Saturday, 26 November 2011

The Problem of Repetition

After having played some adventure and RPG games lately something struck me: repetition in games have almost the same problems as trial-and-error do. This is not really a shocking conclusion, since repeating things in a game is basically what you do when stuck in a sequence of trial and error. But since the repetition is not a direct consequence of being unable to progress, and that not all repetition is bad per se, I figured it was worth looking into a bit.

The Problem
Most of the time the problem arise when doing an action several times causes the same response. Mostly, this does not apply when doing things to dead objects, like shooting a bullet on a wall. We expect that if we shoot the same bullet at the same place twice, the same response occurs both times. However this is not always true. For instance, many games use randomized particle effects for sparks from the hitting bullet. In more complex system, like water splashes, this is even more common, and while it might not be directly noticeable if they repeat, it can unconsciously lead to the virtual world being seen as less "real" (what I really mean is sense of verisimilitude, but more on that later) . So even though it does not constitute a large problem, we do run into trouble even when repeating consequences for very simple interactions.

The problem becomes more jarring when the object of interaction is a supposed to be an intelligent agent. This is very common in RPGs and adventure games during dialog, where the same question generates the same answer regardless of how many times you ask it. Adventure games are generally a little bit better than RPGs and often have NPCs giving a summary instead of the exact same response and more frequently terminate threads of conversation. Even so, a big part of dialog in both types of games have actions being met by the exact same response no matter how many times they are repeated.

There are of course a reason why it is like this. The player might have forgotten some information and need to hear it again, forcing dialog to be repeated. Or there might be some compulsory puzzle that requires the player to trick or persuade a character, which forces the player to redo the same conversation if unsuccessful at the first attempt. I think these reasons expose two problems that narrative focused video games have: reliance of "info dumps" and puzzles as core activities. Info dumping is a form of exposition that one tries hard to avoid in other media, yet is very common in video games (often forming the core storytelling device). It is something that I think needs to be considered more (and I am well aware we have been using it too much in our own games). Puzzles is something I have talked about having negative effects before and this is yet another argument to why we should try and cut down our reliance on them.

Another very common form of repetition is that of having the same kind of gameplay scenario repeated several times throughout the game. Sometimes this can be a core part of the experience, but most of the time it is just a form of padding and an attempt to prolong the time it takes to finish the game. There are tons of examples of this and two that spring to mind are the vent sections of Dead Space 2 and the spirit capturing in Sword and Sworcery. I felt that both of these activities would have been a lot more interesting if not repeating so much. You quickly become very familiar with them and they eventually loose much of their first

There is a deeper reason why repetition is so common in videogames. Many games base their interactions on traditional games and software systems where reproducibility is a corner stone. You do not want to use a paint-tool and not know what expect when pressing a button, and the only way for you to get this knowledge is to is for consequences to repeat themselves. In traditional games, you need to have systems that a human player can keep track of, and thus the consequences of actions must be easy to comprehend. Videogames carry baggage from both of these directions, and thus it is not strange that video games contain a large share of repetition.

As you might have guess I think this sort of repetition can be quite bad for videogames that focus on story and narrative.

The Causes
As I said earlier, the repetition has pretty much the same issues as trial-and-error. Since they are both about doing the same thing over and over, this can feel pretty much self-evident and not worthy of much discussion. However, while trial-and-error elements are more easily pointed out and can be directly addressed, repetition is more subtle and not always as obvious. Many of issues with repetition are also commonly seen as limits of the medium (or at least our current technology) and thus not really addressed. I do think these problems can be overcome though, and a first step is to figure out what give rise to them.

- Mechanics gets apparent
By having something repeated over and over to players, they will quickly start to notice patterns and short after figure out the system below. What this leads to is that the player will no longer focus on what the system is trying to represent (eg. dialog with a person) but will instead see the mechanics that it is built from (eg. the abstract dialog tree). Repetition does not force this onto the player as trial-and-error do (where the player often is required to learn the system in order to continue). But since many of the things that are repeated constitute a big part of the experience, the problem piles up. Like I mentioned above the repetition can include entire scenes and the player might go through a section in a go (ie no trial-and-error). But then when a very similar sections is repeated throughout the game, the underlying mechanics become more and more visible. As an example I think the enemies in our own game Amnesia have this very problem. This problem is very subtle though as it only applies on longer play sessions and can thus more easily slip by.

