampaging monsters.
  • Once all the dishes are done, you have tidy up. This actually involves throwing every item in the game into the trap door and getting rid of all the creatures! Your skull buddy is not exempt from this either, screaming “wheee” as he gets catapulted into the air and “owww” on his way down.
  • At the end of The Trap Door, you’re paid by having “the thing upstairs” lower (using the same dumbwaiter you used to send up food) a safe. To open the safe, you need to crush it with the drop-weight, adding a nice element of interaction to the game’s conclusion. Raising it all the way up, though, will destroy the safe and its contents!

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Melodrama

The term melodrama comes from the world of theatre. More specifically, it stems from plays that used music in unison with the on-stage action, i.e., a series of quick bow slices to the violin would accompany the entrance of the evil, mustache-twirling landlord. Melodramas were widely laughed at by the critics, yet lapped up by the common folk.

melodrama Melodrama

The quintessential image of a melodrama.

Today, most forms of entertainment media are melodramas, and the “common folk” are the mainstream audience. Even when aiming for the so-called lowest common denominator, though, melodramas don’t have to be bad.

There are a lot of negative connotations that accompany the term: black and white characters, formulaic stories, sensational confrontations, implausible coincidences and a rigid commitment to happy endings. Still, these can easily become positives by embodying: unambiguous characters, clear plotlines, emotional climaxes, exciting twists and satisfying finales.

This is the difference between pathos and bathos.

Pathos, n.

  1. An element in experience or in artistic representation evoking sympathy, pity, compassion or sorrow.


Bathos, n.

  1. An insincere or overdone pathos that fails to evoke sympathy, pity, compassion or sorrow.


Unfortunately, stories in videogames tend to fall into the latter category. It might simply be an after-effect of their heritage — after all, games are still largely perceived as toys, and everyone (including most publishers and developers) seems to have a hard time accepting the fact that the average gamer can legally purchase alcohol. Of course I also understand that it’s safer to accommodate the youth while banking on the loyalty of older, nostalgic fans, but the same writing principles should apply regardless of the target age-group.

ffcap11 Melodrama

I wouldn't be surprised if this character turns out to be a fun but gruff rebel with a heart of gold. As leader of the resistance, he'll probably be punching out tanks with a bunch of other teenagers as they attempt to save the world.

Final Fantasy is a good (or bad, depending on your outlook) example of this. The 8-bit/16-bit games were great for grade-schoolers, and while the later ones swung their focus to teenagers, they were pretty trite and not nearly as sophisticated as one might think. Someone on Slashdot: Games once responded to a post about Square-Enix’s titles saying (and I’m paraphrasing here): “They’re to deepness what Goths are to people with severe clinical depression: showy, self-infatuated shells that take on the trappings instead of the content.” Regrettably, that’s a very accurate description.

So how do we avoid this? If we have to stick to melodrama, how do we fill it with pathos, not bathos?

It’s quite simple, really: respect the setting, the story and the characters.

That’s it.

You don’t have to be Shakespeare, you just have to examine your own work and ask: “Is this good, or is it…laughable?” Everyone has their own subjective preferences, but this alone would eliminate a plethora of banal storytelling in videogames.

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The Magic of Secrets

All sorts of entertainment media use the concept of secrets to add intrigue and evoke a powerful emotional reaction. A strong effect of unveiling a secret can be the validation of the observer’s perceptiveness and reasoning; a wink wink, nudge nudge for being such a smart cookie.

gta sa 1 300x225 The Magic of Secrets

Grand Theft Auto - San Andreas' Hot Coffee mod. Despite the scandal this polygonal sex caused, it was not a real videogame secret.

However, most forms of media tend to be strictly passive. Aside from the occasional dabbling in interaction, the audience exerts no direct influence over the medium’s content.

Games — and videogames in particular – are inherently different. They are interactive and require players, not just observers.

There are plenty of lists online cataloguing the “best secrets in videogames,” but before we delve into this discussion, let’s actually define the term:

Secret, n.

  1. Something kept hidden from others or known only to oneself or to a few.
  2. Designed to elude observation or detection.



Now let’s apply this denotation to design in videogames.

Read the rest of this entry »

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