I recently got my hands on a copy of Shadow of the Colossus for the first time a few days ago, and it has completely blown me away. Shadow of the Colossus provides only one major gameplay experience: fighting giant monsters by climbing onto their backs and stabbing weak points. However, by focusing on polishing that one gameplay element to perfection, the developers have created a real masterpiece of a game. From beginning to end, one of the fights against a Colossus reveals the tremendous amount of effort that has been put into making that one experience enjoyable.
I have fought and defeated six Colossi so far in the game, but I am still impressed by the size of the monsters every time. Intellectually, I realize that most of them are all about the same size, but I am somehow fooled into thinking each one is bigger than the previous one. Part of this effect is probably due to how hard it is to see the entire body of a Colossus at once. As long as you are reasonably close to one, its entire body will not fit into the screen. If you are far enough away to see the entire body of the Colossus, then it is easy to be surprised at how much bigger it looks when it finally draws close. Furthermore, the game's camera is usually around the same height off the ground as the hero is when the hero is standing on the ground. So, the game camera has to tilt upwards to view a Colossus, magnifying the appearance of its height. Another trick they used to magnify the already considerable size of the Colossi is by filling the game world with terrain that dwarfs the hero, and then making the Colossi even bigger than that terrain. I am pretty sure they are slightly upping the size of the Colossi as the game proceeds too in order to keep the "wow!" factor going.
The one area where the developer's careful eye to detail really shines is in the physics and movement of Wander and the Colossi. The hero's movements are not stiff or simple. Rather, he is always stumbling as he gets up after a jump, walking unsteadily across a moving surface, and being thrown around like a rag doll as he desperately holds onto a gigantic monster's shaking back for dear life. The way the Colossi walk around, shake their heads and backs, and flinch from bow or sword hits is also very natural looking and life-like; the Colossi convincingly behave like living creatures. Furthermore, the way they visibly tear the ground apart with each step and create massive screen-blurring shockwaves with their attacks strongly emphasizes the incredible power that their size gives them. The physics of the game is important to this overall effect too, since the hero really can be pitched from the back of a Colossus if the player makes a single misstep.
Most of all, the experience of fighting a Colossus is so strong and exciting because it is an honest, fun challenge. Fighting a Colossus has all of the elements of a boss-fight, a platformer stage, and a puzzle rolled into one fluid package. Since the Colossi are always moving, reacting, and attacking, the player has to constantly stay alert and keep his eyes on what it is doing. At the same time, getting into position to attack a Colossus's weakpoint is never a simple process since it involves exploiting the terrain, tricking the Colossus into doing something stupid, and/or hampering the Colossus with well-placed attacks. The game also has incredible platformer elements: while I have made a lot of jumps in a lot of videogames, I have never made a death-defying jump from a monster's swinging elbow to its waist before. Shadow of the Colossus expertly melds all of these game elements into a single fast-paced, visually stunning thrill ride.
Wednesday, November 19, 2008
Equipment vs. Accessories
In my last post I condemned the "equipment tax" in RPGs, the situation where most of the wealth acquired by the player is spent on maintaining the status quo, so now it is time for me to praise the exact opposite situation, where most of the wealth acquired by the player is spent on resources that change the status quo, particularly things that give the player new abilities and add new strategies to the game. This kind of situation is relatively rare in RPGs, but it is not unheard of.
To start thing off, I want to say that I have always been incredibly fond of the stereotypical "Accessory" equipment slot seen in many RPGs. Accessories are classically the one kind of equipment that gives you cool things, rather than just add to numbers. Even if it is something as simple as giving a character immunity to a status effect, accessories actually have the potential to change the way you fight battles. What is more, their value tends to be much more even across the length of a game than equipment that exists only to modify math. Even the cheapest status effect immunity accessory found in the first shop in the game can be invaluable at the end if there is an enemy who uses that status effect. Accessories only become more valuable in the rare case where you can equip multiple, allowing you to combine their effects in any number of possible ways, such as with the great Final Fantasy VI "Relic" system.