There is another aspect to this, that makes the problem even more severe. Once you figure out the mechanics of a system it can damage events that you experienced when you did not have this understanding. For instance, if you feel like a conversation is really meaningful, and then later on find this same character reduced to mechanics, it will change the way you view your prior experience. It will be very hard to still feel the same sense of meaningfulness when looking back at the conversation. Your mental construct of an aspect of the game's world has now been reduced to a mechanic and when you later summarize the experience you have had, this can severely reduce any emotional attachment you might have had to earlier happenings. As this piles up, it will slowly degrade the experience and makes you less emotionally connected to the game's world.

- Decrease in Verisimilitude
What verisimilitude means is basically how real and truthful the fictional world feels. This does not mean how well it replicates the real world we live in, but how much a it feels like it represents an actual place. In most narrative media, giving a strong sense of verisimilitude is really important. As I said, this does not mean that everything should be "just like in real life", but instead follow the fictional world's internal logic somehow. What this means in games is that when encountering a virtual element, such as a character, we do not need for it to behave exactly like in real life, but simply to behave in such a way that it evokes feelings of verisimilitude.

This means that we can tolerate dialog selection and similar, while other things are instant deal breakers. I think one of these deal breakers is the repetition of a responses. If a character repeats the same sentence over and over, it is very hard to see them as nothing but a simplistic automaton. We can quite easily disregard our knowledge that there is not a sentient mind
shaping the responses, just like know something is not really happening in a movie. But when the information that the experience is feeding us (in this case the repeated voice response), the very thing that is supposed to support the view of an intelligent being goes straight against its purpose.

Not only dialog is affected by this but plenty of other aspects. For example, whenever you have to go about clicking on the same hot-spots over and over in an adventure game, it also significantly reduce the feeling of verisimilitude.

- Decrease in effectiveness
This point is almost identical with what happens in trial-and-error. Certain scenes and events simply does not do well when repeated. For some events it is simply that they are very emotional, and it will be hard to feel the same way once again. You will grow desensitized and less prone to reacting to it. Just compare a movie filled with gory sequences to one with a single visceral scene. The latter will pack a much harder punch. Other times it might be that the event or scene is set up like a magic trick - it only works when you are not expecting what will happen. Finally, it might simply be that the passage is too boring, sensory intense or similar that you cannot bare to take further viewings. Other media rely on things like these hard-to-repeat moments a lot, but since games are so prone to repetition, they are much harder to put in and/or to have the same emotional value.

The Cure
So how do we overcome these issues? I think there are a few things to keep in mind when designing that makes them a lot simpler to avoid:

  • Not a approach the experience as a competition. The less goals we set up for the player the less likely we are to need to repeat things for the player or to make them repeat their own actions.
  • Make sure that the story is understandable without the need of info dumps. If the player is required to have story related information repeated to them, then I would consider that bad narrative design. The story should emerge simply out of playing.
  • Skip the notion that players need to learn a system. I think this is mainly historical baggage from how software works for more practical application, where mastery of the system is essential. Creation of narrative art does not have this requirement though, and I think we should instead make the player focus on the representations (graphics, sounds, etc) that the system provide.
  • We must demand more of the player and give them more responsible. We must teach them them live in our virtual worlds instead of trying to beat our game systems. As most games reward players for combing the virtual world for goodies this is not the easiest of tasks though. Our goal must thus be to undo this and reward roleplaying instead.
These small rules does of course not solve everything and there is a lot of hard problem connected with this. For instance, conversational responses is an incredibly tricky problem and the same is true for narrative devices in games.

Still, I think just a little change in our thinking can take us a long way and simply recognizing the problem is a big step forward.

Release and Sales!

Currently all of our products at Rpgnow and Paizo are currently on sale for 35% off.

"Silent Blades Tells No Tales"
Male tengu rook 1 by Michael Scotta
Additionally, we have just released our first core class supplement called Legendary Classes: The Rook by Thomas Baumbach.

Legendary Classes: The Rook (PFRPG) PDF


What others call cheating, a rook calls opportunity.

The rook is a new base class for the Pathfinder Roleplaying Game from the fractured mind of Thomas Baumbach. The rook's abilities allow it to misdirect, ensorcell, and alter the perceptions of others. No matter the situation, a rook makes his own opportunities.

