Starcraft 2 Terran Campaign

I have been playing the Starcraft 2: Wings of Liberty campaign fairly regularly since release, and I am almost done with it. I think I only have another mission or two left to go. I have been enjoying the campaign quite a bit. In terms of gameplay, the campaign is quite varied with well-designed missions. On the other hand, the campaign's story has felt very slow and directionless. So while the individual missions are fun, the campaign as a whole feels somewhat lacking.

The best part about the missions is that all of them play very differently from each other for the most part. None of the missions have been traditional "destroy the enemy's base" style missions. Instead, every mission has very unique victory conditions, optional objectives, and required strategies. Blizzard really explored the limits of mission design for an RTS, even more so than they did in Frozen Throne. MIssions such as intercepting trains, escorting evacuating colonists, and so on make for exciting missions that can really take advantage of the game's variety of units and tactics. While the game does have its number of "hold out against waves of enemies for x minutes" missions, it does keep them fresh by giving the player various different conditions or advantages.

Unfortunately, there are a couple of problems with the mission design. Almost all of the missions involve rushing the player through various mission objectives. For example, one mission might force the player to reach certain objectives before a competing enemy does while another mission might force the player to deal with explicit time limits. While this design is generally a good thing, since it makes the game tense and exciting, it does get old after a while. Furthermore, most missions are primarily designed to show off and take advantage a new unit that has just been unlocked. Between these two factors, it often means that the player rarely gets to take the time to experiment with units that were received in previous missions. There are a few units that I have only seriously used in the mission I got them from. Other units that don't have an affiliated mission are even worse off.

My biggest complaint about the game though is the pacing of the story. Overall, 20% of the campaign is serious main story advancement while the remaining 80% consists of side missions that don't directly advance things. Despite the length of the campaign, it actually feels like there are a lot fewer major story developments than in previous Starcraft/Warcraft campaigns. It also means that the story plays out very slowly, with some expositions at the beginning and most of the major developments weighted towards the end. While I liked the numerous new characters that were introduced to flesh out the Starcraft world, it feels like only a handful of them received significant development or screen-time. Stetman should have at least gotten conversations like Swann did, and a few more characters could have appeared inside missions.

Some special mention needs to be made of the Zeratul missions. While it was definitely a good idea to give the player a chance to take a break from the Terrans to enjoy some time with the Protoss, that entire story arc consisted of vague prophecies, serious plot and character retcons, anti-climatic introductions to long-awaited villains, and attempts to redeem established villains using the subtly of a wrecking ball. In other words, it contained all of my least favorite things in one short story arc. Can't Blizzard write a story without retconning their past works these days?

For the upcoming Zerg and Protoss campaigns, I hope that Blizzard continues the good work as far as mission design goes, but tries to add a bit more of the central story to the missions as a whole.

Lost Planet 2 stage design lessons

One of the games that my brother and I have been playing a lot of over the last few months is Lost Planet 2, the third person shooter made by Capcom. The game's strong emphasis on co-op gameplay makes it a great game for our purposes. However, the game definitely has its mix of great stages and poorly designed stages. After a while, I think I have noticed a few patterns, which could be taken as lessons to be learned for future games.

Ironically enough, mission 1-1 is one of the hardest stages in the entire game, particularly at higher difficulty levels. This is entirely due to the final segment of the stage, where the players have to seize and maintain control over a mine. There are two main causes for this difficulty. The first is because of the open layout of the mine; it consists of a large open central area surrounded by multi-level structures with lots of open doors and windows. Essentially, every enemy in the mine area can easily get opportunities to shoot at the players, meaning that the players have to deal with all of the enemies at once, making it easy to get swarmed or surrounded. Second, the game asks the players to maintain control over four control posts at once for a certain amount of time. Because of the spacing of the control points and constant reinforcement of enemies from multiple entry points, this is very difficult to do with even two people. It feels like this part of the mission more or less requires four players in order to be easily feasible.

This second point is seen again in mission 5-1, where the players are asked to once again maintain control over certain control posts for a certain amount of time; this time it is two control posts located in different rooms separated by several corridors. In our case, my brother and I were each able to guard a room, but it was a very difficult fight for us, since powerful enemies constantly stream in from three entrances into each room. Based on these missions, it feels like missions that require maintaining control over multiple places at once vary in difficulty a lot more significantly based on the number of players than missions that require simply advancing forward. This is probably because these missions force players to split up, which is more punishing for two players than for four. I have no idea if it is even possible for a solo player to tackle these (disregarding AI helpers).

Perhaps a more positive and interesting way the game takes advantage of its co-op focus is in its stages with multiple routes. Most stages in the game are very good at having at least two routes to get from one room to the next. For example, 4-1's first area consists of a multistory building. Many floors in this building have two or even three stairways leading to the next floor. This opens up a lot of room for strategy. The players can all go down the same path and try to combine their firepower, or they can choose to split up, take different routes, and flank the enemy. This multi-route design even lets players split up to clear out enemies and independently secure objectives if they so wish.

On the flip side of the coin is the final section of mission 4-1: a narrow choke-point leading into a large area where there are multiple heavily armed mechs ready to shoot anyone passing through the choke-point. To make matters worse, the only weapons capable of talking out the enemy mechs are on the other side of the choke-point. This kind of design comes up in about three or four places in Lost Planet 2, and it really is inexcusable. In all of these occasions, the only choice is to make a beeline for the usable mechs or good weapons and pray you can find some cover before the enemy fire tears you to shreds. This kind of area layout gives an overwhelming advantage to the enemies, and can quickly become very frustrating to the players.