Usually, the kind of equipment that modifies numbers only becomes interesting when it also has the kind of effect you usually see with accessories. For example, while the equipment in Persona 3 is otherwise a textbook example of the "equipment tax" at work, most items in that game have additional effects that boost evasion against certain elements, improve stats, give resistance to certain elements, or let you add status effects to your attacks, and these side benefits tend to become more common and powerful as you rise in level. The equipment tax effect limits the potential of this system, since ultimately you need to replace items with good effects with items that have higher mathematical power, but it still has some advantages. Even though the mathematical strength of the highest-level items is just one more iteration of a geometric progression, they are none-the-less more interesting because they have new, flashy, and powerful abilities attached to them, such as the ability to inflict every status condition at once or a large bonus to every stat. Some rare weapons even replace their usual physical damage with elemental magic damage. Because these effects are powerful and rare, it makes these weapons feel unique and interesting, even if their stats are nothing special.
Actually, I think just about every really good "ultimate weapon" in RPGs has some effect like those in Persona 3. The Atma/Ultima Weapon from the Final Fantasy series often breaks the normal math and bases damage on level and how injured the wielder is. The Ragnarok and Illumina swords of Final Fantasy VI add all kinds of special properties to attacks in addition to giving large stat boosts and having high attack power in order to secure the "ultimate weapon" position. The ultimate weapons of Final Fantasy VII are unique in having a full set of 8 paired Materia slots, in addition to possessing abilities that modify damage based on HP and MP totals. Even something as simple as the Rainbow's base 70% critical hit rate in Chrono Trigger can mean a lot. It is things like this that make "ultimate weapons" into something more than being merely the last weapons you acquire.
I really think that RPGs would be a lot better off if they simply replace the "iterative mathematical improvement" scheme with something much more valuable, where equipment provides interesting effects rather than large numbers. After all, Final Fantasy X used just that kind of system, and it worked incredibly well in that game. That game has all of the same properties as an "equipment tax" RPG, where new weapons are available at every stop and you progress from weak beginning weapons (those without any properties) to ultimate "Celestial Weapons" (that have incredibly strong abilities), but it works entirely on providing the player with different options and encouraging the player to buy things because he thinks they are worthwhile, not because they are strictly necessary. It is an excellent example of how well that kind of scheme can work, and I think it should be more widely emulated. Certainly, future Final Fantasy games and RPGs in general would be better off following in Final Fantasy X's footsteps, rather than go the path of Final Fantasy XII, with a central character customization system that exists to emphasize the equipment tax rather than actually enable customization.
To start thing off, I want to say that I have always been incredibly fond of the stereotypical "Accessory" equipment slot seen in many RPGs. Accessories are classically the one kind of equipment that gives you cool things, rather than just add to numbers. Even if it is something as simple as giving a character immunity to a status effect, accessories actually have the potential to change the way you fight battles. What is more, their value tends to be much more even across the length of a game than equipment that exists only to modify math. Even the cheapest status effect immunity accessory found in the first shop in the game can be invaluable at the end if there is an enemy who uses that status effect. Accessories only become more valuable in the rare case where you can equip multiple, allowing you to combine their effects in any number of possible ways, such as with the great Final Fantasy VI "Relic" system.
Usually, the kind of equipment that modifies numbers only becomes interesting when it also has the kind of effect you usually see with accessories. For example, while the equipment in Persona 3 is otherwise a textbook example of the "equipment tax" at work, most items in that game have additional effects that boost evasion against certain elements, improve stats, give resistance to certain elements, or let you add status effects to your attacks, and these side benefits tend to become more common and powerful as you rise in level. The equipment tax effect limits the potential of this system, since ultimately you need to replace items with good effects with items that have higher mathematical power, but it still has some advantages. Even though the mathematical strength of the highest-level items is just one more iteration of a geometric progression, they are none-the-less more interesting because they have new, flashy, and powerful abilities attached to them, such as the ability to inflict every status condition at once or a large bonus to every stat. Some rare weapons even replace their usual physical damage with elemental magic damage. Because these effects are powerful and rare, it makes these weapons feel unique and interesting, even if their stats are nothing special.
Actually, I think just about every really good "ultimate weapon" in RPGs has some effect like those in Persona 3. The Atma/Ultima Weapon from the Final Fantasy series often breaks the normal math and bases damage on level and how injured the wielder is. The Ragnarok and Illumina swords of Final Fantasy VI add all kinds of special properties to attacks in addition to giving large stat boosts and having high attack power in order to secure the "ultimate weapon" position. The ultimate weapons of Final Fantasy VII are unique in having a full set of 8 paired Materia slots, in addition to possessing abilities that modify damage based on HP and MP totals. Even something as simple as the Rainbow's base 70% critical hit rate in Chrono Trigger can mean a lot. It is things like this that make "ultimate weapons" into something more than being merely the last weapons you acquire.