Wednesday, 23 November 2011

Monster Update - Alien Probe (MSRD)

Otherworldly Probe
A small globe of blue-white light darts in view and quickly streaks away.

N Small construct (extraplanar)
Init +9; Senses darkvision 60 ft., low-light vision; Perception +12
AC 20, touch 20, flat-footed 11
(+9 Dex, +1 size)
hp 43 (6d10+10)
Fort +2, Ref +11, Will +5
Immune construct traits
Vulnerable mind-affecting
Speed 0 ft., fly 400 ft. (perfect)
Melee touch +16 (1d4 electricity)
Ranged touch +16 (2d6 electricity)
Special Attacks actinic scan
Psi-Like Abilities (ML 6th; concentration +9)
   At-will – brain lock (DC 16*; + animals, fey, magical beast, monstrous humanoid), detect psionics, concussion blast (2d6*); memory modification (DC 17), mental disruption (DC 16*; 15 ft.)
* Include augmentation for the otherworldly probe’s manifester level.
Abilities Str 1, Dex 28, Con --, Int 15, Wis 16, Cha 12
Base Atk +6, CMB +14; CMD 19 (can’t be tripped)
Feats Agile Manuevers, Skill Focus (Perception, Sense Motive)
Skills Fly +25, Knowledge (planes) +8, Perception +12, Sense Motive +12
SQ dimension door, invisibility, otherworldly speed
Environment any
Organization solitary
Treasure none
Actinic Scan (Ex) As a standard action, the otherworld probe can emit an extremely bright, blue-white light in a 60 ft. cone. The light is used by the probe to gather data on the creature but it can cause mild discomfort to those creatures scanned. Each creature in the scan takes 1d4 fire damage and is nauseated for 1d4 rounds. The damage can be halved and the nausea negated by a successful Reflex save DC 14. If a creature fails the saving throw by 5 of more they are paralyzed for 1d6 hours instead of being nauseated.  The save DC is Charisma-based.
Dimension Door (Su) As a standard action, an otherworldly probe can psionically transfer itself plus up to 300 pounds of additional material up to 600 ft. Creatures can resist this transfer with a successful Will save DC 14. The save DC is Charisma-based
Invisibility (Su) As a swift action, the otherworldly probe can become invisible by altering the type of light that it gives off.
Otherworldly Speed (Su) As a free action, an otherworldly probe can shift into an accelerated mode of travel. Its fly speed changes to 4,000 ft. (good). It can maintain this increased speed for up to six hours a day, but it can break up its use into one hour increments. Otherworldly speed is used to escape pursuit or capture.

Otherworldly probes originate from beyond the documented planes. No one has ever ascertained neither their plane of origin nor the identity of their creators. Otherworldly probes appear seemingly at random, evaluate creatures with their actinic scan and depart. They utilize an electric shock in melee or range to defend themselves and seem to possess some master of psionic potential.

In the MSRD the otherworldly probe is known as an alien probe.

Monday, 21 November 2011

The Empty Treasure Room (by Thomas Baumbach)

The Empty Treasure Room
The first level of Purple Mountain, filled with disguisting vermin and wandering beasties, is an old-school dungeon crawl in the finest sense. Right down to the defeat-the-endboss reward, number 14 on the map: The Treasure Room. How disappointing, then, that, "the exact nature of [the] treasure is not described and left to your design as gamemaster." Oh I get it, we're first level and the rest of the Locus Lord's minions have given us plenty of loot. But still. Here are a couple sample tresure rooms that would fit well at the end of Temple of the Locust Lord without providing your players with too much extra swag. Including treasure in these treasure rooms assumes that the GM will not also add treasure the PCs missed earlier in the dungeon.

Treasure Room #1
This room is littered with broken crates and old, soft hay. Two alcoves in the north and south walls hold a smattering of valuables: goblets, statuettes, brass jewlery, and the like. Against the east wall a crate serves as a makeshift alter, surrounded by bug- and worm-like symbols drawn in violet ink upon the white-stone walls. Atop the crate, arranged in a semi-circle, sits four ornate brooches stylized to look like beetles.