On a final note, I really liked the co-op cannon segments of the game. In these, all of the players need to to work together to man powerful weapons against giant enemies. While one player is aiming the cannon itself, other players are manning anti-aircraft guns to hold off threats, fighting off enemies who have boarded the player's vehicle, or working to power-up the main gunner's next big shot. These battle can be frantic, complex, exciting, and very epic. Unfortunately, I gather that they aren't very fun when one player is playing solo. That is a real shame. Unless the game designers can write AI that can actually behave the way a player wants them to in such a complex situation, this is going to remain a trade-off when choosing between making a primarily co-op vs single-player experience.

I think there is a lot about Lost Planet 2 that shows that a game built around four player co-op does have significantly different level design considerations than a game built just for single-player. As a big fan of co-op games, I do kind of wish that there were more games like Lost Planet 2 out there.

Devil May Cry 4: Gating and Mission Design

I was reading an interesting feature article on the website Gamasutra.com earlier today where a game designer was analyzing various elements of encounter and AI design in 3D brawler videogames. I was rather disappointed that he didn't analyze any entries in the Devil May Cry series; in fact, I am considering trying out his method of analysis on the game later. In the mean time though, one aspect of his article caught my eye: the concept of gating. While the concept behind gating is something that I was already familiar with, it is nice to finally have an accepted word for it.

In essence, gating is where the game developers put in obstacles to prevent the player from running away from or circumventing a battle. It is a valuable tool of the game developer, since it is pretty pointless to make a brawler-style game where the player can just walk right past every fight. There are a couple different ways of implementing gating: one way is to explicitly lock a player into a room until every enemy is dead, and the other is to design the enemies' attacks and AI to punish the player for trying to run away. While Devil May Cry 4 uses both methods of gating, it leans heavily towards the former in every mission, to the point where I think it begins to be detrimental to the game.

As is traditional in the Devil May Cry series, DMC 4's most common form of gating is where the game blocks off all of the doors and escape routes out of a room with red or white walls of energy. The games even use a specific color of wall to differentiate them from walls that can only be removed by solving puzzles or advancing the plot. Now then, there is nothing wrong with this strategy in of itself; plenty of videogames, including most incarnations of the Legend of Zelda series, lock the player in a room until the player defeats every enemy present. I think doing this is a great way to mark major battles. However, I think the technique is severely over-used in Devil May Cry 4. The typical mission structure of DMC 4 can be safely summed up as a string of three to five rooms where the player has to defeat every enemy in the group in order to proceed. While optional enemies sometimes appear, they are in the minority. After the first few missions set up like this, I actually began to forget that I could avoid some battles.

The problem is compounded by the fact that the majority of the battles that don't have explicit gating often are designed to take advantage of "soft" gating. For example, one of the few areas of the game where the player can run away from battles is in the long corridor sections of Fortuna castle. However, these long corridors are typically populated by either Frosts or Basilisks, both of which possess a mix of both high pursuit abilities and dangerous long-range attacks. So while the player can try to run from these enemies, he will probably take a few bad hits from enemy attacks. Furthermore, these groups of enemies are usually comparable in numbers and fighting strength to enemy groups that the player is locked in with. So even they still count as part of the linear chain of major fights.

Honestly, I think the developers went overboard with the gating in Devil May Cry 4. Gating is particularly useful for differentiating big, important fights from small, inconsequential fights. However, the developers decided to make just about every fight in Devil May Cry 4 a big fight, and cut out all of the little fights, and then they used strict gating to lock the player into that structure. However, that uniformity gets tiresome after a while. While Devil May Cry 4 has plenty of variety in enemies, it doesn't have enough variety in the kinds of encounters that the player faces. The consistent use of gating also denies the chance for the player to use running away, even of the temporary tactical withdrawal variety, as a viable strategy.

Devil May Cry 4: Returning to Old Areas

One area where Devil May Cry 4 really suffers in comparison to the older entries in the series is in how they handled Dante's section of the game. When Dante becomes the controllable character in mission 12, he begins a trek back through all of the areas that Nero has passed through earlier. As such, the second half of the game is a reprise of the first. Now then, earlier entries in the series used this same trick, and it is a perfectly legitimate way to proceed through a game if done well. However, the Dante section of Devil MAy Cry 4 ended up feeling tacked on because the developers did not change the old areas nearly enough to make the experience of reprising them feel new or interesting.

Returning to old areas is actually a classic element of the Devil May Cry series. In missions 16 through 19 of the first Devil May Cry, Dante goes back through the areas he first went through in missions 1 through 8 (as well as a few others). In Devil May Cry 3, Dante first climbs up to the top of the tower of Temin-ni-Gru, then descends down into its basement, and finally climbs all the way back up to its roof. However, the difference between these two games and Devil May Cry 4 lies in how they handled reprising old areas.

In the original Devil May Cry, it is daytime when Dante first arrives in the old castle. While the castle is completely loaded with demons, it otherwise seems to be a fairly ordinary castle. However, as Dante moves onwards and completes missions, day gives way to night, and by the time Dante returns to the keep that he explored in the first few missions, it is completely dark out. While the change in lighting is enough to make exploring the castle more difficult, the castle itself seems to become possessed by evil after nightfall. Walls lined with suits of armor take the place of doors, the internal structure of the castle seems to have rearranged itself, and certain parts of the castle, such as the cathedral, take on a twisted, biological appearance. The transformation of the castle works very well because it successfully twists what was once familiar and known into something unknown and much more frightening. The game also shakes things up by adding new rooms, new ways of getting around, new enemies, and a brand new, really difficult boss to this section of the game. It is impossible to say anything bad about this execution of the idea of returning to old ground.

In Devil May Cry 3, Dante does most of his backtracking through familiar territory in missions 14 through 17, where he climbs back up to the roof of the tower from its deepest basement. However, the game throws a twist at the player. At the end of mission 13, the entire tower transforms: the tower's height increases significantly, rooms that used to be connected are now on separate floors, some old rooms have collapsed, and new doors and passageways have appeared. As such, climbing back up the tower is not as simple as going though familiar areas backwards; it involves trailblazing completely new paths and getting used to new ways of exploring the tower. While this section of the game plays off of the familiarity of the old areas, it is in practice an entirely new set of areas to explore. To top it all off, the player fights two brand new bosses during this section of the game.