I really think that RPGs would be a lot better off if they simply replace the "iterative mathematical improvement" scheme with something much more valuable, where equipment provides interesting effects rather than large numbers. After all, Final Fantasy X used just that kind of system, and it worked incredibly well in that game. That game has all of the same properties as an "equipment tax" RPG, where new weapons are available at every stop and you progress from weak beginning weapons (those without any properties) to ultimate "Celestial Weapons" (that have incredibly strong abilities), but it works entirely on providing the player with different options and encouraging the player to buy things because he thinks they are worthwhile, not because they are strictly necessary. It is an excellent example of how well that kind of scheme can work, and I think it should be more widely emulated. Certainly, future Final Fantasy games and RPGs in general would be better off following in Final Fantasy X's footsteps, rather than go the path of Final Fantasy XII, with a central character customization system that exists to emphasize the equipment tax rather than actually enable customization.
Saturday, November 15, 2008
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.
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.
The Equipment Tax
When you reach a new town in a new part of the world, you need to go to the weapon and armor stores in order to upgrade all of your equipment. It is a simple routine, and it has been part of almost every RPG I have ever played, going all the way back to Dragon Quest. This need to upgrade equipment at every new town occasionally gets altered, made more complicated, or even completely subverted, but far more often it is not. At its most basic, every character will get a new weapon and new armor at every town, and the growth in power of those items will scale perfectly in proportion with every other character's new weapons and armor. While this is perhaps the most common model for how characters upgrade equipment across the course of the game, it usually detracts from a game more than it helps.
In a situation where new, more powerful equipment becomes incrementally available as the player progresses through the game, the cost of this equipment will inevitably become little more than a tax the player has to pay. In such a structure, the game designer must design the game under the assumption that the player will always have the best equipment available. This means that a player who, for some reason or another, doesn't have the latest equipment will be at a disadvantage and have a more difficult time with the game. At the same time, acquiring the new equipment doesn't give the player any kind of new advantage (since the enemies will have equivalent increases in power to match) or new kind of strategic option (for this post, I am assuming that equipment only grants the usual bonuses to attack and defense, and new equipment only gives bigger bonuses), so acquiring new equipment only maintains the status quo. As such, the cost of the equipment is little more than the minimum amount of money (or whatever) that the player needs to pay in order to avoid a penalty and keep things the same as they were previously. In many cases, the need to pay off this "tax" can simply be a source of frustration and stress for the player (this has happened to me countless times), and may result in the player feeling required to spend a lot of time on boring activities (AKA money-farming/grinding) in order to progress.
If new equipment is little more than a tax to be paid in order to avoid a penalty, then it would be better off it that entire aspect of the game were removed entirely. After all, I have never actually missed the act of buying equipment in games that didn't feature it (Xenosaga Ep. II comes to mind). More importantly, it seems like it would be easier for the designers if there was no equipment, since it means they don't need to guarantee that there is enough money (or whatever) available for the player to pay the "equipment tax", it would mean that there would be fewer variables in character balancing, etc. If equipment is simply going to be improved incrementally, then there is no advantage to having it that would justify adding all that complexity. If there is some aspect of an equipment system that justifies its existence, it is usually only limited by an incremental upgrade system (for example, a rare and difficult-to-acquire weapon being completely replaced by a weapon found in an ordinary shop later in the game).
There are many games I can think of in which equipment adds a lot to the game experience, but none of these games have the stereotypical "buy new equipment for every character at every town" system. The Fire Emblem scheme, where weapons will eventually break and most of your equipment for the entire game is comprised of simple iron and steel weapons, makes equipment management an extremely important part of strategy and makes unusual weapons extremely important and memorable. In SaGa Frontier, pretty much all the equipment you will ever see is available to be bought from the start, but cash is so limited that you need one of the game's several infinite money tricks in order to ever buy anything, making the items you acquire through luck and exploration extremely important. In Final Fantasy III, inequality in the availability of viable equipment can be annoying, but at the same time it forces the player to adapt by trying out new classes and strategies. Both the Suikoden and the Super Robot Taisen games combine non-transferable equipment upgrades with very large teams of characters, so it is impossible to upgrade everyone, forcing the player to make tough decisions. There are many ways to make equipment work, but just buying a new, mathematically-superior weapon at every town is not the way to do it.