Development: The majority of the treasure gleaned from the cult's victims is stored here. The PCs can search this room throughoughly to find an additional 1d3 x 100 gold in treasure. A player asking specifically about the crates can make a Perception check (DC 12) to notice a faded merchant's mark branded on one broken crate. The same mark is on the underside of each beetle brooch, though an Appraise check (DC 12) is required to notice the mark is not part of the brooch's stylized carapace. A subsequent Knowledge (local) check (DC 13) reveals that the merchant's mark is one of a prominent jewelcrafter in the area, who may offer reward for the return of missing wares.

Treasure Room #2
This room is largely empty except for the alcoves on the north and south walls. The northern alcove holds used candles, and miscellaneous baubles. The southern alcove holds a wooden rack upon which rests a single warhammer. Tempered dark steel emblazoned with eight outward pointing arrows, beside the ornate hammer a pile of lose scrolls sits in disarray.

Development: The baubles in the northern alcove are all that remains of valuables from the cult's victims. The PCs can collect an additional 50gp in treasure. This room's true worth, and Irasked's true treasure, is the warhammer, a weapon of immense power that he once sought to unlock, prior to his complete devotion to the Locust Lord. With a DC 20 Knowledge (arcana) or (history) check, (with a +4 circumstance bonus if the character inspects the scrolls), a PC can discover that this weapon is the infamous Apocalypse Hammer, a weapon of pure chaos.

The Apocalypse Hammer appears in Legendary Weapons. Feel free to substitute a legendary weapon that is more appropriate for one of your players, though the Apocalypse Hammer fits thematically with the cult's goals.

Sunday, 20 November 2011

Hidden in Plain Sight -- published and roundup...

I hit the Publish button late on Thursday evening. I'd advertised a Friday release date, but there is a lag between pushing the button and seeing it show up on the Xbox Live servers, and I really wanted to watch it show up.

So, late Thursday night, there it was. Another game, published for the masses to see.

On Friday and Saturday, a few reviews showed up online:

This is one of the most enjoyable and unique multiplayer games to come out of the XBLIG channel. It forces players to mingle with and behave like the NPCs walking around the screen in order to inconspicuously meet some goal. Depending on what mode you’re playing, this goal could be assassinating the other players, collecting coins, or racing to the finish line. My favorite modes are those that split up players into two teams, where one team consists of snipers trying to figure out who’s an NPC and who’s a human. These matches become incredibly tense (and hilarious) as the non-snipers get closer to winning. But because this is restricted to local multiplayer only, part of the challenge is first figuring out who you are without everyone else noticing. Sometimes, five minutes will go by, and I still don’t know where I am! That doesn’t necessarily ruin the game, though. In the right company, every moment—from the initial confusion to the winning move—is a thrill. So if you have someone to play with, get this. Hidden in Plain Sight makes for a very fun party game.

Pros:Amazingly fun multiplayer with tons of replay value - Cute graphics - Fantastic price
Cons:Would love to have more game modes ;)

So far, so good!

I was also a guest on the weekly GameMarx podcast. You can listen to it here if you're so inclined. I'm getting over a cold, so I apologize in advance about the sniffing. Ugh.

I was really prepped and had a lot of stuff I wanted to talk about on the podcast, but sometimes it was hard to get a word in, and the conversation didn't always go in directions I anticipated, but it was a fun experience and I'm honored to have been a part of it.

On Friday evening, my in-laws were over for dinner, and they wanted to see a demo of the game. So I fired it up, and walked them through a couple game modes. What we quickly discovered, though, in Knights vs. Ninjas, was that some debug code was left in the game. This means that players always start in the same location, rather than randomly spread around. Serious bummer. I'm pretty pissed about it, but there's not much I can do now, aside from fix it and send it in for another Review and get it patched. I'm giving myself another day or two to see if anything else pops up. It just sucks to put it so much effort to get everything just right, and then make a last minute change and mess things up. Oh well.

No sales figures yet. I'm really not expecting anything big by any stretch. Seeing the positive reviews and that email have been super rewarding as it is.

Saturday, 19 November 2011

New Spell

While playing Kingmaker today, we decided we really wanted a spell like this.