In contrast to what was done in the previous games though, the player does just play through familiar areas backwards after Dante takes over in Devil May Cry 4. While the game does try to mix things up a bit by adding a couple of new elements to the areas, the changes are superficial at best. For example, Fortuna castle has the exact same layout as in Nero's go-through, except that ice walls have appeared to shepherd Dante down a specific, roundabout route. Th only change of note is that a door that had been previously blocked off (but still on the map) is now mysteriously open, revealing a single stairwell. Other areas were not so fortunate. Dante travels through the underground lab in the exact same direction Nero did, fighting more or less the same enemies (in the same rooms), with the single change that he has to deal with a cloud of poisonous gas that is more annoying than interesting. The only area to get a real change in mood is the forest, which is filled with rain and a creepy fog that has rearranged the connections between rooms. However, the forest reverts to its sunny, familiar self as soon as Dante slays the area boss. Heck, even the "lost woods" puzzle is completely unchanged in Dante's go-through, with the exact same clue and solution. The entire thing is compounded by the fact that Dante fights the exact same set of bosses that Nero fought (minus the most interesting ones) in the exact rooms that Nero fought them, with only a single exception. All told, Dante's side of the game completely lacks any interesting twists to keep things novel or interesting.

Devil May Cry 4 might have been a lot better off if it had used some of the same tricks that the previous installments used to make familiar material fresh and interesting. At the very least, it would have been a good idea to have made Nero pass through the areas during the daytime and Dante at nighttime, or vice versa.

Devil May Cry 3: The 7 Hells

In my last post on enemies in Devil May Cry 4, I compared the new demons from DMC4 to a particular group of demons from Devil May Cry 3: the Hell reapers. In my opinion, the Hell reapers of DMC 3 are an exceptionally good group of regular enemies because they combined a solid theme shared among all of them while also being good at requiring the player to adapt his strategy depending on the composition of the enemy group.

First off, all of the 7 Hells type enemies share several features in common appearance wise: they all where hooded cloaks, they have a gaunt, skeletal appearance, and almost all of them use scythes. In essence, they are all look vaguely like the cliche Grim Reaper. At the same time, each individual type of Hell reaper has a very distinctive look, particularly in terms of coloration and posture. So, a large group of 7 Hells looks like a mob of similar, but distinct individuals. I think it works quite well.

More important to the success of 7 Hells as enemies is in how each individual type of Hell reaper has its own focus:

Hell Pride: The most basic kind of Hell reaper, these guys are only capable of short range melee attacks.

Hell Sloth: These Hell reapers are capable of teleporting, making them good at surprise attacks.

Hell Gluttony: These ones are capable of performing a rather dangerous mid-range sand blast attack.

Hell Lust: These Hells are extremely fast and suddenly dash in from long range to attack.

Hell Wrath: These guys don't use scythes, but instead act as walking bombs.

Hell Greed: This type of 7 Hell carries around a coffin which it uses to periodically summon other Hell reapers.

Hell Envy: This is a version of the Hell Pride that is unique to a specific area of the game.

As seen in the list above, each Hell reaper has its own particular special skill, which requires different tricks to beat it. For example, while a Hell Pride can be quickly defeated with focused ground combos, a Hell Lust's vicious attacks force the player to keep moving and stay airborne. These wildly varying fighting styles also mean that it is possible to create a variety of unique combat encounters by combining different types of 7 Hell. For example, fighting Hell Prides and Hell Greeds at the same time is a fairly straightforward affair; one must simply take down the Hell Greeds quickly by attacking them during their periods of vulnerability, while occasionally clearing out some Hell Prides if they get too numerous or too close. On the other hand, in a similar fight against Hell Greeds and Hell Lusts, it isn't so easy to ignore the Hell Lusts. In that situation, one must instead turn to more hit-and-run style tactics.

The strength of the 7 Hells is that each kind of Hell reaper is designed to be a building block for an encounter, instead of a monster that can do anything on its own. As such, even though Devil May Cry 3 is full of encounters against the 7 Hells, no two are exactly the same. At the same time, these encounters feel thematically appropriate, because the 7 Hells are share a common design paradigm.

I can confidently say that the 7 Hells are the best set of enemies from the entire Devil MAy Cry series.

Devil May Cry 4: Enemies

There is a pretty good variety of enemies in Devil May Cry 4, ranging from the weak Scarecrows to the insanely powerful Blitz demons. However, I don't think that the list of enemies, nor how the enemies in the game are used are perfect. It is a little hard to pin down exactly, so I will tackle the various enemies in Devil May Cry 4 one at a time.

Scarecrows:
These are the successors to the Puppets of Devil May Cry 1 and the Hell reapers of Devil May Cry 3; they are weak enemies designed to be fought in large numbers throughout the game. Unfortunately, the Scarecrows just don't seem to do the job as well as their precursors. First of all, the Scarecrows only come in two main varieties, an Arm type and a Leg type, which are difficult to distinguish from each other since they both fight in more or less the same manner. In comparison, the Puppets of DMC1 came in blade-wielding, dart-throwing, and gun-toting varieties, as well as in the slightly stronger Bloody Mary variety. In DMC3, there were seven kinds of Hell reaper, each of which was both visually unique and had distinct powers. This lack of variety really hurts the Scarecrows, since most Scarecrow battles end up feeling the same.