In a situation where new, more powerful equipment becomes incrementally available as the player progresses through the game, the cost of this equipment will inevitably become little more than a tax the player has to pay. In such a structure, the game designer must design the game under the assumption that the player will always have the best equipment available. This means that a player who, for some reason or another, doesn't have the latest equipment will be at a disadvantage and have a more difficult time with the game. At the same time, acquiring the new equipment doesn't give the player any kind of new advantage (since the enemies will have equivalent increases in power to match) or new kind of strategic option (for this post, I am assuming that equipment only grants the usual bonuses to attack and defense, and new equipment only gives bigger bonuses), so acquiring new equipment only maintains the status quo. As such, the cost of the equipment is little more than the minimum amount of money (or whatever) that the player needs to pay in order to avoid a penalty and keep things the same as they were previously. In many cases, the need to pay off this "tax" can simply be a source of frustration and stress for the player (this has happened to me countless times), and may result in the player feeling required to spend a lot of time on boring activities (AKA money-farming/grinding) in order to progress.
If new equipment is little more than a tax to be paid in order to avoid a penalty, then it would be better off it that entire aspect of the game were removed entirely. After all, I have never actually missed the act of buying equipment in games that didn't feature it (Xenosaga Ep. II comes to mind). More importantly, it seems like it would be easier for the designers if there was no equipment, since it means they don't need to guarantee that there is enough money (or whatever) available for the player to pay the "equipment tax", it would mean that there would be fewer variables in character balancing, etc. If equipment is simply going to be improved incrementally, then there is no advantage to having it that would justify adding all that complexity. If there is some aspect of an equipment system that justifies its existence, it is usually only limited by an incremental upgrade system (for example, a rare and difficult-to-acquire weapon being completely replaced by a weapon found in an ordinary shop later in the game).
There are many games I can think of in which equipment adds a lot to the game experience, but none of these games have the stereotypical "buy new equipment for every character at every town" system. The Fire Emblem scheme, where weapons will eventually break and most of your equipment for the entire game is comprised of simple iron and steel weapons, makes equipment management an extremely important part of strategy and makes unusual weapons extremely important and memorable. In SaGa Frontier, pretty much all the equipment you will ever see is available to be bought from the start, but cash is so limited that you need one of the game's several infinite money tricks in order to ever buy anything, making the items you acquire through luck and exploration extremely important. In Final Fantasy III, inequality in the availability of viable equipment can be annoying, but at the same time it forces the player to adapt by trying out new classes and strategies. Both the Suikoden and the Super Robot Taisen games combine non-transferable equipment upgrades with very large teams of characters, so it is impossible to upgrade everyone, forcing the player to make tough decisions. There are many ways to make equipment work, but just buying a new, mathematically-superior weapon at every town is not the way to do it.
Thursday, November 13, 2008
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.
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.
Dokapon Kingdom: Required Game Time
My brother and I have been sinking a lot of time into the multiplayer party-RPG Dokapon Kingdom over the last week or so. It is a pretty fun and addicting game, with a lot of elements designed to encourage an exciting and competitive multiplayer environment. Unfortunately, right now I am concerned that that despite its billing as a party game, Dokapon Kingdom requires too much game time. Since even a limited game requires several hours to see through to completion, organizing a group of people to play a full game could be problematic.
To begin with, the game's story mode is certainly designed to be played consistently over a longer period of time. In the Story Mode go-through right my brother and I are playing right now, we are just short of the halfway point after playing for around ten hours. Playing through Story Mode to completion is probably a twenty to thirty hour task, which makes it pretty unsuitable for a party environment. Rather, Story Mode seems to be designed for a situation like ours: several family members playing the game together for short chunks of time over several days.
It is pretty clear that Normal Mode and Battle Royal Mode are the main game modes designed for party-style play. Even then, they can still be long affairs. A Normal Mode game set to length of 12 weeks (84 turns) took the two of us about 3 or 4 hours to get through. That means that a Normal Mode game of Dokapon Kingdom is pretty comparable in length to a fairly complex traditional board game: something someone has to devote an entire evening to. It really isn't suitable to be played for only and hour or two; a game lasting only a few weeks is too short for anything decisive to happen. Because of this, Dokapon Kingdom is a good choice for a gaming club or a group of friends with a free afternoon, but it isn't suitable for a short 1-hour game while waiting for other people to arrive at a club meeting.