Boshalen's Courier
School conjuration (creation); Level bard 3, summoner 3, witch 3, wizard 3
Casting Time 1 standard action
Components V, S, M (a two inch square of paper)
Range close (25 ft. + 5 ft./2 levels)
Effect on invisible, mindless, shapeless servant
Duration 1 day/level
Saving Throw none; Spell Resistance none

Boshalen's courier is an invisible, mindless, shapeless force that can be sent great distances to deliver an item or retrieve an item. It has an effective strength score of 4 (so it can lift 40 lbs. or drag 200 lbs.). It can communicate telepathically with any creature that has a language. When created the courier will deliver one item or set of items in a container to another willing target or travel to another willing target to retrieve one item or a set of items in a container. The items must be given and received freely. Its base speed is 40 feet.

Fan email...

Hidden in Plain Sight went live on Thursday evening. Check put this email I got this morning. It really makes the whole process worth while.

Mr. Spragg, I just want you to know that my wife and I just so happened to stumble upon your game yesterday in the X-Box indie store, decided to try it out, and couldn't stop playing it all day. In fact, by the end of the night, a group of about 8 of us were gathered around the TV taking turns playing it. Thanks for trying your best to keep local multiplayer alive. I cannot tell you how grateful I am. Probably the most fun I've had with LM since the days of Mario Party. And thanks for giving me a reason to invest in that 4th xbox controller. I'll be downloading your previous game Bad Golf today, and am expecting great things. You brought a lot of people together last night that wouldn't normally play video games at all. It's fantastic. I'll be recommending it to friends. I trust that anyone else that stumbled upon it last night had a similar experience. HIPS is brilliant in it's simplicity. We'll be playing for weeks and months to come. Thank you!


Tuesday, 15 November 2011

Monster Update - Acid Rainer

This monster originally appeared in the Modern Reference Document.

A huge discoloured cloud breaks suddenly toward you, from beneath is voluminous bulk writhe four dripping tentacles. 

ACID RAINER (CR 8, 4,800 XP)
N Huge outsider (air, elemental, extraplanar)
Init -2; Senses darkvision 60 ft.; Perception +13
-- Defense --
AC 21, touch 6, flat-footed 21
(-2 Dex, +15 natural, -2 size)
hp 105 (10d10+50)
Fort +8, Ref +7, Will +7
Immune acid, elemental traits
-- Offense --
Speed fly 40 ft. (perfect)
Melee 4 tentacles +16 (1d4+8 plus 1d4 acid plus grab)
Space 15 ft.; Reach 15 ft.
Special Attacks acid spray (DC 20)
-- Statistics --
Abilities Str 26, Dex 7, Con 20, Int 6, Wis 11, Cha 11
Base Atk +10; CMB +20 (+24 grapple); CMD 28 (can't be tripped)
Feats Fly-By Attack, Lightning Reflexes, Lunge, Power Attack, Vital Strike
Skills Fly +15, Knowledge (planes) +11, Perception +13, Stealth +11; Racial Bonus +8 Stealth
Languages Auran
-- Ecology --
Environment Plane of Air
Organization solitary, cloud (2-4) or storm (5-16)
Treasure none
-- Special Abilities --
Acid Spray (Ex) Once every 1d4 rounds, an acid rainer can spray out a caustic mist that fills a 30 ft. rafius spread centered on itself. Each creature within this radius takes 2d6 points of acid damage. A successful Reflex save reduces the damage to half. The save DC is Constitution-based.

Acid rainers float among the multitude of clouds in the Plane of Air. Somewhat less intelligent than air elementals they behave in are more animal-like fashion. They often group together for protection and hunt in packs to ensure success. Since they do not eat, the hunting practice seems to be some sort of ritualistic behaviour for the acid rainers. Acid rainers and arrowhawks often fight for territory.

Purple Duck Notes: In the Modern Reference Document these creatures are known as Acid Rainers. If I was planning on using them in a fantasy game I would probably change the name to something like caustic clouds.

Monday, 7 November 2011

Prisoners of Purple Mountain #2

Tith-Tor is currently imprisoned in Purple Mountain and has no equipment.