The other problem with the Scarecrows in DMC4 is that they don't appear very frequently in the game. It is actually a lot of fun to tear through large hordes of weak enemies using your large array of flashy attacks in a Devil May Cry game. That is more or less the reason for the existence of the Scarecrows and their ilk. Yet, Scarecrows don't actually appear all that frequently in Devil May Cry 4. While they appear in just about every major section of the game, with the exception of the first few missions they only appear in a room or two per mission, if that. In comparison, just about every corridor and transition room in DMC1 or DMC3 is stuffed with fights against similar enemies. Part of this is due to DMC4's tendency to build stages around 3 or 4 major fights against stronger enemies with little in the way of optional fights in transitional areas.

Assaults and Frosts:
With DMC4's emphasis of having a few major battles per mission, the lizard-like Assaults end up being one of the most prominent enemies in the game, particularly in Son of Sparda mode, where they al but replace the Scarecrow. They are designed to fulfill the role of an enemy that is a bigger challenge than the Scarecrow, but still weak enough to be fought in groups of three or four. In that sense, they are somewhat comparable to the stronger varieties of Hell reaper from DMC3. However, while the stronger Hell reapers came in a wide variety of specialist forms, the Assaults come in only one form that tries to do everything at once. They throw long-ranged attacks, perform a variety of mid to long range dashing attacks, have decent melee capability, can perform a screaming attack at short range to stun Dante/Nero, and can block both gunfire and melee attacks. This all-in-one nature of the Assaults doesn't really help them as monsters. Since they can fight using a variety of moves, there isn't really any kind of strategy for fighting them, so they end up being more annoying than anything. At the same time, they always fight the same way and rarely come alongside anything else, so fighting them gets old after a while.

The Frosts are really just elemental versions of the Assaults with a greater emphasis on power and defense over speed, so a lot of my comments above apply to them as well. Oddly enough, they are introduced much earlier in the game than the Assaults.

Chimera Seeds and Chimeras:
I actually like these things. The Chimera Seeds are almost unique among DMC4 monsters in the thematic nature. The Chimera Seeds only appear in the forest area, and are directly linked to the boss of the forest, which successfully ties together the enemies in the area, the area itself, and the boss of the area together in a way no other area of the game is. The Chimera Seeds themselves do something unique: they attach themselves to other enemies and make those enemies stronger. However, I much prefer it when the Chimera Seeds start out unattached, so I have the chance to try and prevent some of them from attaching to other the enemies. For too often, enemies come with Chimera Seeds pre-attached.

Basilisks:
I really have no idea why the designers of DMC4 used Basilisks the way they did. Basilisks fulfill a pretty basic and necessary niche of monster: they are relatively fragile enemies that specialize in ranged attacks. As such, they should have been a major enemy that appears alongside Scarecrows and Assaults for most of the game. Yet, the Basilisks are introduced only near the very end of Devil Hunter Mode, appear in only a few places even in Son of Sparda mode, and generally only appear in packs consisting of only Basilisks. I really have no explanation for it.

Gladius:
Once again, this is a monster that only appears in very few encounters. Yet, they are a pretty interesting enemy, since they can picked up by Nero and thrown at other monsters for a pretty powerful attack. At the same time, their presence can make a tough fight much harder, since they are distracting and can do a fair bit of damage. They really deserved a bigger presence in the game.

Cutlass:
As far as I can remember, these guys only show up in a pack of three in one encounter in the entire game. Their presence is so limited that I don't even know what to say about them. Like the Gladius and Basilisk, these guys seem to have been designed primarily for their role as weapons used by Agnus Angelo. Outside of that role, they don't seem to have much point in DMC4.

Bianco Angelo and Alto Angelo:
I can't deny that the Angelo-type enemies are some of the coolest enemies in DMC4. The Bianco Angelos work well as a mid-tier enemy designed to be tough until you get used to their quirks. The Alto Angelos work well as elite opponents on their own, and can transform a group of Bianco Angelos into what is practically a mid-boss fight. Yet, I can't shake the idea that there should have been a third kind of Angelo, such as an Angelo similar in strength to the Bianco that was designed for ranged combat. That would have given some more variety to the early/mid game Angelo fights, and would have opened up a greater variety of Alto Angelo squads. Alternatively, it would have been nice if the Angelos appeared alongside the weapon type enemies (Gladius, Cutlass, and Basilisk) more regularly, and even better if they could have synergized with them more. For example, maybe an Alto Angelo could pick up a Cutlass and use it as a weapon, similar to how Agnus does.

Mephistos and Fausts:
Honestly, at this point I just plain hate these things. There is only one strategy that works on them: shoot them until their cloak falls off (which can take a frustrating amount of time), then slash them while they are vulnerable until they die. At the same time, they are too powerful to casually group with other enemies. The one time I fought Mephistos and Frosts at the same time, I discovered that it was almost as tough as a boss fight. As such, you only fight Mephistos in groups of two or three Mephistos, with a Faust occasionally thrown in for a particularly tough fight. This makes fights against Mephistos tedious, annoying, and boring. I much preferred enemies like the Bloodgoyles of DMC3, which were similar, but weak enough to be paired up with other enemies.

Blitz:
This enemy has so far only appeared by itself as a really difficult solo fight. I have died or nearly died every time I have fought it. While there is only one real effective strategy, the enemy is rare enough and strong enough that I can't really complain. The third time I fought a Blitz, I got to use a Gyro Blade to fight it, so I can't fault the designers for not trying to spice up battles against the thing.

After writing this much, I think the recurring issues of enemy and encounter design have come out into the open. In short, while the game has a wide variety of interesting enemies, the enemies don't complement each other very well. You fight most enemies in groups consisting of just that enemy type, with occasional exception. Most of the enemy-types in the game are fairly resilient enemies with a wide range of both long and short range moves, which means that they don't have glaring weaknesses that the player can exploit or that other enemies could cover for in a mixed group. A such, there is little strategy to be found in determining what order to kill the enemies in. The lack of variety also means that fighting these enemies gets a lot less interesting after a while.