Unfortunately, while Dokapon Kingdom can be played for only a few hours, even that much time is not really enough to get into the real meat of the game. The game world of Dokapon Kingdom is very large with a lot of depth; there is no way for a group of people to really take advantage of everything there is to offer in only a few hours. In particular, the class changing system of the game is very unlikely to come into play in a typical Normal Mode game. After ten hours in Story Mode, I have finally been able to access a second tier job, and from what I have seen it is unlikely that jobs can be acquired at a faster rate in Normal Mode. So, people playing Normal Mode are probably limited to playing the three staring jobs out of a list of about a dozen total classes. So a lot of the material that is in the game feels like it is going to waste in reasonably short games.
I admit that I do need some more experience playing Normal Mode and Battle Royal Mode games, but I currently do have some big concerns about how well the game will work in an environment like my old college gaming club. Still, I will probably give it a try some time, since the game can be a lot of fun. I will blog about it here when that happens.
To begin with, the game's story mode is certainly designed to be played consistently over a longer period of time. In the Story Mode go-through right my brother and I are playing right now, we are just short of the halfway point after playing for around ten hours. Playing through Story Mode to completion is probably a twenty to thirty hour task, which makes it pretty unsuitable for a party environment. Rather, Story Mode seems to be designed for a situation like ours: several family members playing the game together for short chunks of time over several days.
It is pretty clear that Normal Mode and Battle Royal Mode are the main game modes designed for party-style play. Even then, they can still be long affairs. A Normal Mode game set to length of 12 weeks (84 turns) took the two of us about 3 or 4 hours to get through. That means that a Normal Mode game of Dokapon Kingdom is pretty comparable in length to a fairly complex traditional board game: something someone has to devote an entire evening to. It really isn't suitable to be played for only and hour or two; a game lasting only a few weeks is too short for anything decisive to happen. Because of this, Dokapon Kingdom is a good choice for a gaming club or a group of friends with a free afternoon, but it isn't suitable for a short 1-hour game while waiting for other people to arrive at a club meeting.
Unfortunately, while Dokapon Kingdom can be played for only a few hours, even that much time is not really enough to get into the real meat of the game. The game world of Dokapon Kingdom is very large with a lot of depth; there is no way for a group of people to really take advantage of everything there is to offer in only a few hours. In particular, the class changing system of the game is very unlikely to come into play in a typical Normal Mode game. After ten hours in Story Mode, I have finally been able to access a second tier job, and from what I have seen it is unlikely that jobs can be acquired at a faster rate in Normal Mode. So, people playing Normal Mode are probably limited to playing the three staring jobs out of a list of about a dozen total classes. So a lot of the material that is in the game feels like it is going to waste in reasonably short games.
I admit that I do need some more experience playing Normal Mode and Battle Royal Mode games, but I currently do have some big concerns about how well the game will work in an environment like my old college gaming club. Still, I will probably give it a try some time, since the game can be a lot of fun. I will blog about it here when that happens.
Tuesday, November 11, 2008
Drama and Boss Battles
Boss battles serve a lot of functions in videogames. They are a means of providing a gameplay experience that can't be found elsewhere in the game. They can serve as checkpoints to ensure that they player has built up his characters' stats or developed his own skills to the necessary degree in order to tackle future challenges. However, perhaps the most important function of a boss fight is to serve as the dramatic climax to a section of gameplay. A boss fight that is too short, easy, long, or boring can destroy the dramatic build up and leave the player disappointed with the game experience.
First off, a major boss fight shouldn't die too easily. If the player ends up killing a boss in only a few attacks, the entire boss fight will feel anticlimactic. One recent example that comes to mind is the final battle against Kefka in Final Fantasy VI. When my brother finally made it to Kefka's final form, Kefka began to dramatically charge up a powerful attack, only to die before executing it even once. That victory felt too hollow, and I was pretty disappointed by it. I am not saying that every boss in a game needs to be nail-bitingly hard, but they shouldn't be too short. At the very least, a boss should last long enough to show off its abilities and make the player feel like he has to work to defeat it. If Kefka had possessed the same stats as normal but had two or three times the number of hit-points, it probably would have been a much more exciting boss fight.