Tith-Tor CR 1/2 (XP 200)
Half-cyclops oracle 1
LN Medium humanoid (giant)
Init +0; Senses low-light vision; Perception +7
--- Defense --- 
AC 16, touch 13, flat-footed 13 
(+3 armor, +0 Dex, +3 dodge)
hp 11 (1d8+3)
Fort +2, Ref +0, Will +5; +4 vs. disease
Defensive Abilities uncanny dodge
--- Offense ---
Speed 30 ft.
Melee glaive +2 (1d10+3)
Ranged javelin +0 (1d6+2)
Special Attacks future sending (3/day, DC 14)
Spell-Like Abilities (CL 1st)
1/day – augury
Spells Known (CL 1st)
1st (4/day) – command (DC 14), cure light wounds, magic weapon
0 – guidance, read magic, resistance, stabilize
--- Statistics ---
Abilities Str 15, Dex 10, Con 14, Int 12, Wis 17, Cha 6
Base Atk +0; CMB +2; CMD 12
Feats Extra Revelation
Skills Acrobatics +4, Intimidate -1, Knowledge (history) +5, Perception +7, Sense Motive +7, Spellcraft +5
Languages Common, Giant
SQ intimidating, know what’s coming, wasting, weapon familiarity, wisdom of foresight
Gear glaive, 2 javelins, studded leather armor, spell component bag, hooded cloak

Born to a human mother cyclops cultist, Tith-Tor spent her early years among a small group of faithful worshipers. At the age of five the local human authorities slaughtered her cult, but the soldiers could not bring themselves to slay Tith-Tor. Her most ardent desire is to prove the cyclops were once a proud, noble race, better than the current brutes they have become.

Ready to drop...

Hidden in Plain Sight has passed Peer Review!

I'm setting Friday, November 18th, 2011 as the official release date. I might actually push the button late Thursday night so I can watch it hit the market.

I've set some marketing wheels in motion, so we'll see if that does anything. I still remain skeptical that it will make a difference, but here's hoping.

I tell you what, it's hard to have a game that's all ready to go and not push the Publish Now button, but I really want to see if I can manage to generate some buzz before releasing the game.


Only five days left on the Kickstarter project!

A huge THANK YOU! to all the project supporters.

You can see the project HERE

I sent the files off to have the masters made last week, so we could try to get a head start.

We only have five days left on the project, if you would like to participate, your support is greatly appreciated. Although the project is funded, roughly $2000.00 will still be coming from my personal funds. I would need to reach roughly $7700 in total project pledges to be completely in the black.

Thank you for looking and for your support!

Mark Mondragon

Sunday, 6 November 2011

Purple Mountain - Pregens #1

Penelope “Penny Dreadful” Derringer
Penelope was born to a noble family but it became obvious as she grew that she was not quite human. She was still treated with respect, but was excluded from any family business. When she reached her teens, the differential treatment started to become obvious to her and she began to resent her family. She began acting out and getting into trouble, often sneaking out of the house at night to go down to the less savory parts of the city to hang out. Soon, she got into some trouble with a minor crime boss and rather than ask her parents for help, she left the city with the next caravan and has never looked back on her new life of adventure.

Penelope “Penny Dreadful” Derringer
Female Sylph Rogue 1

Chaotic Neutral Medium Outsider (native)
Init +3 ; Senses darkvision 60 ft.; Perception +5
---- Defense ----
AC 16, touch 14, flat-footed 12 (+2 armor, +3 Dex, +1 dodge)
hp 9
Fort +1; Ref +5; Will +1
Resistance electricity resistance 5  
---- Offense ----- 
Speed 30 ft.
Melee Dagger +0 (1d4)
Ranged Dagger +3 (1d4) 10ft.
Special Attacks Sneak Attack +1d6
---- Statistics ----
Str  11, Dex 17, Con 12, Int 12, Wis 12, Cha 14
Base Atk +0; CMB +0; CMD 13
Feats Deft Hands, Dodge
Trait More Human, plus one more
Skills Acrobatics +7, Appraise +1, Bluff +6, Climb +0, Craft +1, Diplomacy +2, Disable Device +9, Disguise +6, Escape Artist +7, Heal +1, Intimidate +2, Knowledge (local) +5, Perception +5, Perform +2, Ride +4, Sense Motive +5, Sleight of Hand +9, Stealth +7, Survival +1, Swim +0
Languages Common, Auran
SQ trapfinding
Gear 9 daggers, leather armor, thieves’ tools, small steel mirror, 50’ silk rope, grappling hook

New Trait 
More Human...
Your Elemental abilities are not as pronounced as others of your kind as you favor your Human side.
Pre-requisite: Native Outsider of Half-Human origin
Benefit: Choose any two racial abilities. You lose these abilities but gain the bonus feat of a Human.

Saturday, 5 November 2011

Early sales data...