Devil May Cry 4: Continues and Gold Orbs

I got Devil May Cry 4 for Christmas, and I have already cleared through the end of Chapter 9 already. Despite some early worries about the game's difficulty, Devil May Cry 4 has proven itself just as exciting and intense as it's predecessors. In fact, the designers at Capcom have made some noticeable improvements to the game that make the game's difficulty not nearly as big of a pain as in Devil May Cry 3, by bringing back an improvement made in Devil May Cry 3's Special Edition.

In the original version of Devil May Cry 3, as well as in the first Devil May Cry, the player needed to use up rare and expensive items called Yellow Orbs in order to continue from a checkpoint. This was always the thing that frustrated the most in Devil May Cry 3. The bosses in Devil May Cry 3 were almost always located at the end of long and difficult stages. At the same time, every major boss in DMC3 was very dangerous and difficult in its own right. For example, I originally died to Virgil four or five times, which means that I had to trudge through his stage five or six times in a row. Now then, I am someone who enjoys difficulty, but having to replay the same stage all of the way through multiple times is more annoying than fun. I have always felt that tough challenges are always more fun if you have the chance to try it again immediately after you fail.

The Gold Orb system, which was added as an option in Devil May Cry 3 Special Edition and returned in Devil May Cry 4, gives the player the ability to continue from a checkpoint as many times as he likes. It really came in handy for me when I challenged Bael, the boss of Chapter 4 in DMC4. I probably fought Bael around seven times before I finally managed to crush him for good. If that fight was in DMC3, I would have had to trudge through the entire stage over again after dying. Instead, I got to fight him seven or so times in a row without interruption. Not only did it take less time with less frustration, but it let me focus on experimenting and fine-tuning my strategy. In Devil May Cry 3, I usually just gave up after a point and ended up using items to help me beat a boss and just avoid the frustration; but in Devil May Cry 4, I was free to enjoy the challenge of the fight itself more.

At the same time though, Devil May Cry 4 still rewards those players who get through a stage without dying. After my seven consecutive fights against Bael, my score for Chapter 4 was absolutely terrible: I only got a D rank. Compared to my typical A and B ranks, that D is a blight on my record. So to improve my overall score, I will probably go back and challange Bael again, this time armed with knowledge gained from my earlier hard-fought victory. So, the challenge of beating a stage without dying still exists in Devil May Cry 4, but it is no longer a requirement for progressing through the game. I think that this is how it should be.

Shadow of the Colossus: Pathfinding and Exploration

It is safe to say that a player will likely spend a longer amount of time riding around on horseback in search of the Colossi than actually fighting them. Fortunately, this is actually a pretty fun experience. Even though there are no enemies to fight or puzzles to solve outside of the Colossus battles, the simple act of exploring the game world, seeking out one's targets, is very enjoyable in of itself. If anything, adding unnecessary complications would have detracted from this experience.

A great deal of the enjoyment I have derived from Shadow of the Colossus's exploration comes from the lack of guidance given to the player on how to proceed. Since the game's map is not marked with destination markers and is vague enough to be nearly useless, the payer is given only two clues on finding his next target: a short, cryptic description of the area by Dormi, and the Light of Guidence, which shines from the player's sword in the direction of the next Colossus. However, since the Light of Guidance needs to be actively checked by the player, only works when the hero is standing in strong sunlight, and only points in the relative direction of the next target and not the best path to reach it, the player often has to expend a lot of energy searching for his next destination. I have gotten lost numerous times while searching for a Colossus, and I often end up taking the long winding route instead of the short route. I have had to back-track, guess my way through winding canyon roads, climb up tall objects in a forest to find good sun-light, and so on numerous times in my search for the Colossi. Yet, I have often had a lot of fun doing so, since the act of trailblazing and pathfinding through a sprawling world is such a novel experience for me. Far too often, game developers make it far too obvious where the player's next destination is, or make it impossible to go too far off-track. This approach destroys the chance for the player to enjoy the search itself.

The lack of dangers and monsters in the game helps keep the focus of the experience on the journey itself. As it is, while riding around on Argo, I sometimes was reminded of stories of heroes riding great distances through forests and over mountains on a quest. If I had to get off my horse and kill goblins every few minutes, it would have broken that trance-like feeling. It would have also turned exploring the game world into a repetitive chore. Right now, Shadow of the Colossus is not a very repetitive game. Each Colossus provides a different challenge than the last, and each journey in search of a Colossus is different as well. Adding in minor enemies to populate the world would have required the player to fight the same meaningless battle over each time he passed through a certain area, which would have distracted from the newness of the journey itself. It would have dragged the travel portions of the game out too much as well.

Another thing I like about the exploration elements of Shadow of the Colossus is that it rewards the player for experimenting. During my search for the third Colossus, I noticed a lizard running across the canyon floor nearby. Seeing as how I had a bow, I decided to see if the game would let me hunt and kill the lizard, which it did. It even left a tail behind, which I could pick up. Later on, I discovered a lizard with an unusual white, glowing tail. When I killed that lizard and picked up the tail left behind, I discovered that my grip gauge had increased slightly. The game's manual hadn't even mentioned that there were power-ups in the game, so this was a pretty big discovery for me. After a bit more exploration and experimentation, I found fruit hanging from the branches of a tree that I could shoot down with a arrow and eat to increase my maximum health. These benefits are so slight, they are unlikely to turn the tide in an actual Colossus battle, but they do serve as a very effective reward for a player who takes the time to experiment and explore the game world. In particular, I like these rewards since they reward the player for doing what a person in that world itself would realistically do: hunt animals and gather edible fruit for food.