Conversely, a boss fight should not be too long. If the player is stuck fighting a boss for half an hour or more, he may end up forgetting about all of the build up and anticipation and end up bored or frustrated. A good example of this is the battle against Anubis in Zone of the Enders: The Second Runner. When fighting Anubis, the player alternates between long periods of dodging and waiting and very brief opportunities to attack Anubis. While this is not necessarily bad in of itself, Anubis has an incredible amount of health; more than enough to absorb a few dozen attack combos. What this means is that the player has to repeat the same maneuvers again and again and again over the course of a really long period of time, which is simply boring. The fight would have been much more exciting if Anubis had half of his current health or less, balanced by an increased power level.
Striking a careful balance in terms of a battle's length and difficulty is a difficult process, However, there are ways to maintain a boss battle's dramatic tension, or even to build tension, within the boss battle itself. If a boss is constantly changing attack patterns and evolving its strategy as the fight progresses, the player will remain engaged and excited. This can be further enhanced by having dialogue and short plot-sequences intermixed with the boss battle. A great example of these devices in action is the final showdown with Ganondorf at the end of The Legend of Zelda: The Wind Waker. As the fight progresses, Ganondorf slowly figures out Link's fighting style and starts blocking attacks that worked earlier in the fight, forcing the player to come up with new strategies of his own. The battle pretty comes in three phases, starting with Zelda giving Link some assistance using the Light Arrow, then a phase where Zelda is knocked out cold and Link has to fight on his own, and finally moving on to a phase where Link a Zelda have devised a strategy of bouncing Light Arrows off of Link's Mirror Shield. In a sense, the boss battle has a story in of itself that progresses as the battle progresses. By making a boss battle into an evolving story, the scene remains dramatic, even if the battle itself is fairly lengthy.
In the end, I think it is safer to lean on the side of a longer boss battle, but to spice up boss battles with evolving elements and some degree of internal story. That way, one can avoid the problem of a boss battle being anticlimactic or boring.
First off, a major boss fight shouldn't die too easily. If the player ends up killing a boss in only a few attacks, the entire boss fight will feel anticlimactic. One recent example that comes to mind is the final battle against Kefka in Final Fantasy VI. When my brother finally made it to Kefka's final form, Kefka began to dramatically charge up a powerful attack, only to die before executing it even once. That victory felt too hollow, and I was pretty disappointed by it. I am not saying that every boss in a game needs to be nail-bitingly hard, but they shouldn't be too short. At the very least, a boss should last long enough to show off its abilities and make the player feel like he has to work to defeat it. If Kefka had possessed the same stats as normal but had two or three times the number of hit-points, it probably would have been a much more exciting boss fight.
Conversely, a boss fight should not be too long. If the player is stuck fighting a boss for half an hour or more, he may end up forgetting about all of the build up and anticipation and end up bored or frustrated. A good example of this is the battle against Anubis in Zone of the Enders: The Second Runner. When fighting Anubis, the player alternates between long periods of dodging and waiting and very brief opportunities to attack Anubis. While this is not necessarily bad in of itself, Anubis has an incredible amount of health; more than enough to absorb a few dozen attack combos. What this means is that the player has to repeat the same maneuvers again and again and again over the course of a really long period of time, which is simply boring. The fight would have been much more exciting if Anubis had half of his current health or less, balanced by an increased power level.
Striking a careful balance in terms of a battle's length and difficulty is a difficult process, However, there are ways to maintain a boss battle's dramatic tension, or even to build tension, within the boss battle itself. If a boss is constantly changing attack patterns and evolving its strategy as the fight progresses, the player will remain engaged and excited. This can be further enhanced by having dialogue and short plot-sequences intermixed with the boss battle. A great example of these devices in action is the final showdown with Ganondorf at the end of The Legend of Zelda: The Wind Waker. As the fight progresses, Ganondorf slowly figures out Link's fighting style and starts blocking attacks that worked earlier in the fight, forcing the player to come up with new strategies of his own. The battle pretty comes in three phases, starting with Zelda giving Link some assistance using the Light Arrow, then a phase where Zelda is knocked out cold and Link has to fight on his own, and finally moving on to a phase where Link a Zelda have devised a strategy of bouncing Light Arrows off of Link's Mirror Shield. In a sense, the boss battle has a story in of itself that progresses as the battle progresses. By making a boss battle into an evolving story, the scene remains dramatic, even if the battle itself is fairly lengthy.
In the end, I think it is safer to lean on the side of a longer boss battle, but to spice up boss battles with evolving elements and some degree of internal story. That way, one can avoid the problem of a boss battle being anticlimactic or boring.
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