Purple Mountains - Level One was released late October 31st. It has been on sale for about four days now.  Sales have been uneven. In that time we have 15 sales at Rpgnow and 1 at Paizo. Which is a huge and costly discrepancy.

The difficult thing for me is what does that discrepancy mean?
1) Do Paizo customers have enough modules with the Adventure Paths and Pathfinder Modules that they are not looking for a megadungeon?
2) Do Rpgnow customers not have enough module choices for Pathfinder as Paizo customers seem to?
3) Are Rpgnow customers more aware of products because of the front page that showed Purple Mountain for two days? Paizo has a store blog but not a product roll like that for new uploads.
4) Do Paizo customer's hate the Purple covers?
5) Do Paizo customers even know that Purple Mountain exists? At Rpgnow we have the ability to email our customers directly and at Paizo we do not.
6) Are we just significantly better known for our work at Rpgnow than we are at Paizo.

Tuesday, 1 November 2011

Thoughts on Heavy Rain

It is very easy to talk bad about Heavy Rain. One can say it is just an interactive movie where you press buttons at certain key moments, in rare cases changing the outcome of the story. One can talk about the hole and cliche filled story and the weakly developed characters*. One can talk about this and other negative aspects of the game and I would fully agree. But if one only focuses on these areas, there is plenty of really interesting aspects that are missed.

Despite all these flaws I really enjoyed playing Heavy Rain. Sure, the quick-time-events (QTE:s) really got me worked up on more than one occasion and a lot of other issues bugged me, but on the whole it was quite an engaging experience. There are some truly tense and disturbing moments in the game that work great. For example the scene at the mall, while lame in many ways, managed to capture the protagonists sense of panic and that in an environment and setup I have never seen in a game before. The game also features great graphics, nice music and not too shabby acting (for most of the time anyway, and once you get used to the uncanny valley feel). The game also lets you be in situations that I have never seen outside of Interactive Fiction.

What really made the game interesting though was not the things that I liked, but the things that are slightly broke. Because of the way that QTE:s work, being a quite fragile system in terms of immersion, it sort of exposes your own usually hidden thought processes as you play the game. Also, the game's filmic nature and focus on a branching narrative makes it a virtual smorgasbord of game design theory to try out. This is what truly makes Heavy Rain worth playing.

Immersion as an essence
By far, the most important realization I got when playing Heavy Rain is how interaction is not mainly about giving the player interesting choices. When playing the game I never felt the need to make choices on the basis of seeing what would happen, instead I simply wanted the characters to act in certain ways in order to confirm to my expectations of how I thought they would (and should) be acting. What I think happens is that as we interact in a videogame, there is feedback loop between us sending input to the game and us getting information back from the game (in the form of visuals, audio, etc), which builds the basis of us feeling present inside the game's virtual world. The better this loop works, the more we feel as a part of the experience.

Heavy Rain is an excellent example of this process at work. When there is flow in the controls (which is usually in the scenes giving you direct character control, such as the early mall sequence), there is a very satisfying feeling of being one with the character. Then suddenly some weird QTE pops up and you either fail at completing it, or it simply does not give the result you expected, and once again you are pulled out of your sense of presence. The game is littered with moments like this, pulling you in and the throwing you back out. When Heavy Rain manages to sustain the belief of you having agency over the character, that is when the game is at it best. These are the occasions when there is a very strong loop of interaction going on and you are the most present inside the game's world. When this loop is broken, it does not matter what kind of interesting choices you might have at your disposal. The game immediately becomes less engaging the moment the loop of interaction breaks down.

In this light of thinking, QTE events make perfect sense. It is simply a rudimentary system for trying and sustain a feedback loop during various types of scenes. It is not about setting up a competition for the player, it is just a very blunt and unreliable system to sustain a sense of presence. I really doubt that QTE:s is the way to do narrative art in videogames, but it does gives us invaluable information on how to proceed.

What all this seem to indicate is that a videogame that wants to tell a story, should not use interaction to deliver a multitude of choice, but instead to reinforce the feedback loop of immersion. This might entail having choice, but the choices in themselves are not what is of the most importance, giving a very sharp focus on how to design the mechanics. It may actually be that the very future of making artful games with focus on narrative is to focus on this interactive loop of immersion. There is a lot more to discuss on this subjects and there are other things that also points in this direction. I am hoping to devout an entire post on that subject soon, so consider this a taste of things to come.