One final aspect of the exploration element of Shadow of the Colossus that I enjoy is the way Argo, the hero's horse, behaves. When the hero is riding Argo, the player doesn't directly control Argo's movement, he controls the way the hero commands Argo. So, getting Argo to turn the direction you want, get up to a full gallop, or stop can sometimes involve frustration and perseverance. On the other hand, Argo is also capable of following winding, narrow trails and such without a single button press from the player. In fact, it is sometimes easier to navigate by gently nudging Argo in the right direction, then letting him make the turn by himself. This make Argo seem like a real animal, instead of just a vehicle, which is a first in my experience.

It is very rare for me to find a game like Shadow of the Colossus where getting to your destination really is half the fun.

Dokapon Kingdom: The Mid-Game Gap

Just past the mid-point in Dokapon Kingdom, my brother has been caught in a trap of sorts caused by a flaw in the board layout of Dokapon Kingdom. Because the fifth continent of the game does not have a weapon shop of its own, it is really easy for a character who was behind the curve during the fourth continent to fall almost hopelessly behind the game's frontrunners, which may take characters out of the game disappointingly early.

The problem has its roots in the nigh-inaccessible nature of the fourth continent, the game's analog to South America. Not only does the player have to cross through three other continents to reach the fourth continent, but the fourth continent is cut off from the rest of the board by a forest dungeon that is approximately the size of a continent in of itself. Since the fourth continent is so far away from the rest of the board, a player can't afford to go there lightly. Now then, the fifth continent is connected directly to the early parts of the third continent, and is thus easy to access from the main part of the game board. However, since the fifth continent has no weapon store of its own, a player who wants to purchase new weapons during Chapter Five has to abandon the fifth continent and trek all the way back to the fourth continent's weapon store, placing that character very far behind the rest of the pack.

Because of the way Dokapon Kingdom's Story Mode is structured, two of the four players in my current game have been placed in this bad situation. During Chapter Four, when the towns on the fourth continent became up for grabs, Player 3 (a CPU) never even made it onto the fourth continent due to bad luck on movement rolls and in combat. Furthermore, my brother (Player 1) never got the right rolls to make it to the Weapon Store, even though he spent some time on the fourth continent. On the other hand, Player 4 (another CPU) and I did get out hands on up to date weapons and shields. Unfortunately for my brother, he didn't have time to stick around and buy weapons because Chapter 4's end of chapter event forced all of the players to quickly scramble back to earlier areas. Once that was completed, the fifth continent was open for business and became the focal point of the game, making the trip back to the fourth continent too time consuming to be worth it.

Unfortunately for my brother, not having up to date equipment is a serious draw-back. First off, it is very hard to take on the new, more powerful monsters of the fifth continent with weapons and shields from the third continent, and if a player can't kill those monsters, he will fall behind the level curve and be unable to capture towns. While it may be possible for such a character to beat some monsters, level up, and take a town, a character with better equipment will do those things faster and with less effort. Compounding the problem, it is nearly impossible for a under-leveled and under-equipped character to take on another player in direct combat. So, Chapter 5 has so far led to a significant widening of small gaps between players that opened up based on relative luck in Chapter 4. At this point, Player 3 has almost been completely shut out of the game, and my brother is going through hard times.

While it is necessary for a competitive game to eventually solidify the standings, this is much too early in the game for that. There are still two whole continents to go before the game is decided. Games like this are a lot more fun when it is a close race and most of the players have fair odds of taking the lead. Even though I am now in the lead, the current situation just isn't very satisfying. While it still remains to be seen whether or not Chapter 6 will give a chance for those who are behind to catch up, it might still be a very difficult task for those who have fallen behind due to the increasing power of enemies and the vast gains the leaders have made. What it all comes down to is that the game would have had a much more level playing field if the fifth continent had just had a Weapon Shop.

Dokapon Kingdom: Wandering the Map

My brother and I have been playing a lot of Atlus's RPG/Party Game hybrid Dokapon Kingdom lately. So far, it has been quite a lot of fun. It has been a while since I have been hit so severely by the "one more turn" effect. Unfortunately, I seem to be chronically stuck in last place in the Story Mode run we are playing through currently...

One thing that strikes me about the game is that the game designers had a very good appreciation for the importance of movement in this game. Using items or field magic doesn't take up your turn, so unless you start your turn in the middle of a fight or are stuck for some reason or another, you will always be able to move, which is certainly nice. Also, items that affect movement form a very large fraction of the number of items in the game, ranging from common and cheap "1 Crystals" that let you move one space, to rare and expensive "Multi Crystals", "Super Spinners", and "Guided Warps" that greatly improve your movement capabilities in various ways and provide a powerful advantage (one CPU player recently got a huge head start and took first place thanks to a single Super Spinner). Since moving is what lets you actually do things in the game, and choosing where to move is probably the most important thing you do every turn, the fact that you are given many options that let you modify movement and don't have to worry about sacrificing movement in order to do other things help the game quite a bit.

I suppose that such would be attention natural though, considering that the mechanism for movement and the division of the map into spaces are the most significant "party game" elements in Dokapon Kingdom. The act of spinning the spinner to determine which space you land on is what makes it feel like a board game. When the game is working at its best, you can twirl the spinner, get any result, and figure out which space you land on would be the most advantageous, playing the game entirely by ear. For a lot of the time, the design of the world map really compliments this kind of play. Because the map has so many inter-connecting paths, small loops, wide loops, and a fairly interesting variety of towns, loot spaces, field spaces, and other special locations, you almost always have several interesting places to choose to move to. Unfortunately, the random element of the spinner has some severe drawbacks, as well, and this is revealed whenever you can't just play the game by ear and go where the spinner takes you.

One of the single most glaring flaws with the game is that it is both frequently very important to the game that you move to a single, particular space on the map, and nearly impossible to actually do so thanks to the randomness of the spinner. For example, you need to go to the single Dokapon Castle space fairly often across the course of the game (to deliver items, change jobs, get Pranks cleared, etc), and even if you happen to be on the correct side of the map (that castle really should be more centrally located), you still need to land on the castle space. The small, asymmetrical loop right in front of the castle means that you can usually reach the castle with 2 or 3 different results on the spinner if you are close enough, but even with that you can end up futilely trying to reach the castle for many turns. If the space you need to land on doesn't have a convenient asymmetrical loop right next to it, or even worse is stuck in the middle of a linear path with no branches, then you have no choice but to wait for a lucky one-in-seven chance and hope that the spinner doesn't catapult you far away from your target space. If the target space you need to reach is far away, then you need to hope that you don't get stuck with low numbers on the spinner for several turns straight. In these cases, items that modify the spinner go from being useful to being absolutely necessary, and the game can become pretty frustrating.

A large part of why this is a problem is that many, aspects of the game are time/turn sensitive. Every turn you are stuck trying to get into Dokapon Castle is a turn your rival players are using to capture towns, become wealthier, and grow stronger in a more lucrative location. Every turn you spend trying to land on the one space you need to land on in order to escape the Casino Cave is a turn where a time limit you have may be counting down, and an opportunity is slowly being wasted. Most importantly, every turn you are trying to do such a thing is a turn that you could have been spending doing something more interesting. Luck should be a factor in the game, but it should not be something that determines whether you are having fun or not.

Unfortunately, there isn't really any kind of easy solution to this. Items that modify movement help a lot, but they can't be acquired reliably (the only way to get one reliably is to seek out an Item Shop, which brings up the very problem that needs to be solved). Good map design, like the asymmetrical small loop in front of Dokapon castle, also helps a bit, but it is a bit inconsistent and doesn't really solve the fundamental problem. One solution would be to get rid of the randomness entirely, but that would sacrifice an important element that keeps the game fun. Perhaps a better one would be to minimize the importance of unique spaces, like Dokapon castle, dungeon entrances, shops, and the temples. If you didn't need to do things like go to Dokapon Castle in order to class change, go to a particular shop to buy the latest weapons, or go to a temple in order to reset your revival point, but instead could get those services from a larger number of spaces (the same way you could heal HP at any of the many towns), then a lot of the problem would go away. If you had a chance at being able to buy up-to-date equipment almost regardless of your current position, then the game would be much more supportive of just rolling with whatever number the Spinner gives you, which would be a lot more fun.

Super Smash Bros. Brawl: Melee Stages

Several of the stages in Super Smash Bros. Brawl are exact copies of stages from Super Smash Bros. Melee, carrying on a tradition started when Melee included three stages from the very first Super Smash Bros. game. However, I can't help but feel disappointed in how they went about bringing back past stages. Instead of simply re-using a handful of stages from Melee in their original form, I would have preferred it if the developers had completely remade stages using the improved graphical resources of the Wii and had kept more true to some of the stage traditions of the first two games. As it is, it feels like Brawl has abandoned too many of the classic stages of the previous games.

One big reason that I don't like the treatment of the Melee stages is that they feel far too cut off from most of the game. To start with, they are placed on a second stage-selection screen, which makes them harder to get to and remember than the new Brawl stages. Furthermore, none of the Melee stages appear in the games Classic or All-Star game modes. The older age of the appearance of the stages also contributes to their segregation from the rest of the game. The game designer's probably left the stages as they were because they wanted to retain a nostalgic quality from Melee for these stages. That unfortunately didn't work, because there are significant differences between the Melee stages in Brawl and their original incarnations in Melee itself, particularly in the real of stage boundaries and camera behavior. So instead of feeling nostalgic about these stages, I am constantly reminded about how they are only flawed emulations.

I think that it would have been much better if the developers had followed the other examples of how Melee converted stages from the original Super Smash Bros. game. Several stages in Melee were re-imagined or updated versions of stages from the first game, including Corneria, Brinstar, and Green Greens (three of the Melee stages in Brawl). Corneria in particular is a complete duplicate of the Sector Z stage from the first game; the only differences between the two is that Corneria has a different background and slightly updated graphics. Similarly, Brinstar is directly based on Planet Zebes, albeit with a modified platform layout and new interactive element (although the central gimmick, rising levels of lava, remains the same). Green Greens is directly based on the original Dream Land stage in that it features the classic Kirby boss Wispy Woods using wind to sow chaos on the battlefield. Furthermore, the Mushroom Kingdom stage in Melee uses a lot of the same design elements that defined a stage with the same name from the first game. So Super Smash Bros. Melee reimagined and updated stages more often than it simply re-issued them.

I think Brawl would have been better off if it had given the Melee stages this same treatment. Instead of emulating the Melee Corneria stage, inferior graphics and all, it could have updated the look of the stage based on the appearance of the Great Fox from Star Fox Assault, the most recent game it has been in. Brawl did do this for a few classic stages; Battlefield, Final Destination, Yoshi's Island, Pokemon Stadium 2, and Port Town Aero Dive are all re-imaginings or faithful recreations of previous stages using Brawls full graphical capabilities. Since the developers had the resources to create a massive single player adventure mode, there was no reason they couldn't have rebuilt the returning Melee stages completely.

Lost Woods mazes

One of the later challenges in Megaman Star Force 2 is the Bermuda maze: a fog-filled maze where each room had four exits, but only by going through the correct exit can the player advance. This kind of maze, where the player has to follow a specific route to pass through a repeating maze, has been around since the Lost Woods maze in the original Legend of Zelda on the NES. It remains a very popular kind of puzzle, having appeared in numerous games, such as Devil May Cry 1 and 3, numerous Zelda titles, Brave Fencer Musashi, and many more. It is an iconic kind of obstacle that has a lot of advantages and gives game designers a lot of options to play with.

It is a really interesting kind of maze since it is nearly impossible for the player to guess his way through. Most of these mazes are created by simply warping the player back into the same room he just exited, so it is impossible to tell if you are making progress or not until you either stumble back outside or find your way to the exit. So, a Lost Woods style maze is really more of a puzzle than a true maze, since the game designer needs to give the player some kind of clue in order to pass through the maze. Because of that feature, this kind of maze can also function as a good way to limit the player's access to an area until the story has progressed to a certain point.

One way of handling a lost woods maze is to make it unsolvable until the player is given a solution at one point. For example, the original Lost Woods could only be passed through by going North, West, South, and then finally West again. The instructions are given to the player by an old man hiding out in one of the dungeons. As a functionally identical alternative to giving the player a set of directions, some games give the player an NPC (often an animal) to act as a guide through the repeating maze.

The problem with this kind of maze is that it can be bothersome having to remember the instructions every time you pass through the maze, particularly if the maze blacks access to commonly visited areas. However, this can be made less bothersome if you make the solution fairly simple. A good example can be found in the Mu branch of the Bermuda Maze in Megaman Star Force 2. When it was time to first take that path, I was given straightforward instructions on how to get through: up right, down right, down left, up right, up left. I thought that it was going to be pain to remember those instructions, but then my brother pointed out that the instructions masked a simple solution: all I had to do was turn right at every intersection in the maze. That made passing through the Bermuda Maze a very simple process on subsequent passes.

The second common way of handling a Lost Woods style maze is to build a clue into the maze itself. A good example can be found in the Room of Rites, found at the end of both Oracle Legend of Zelda games. In this maze, there are eight or so statues, whose eyes will point in random directions every time the player enters the room. If the player is just entering or on the right path, none of the eyes will point in the direction of the correct path. However, if the player wanders off the correct route, the eyes will randomly point in all four direction. By looking for this behavior, the player can find his way to the exit. Personally, I prefer this kind of Lost Woods maze, since it is much more mentally engaging than just following a list of directions.

A major pitfall to this second kind of Lost Woods maze is that the clue needs to be possible to figure out (a common problem of puzzles I mentioned before). In Lunar Silver Star Story Complete for the PSX, there is dungeon called Myght's tower that had a Lost Woods maze. At one point the player is dumped into a room with four exits, each of which is marked with a distinct symbol (sun moon, star, planet). As far as I know, there are no clues past those symbols. I ended up getting lucky and stumbling through the maze by moving randomly. A lack of solid clues like that can bring a game to screeching halt, leaving the player to run to GameFAQs in order to progress.

A particular feature of Lost Woods mazes that I haven't mentioned is that they can easily lead to more than one destination if the player follows an alternate route. This lets the developers get multiple challenges out of a single maze, which can be very useful.

All told, I fully expect this kind of maze to show up in videogames for years and years to come. It is both very simple in concept, but allows for countless variations.

Fire Emblem: Radiant Dawn Part 3

Game Completion: In the middle of Part 3, Chapter 5

I really like the level design in this game. Each chapter feels fairly unique, with distinct objectives and complications. I can only recall one or two stages so far that are simple battles in which you just need to rout an enemy or defeat a boss. Interesting objectives are so common that, in one mission, the lack of any such complications made me rather paranoid that something would happen towards the end to make things more difficult (I admit I was rather disappointed when it turned out it was just a simple battle).

Some interesting things this game does in level design, especially compared to previous Fire Emblm games, are:

1) The different chapters have many kinds of Victory Objective. With distinct Rout, Defeat Boss, Defend, Arrive, Sieze, and Escape objectives, as well as few which are outside of those common types (like the objective of mission 3-3). Various creative uses of these objectives, especially the Arrive command (such as in mission 3-Prologue), keeps the stages from feeling repetative. Having multiple wining conditions, especially in the otherwise long and potentially boring Defend missions, is also a nice feature.

2) Most levels have some kind of incentive that encourage the player to stay on the offensive. The Fire Emblem games are easiest if you play cautiously and advance slowly, but are much more fun if you push as quickly as you can and push your ability to respond to attacks to the limit. This game rewards the latter by both traditional methods for a Fire Emblem game, like having Thieves and Bandits who will destroy towns and rob treasure chests if you progress too slowly, and a newer, but very common in this game, method of having civilians and allied soldiers on the battlefied who can be saved. As far as I can tell, keeping allied and civilian units alive and letting them escapape the battle rewards the player with valuable bonus experience in this game. There are even some stages which ask the player to avoid killing enemies, an interesting and novel challenge for the series. Previous Fire Emblem games might only have a single stage with nameless allies that need rescuing, and often you only receive an item for saving them, so the fact that they apear so often in this game is a nice change.

3) The actual terrain of the battle is often quite varied and interesting. The addition of different levels of height, and gaps that can be climbed, both add a lot to the game experience.

Of course, there are a few problems with the level design, mostly stemming from excessively powerful defensive locations, and terrain that is more difficult to traverse than is necessary. In a game where three-to-one odds can be fatal, one mission (2-Endgame) has a choke-point that allowed a single character on my side hold back a constantly spawning group of enemies which could number up to sixteen or more at a time, and in other missions the enemies hold almost equally powerful locations. Another problem is that heavily armored characters and mounted characters seem to be punished too much by rough terrain, especially gaps that require climbing. Armored characters already have less movement than other characters, and mounted characters suffer lower caps on their stats (and penalties on movement in indoor stages), so these characters end up being all but useless on some stages. At the same time, flying characters (who might be stronger and more common than mounted characters) don't suffer these penalties and are necessary to get through some stages with a large number of choke-points, so they end up being rather unbalanced with horse-riding units.

That about covers stage design so far... Before I forget, I should mention that I really like the addition of a mid-battle save (rather than just a suspend) to the fire Emblem series. It eases a lot of frustrations with replaying a mission many times to make up for a minor mistake, and permits the player to be more daring in battle (which adds to the effect of #2 above), making the game more fun.