A final note: This "interaction as a means to create immersion" does not imply that the future of videogames are incredibly linear interactive cinema -far from it. In many cases a non-linear and open game world is essential in order to support the feedback loop.

The importance of determinism
In most games you have a pretty strong sense of what the protagonist will do when a button is pressed. Not so in Heavy Rain. Apart from direct movement and a few repeatable actions (like be able to shout your son's name in the mall scene), most of the time icons just pop up with vague hints on what the input will achieve. Sometimes you will learn what action might happen (such as that an up-arrow at a railing will mean that you will lean against it), but this takes a bit time and requires that a similar action has already been carried out.

In many cases this has a drastic reduction on the sense of presence. For one, it makes you unable for you to form plans. Simply by surveying an environment you cannot determine a course of actions (even if you know all trigger spots), and during action sequences it gets even worse as QTE:s may up at any moment in pretty much unguessable form. Making up plans is one of the basic corner stones of human intelligence, and possible the reason we developed a conscioussness, so not having the option of doing this is a hard blow against the sense of agency. Another reason it reduces immersion is that your character might not act in the way you intended. Before picking an action you almost always makes some kind of assessment of what will happen, but it is quite likely that this will be dead wrong. Thus the character your are supposed to feel a connection to, ends up performing an action that you did not intend. Of course, it is very hard to feel as a part oft he game's world when this happen.

This system stands in stark contrast with how Limbo works, where you are pretty much always certain of exactly what will happen. I think this is very much connection in the level of immersion Limbo manages to have throughout (unless you get stuck in trial and error of course), and how Heavy Rain stumbles through the entire experience. One should not be too hard on Heavy Rain though as the space of interactions that are possible to perform throughout the game by far outnumber those in Limbo. The real challenge for the future is to coming closer to multitude of actions in Heavy Rain, but still having the determinism of Limbo.

The understanding between Player and Videogame
Another big problem in Heavy Rain, which is related to the point above, is that the game sometime seem to work against you. It might seem obvious that this is a dealbreaker in terms of immersion and I have already discussed the problem of camera control in Dead Space Extraction. The issue can be a bit more subtle though and Heavy Rain serves as great example of this. For instance, in one scene I had made a plan of actions: to first bandage an unconscious person and then to poke around in his stuff. There really was nothing hindering me from doing so but instead the game removed my ability to interact directly after caring for the person. The game interpreted me wanting to help the guy as I also did not want to poke around, thinking that they two were mutually exclusive actions. Of course I thought otherwise and considered it no problem at all to do some poking afterward.

There are plenty of situations like this and it makes it quite clear that you should never move ahead on a bigger outcome from a choice without being certain that this is also what the player expects. I also see this as a problem of having major choices the player in a game that lack a high level simulation (like Fallout for example). Just the simple action of walking out a door can have many different meanings to a player, and one needs to be careful and make sure that most players have same idea of what it means. Once you throw branching paths into the pot, it gets a lot more complicated and clashes between player and game is much more likely to happen.

Emotional Simulation
An interesting aspect of Heavy Rain that I have not seen (at least not this directly) in any other game using QTE:s (or normal mechanics for that matter) is to trick the player into feeling certain emotions. The way it works in the game is that the player is forced to hold down a lot of buttons at the same time, while often also moving the stick around. This creates an uncomfortable and demanding way to hold the controller in, which is meant to simulate the way the onscreen character feels. While it might sound a little dodgy, it works quite well in many cases, especially in a scene containing self-mutilation.

The research behind this kind of response is actually very well established and designer Chris Pruett has hypothesized that the effect is probably a reason why many unforgiving horror games turn out to be extra scary (a design decision that comes with other problems though). The way it works is that we humans often do not know why we are feeling a certain way and unconsciously project it onto something else. For instance one experiment had people thinking that arousal due to their fear of heights was due physical attraction instead.

All is not good with this design in Heavy Rain though. Because the inputs you perform are not fluent (as it is prompted on a situational basis) and non-deterministic (as explained above) you are mostly very conscious of what you are doing with the controller. If the controls where more transparent (like in Limbo) you would be less conscious of your input, and any uncomfortable placement of the hand is much more likely to be projected into whatever the protagonist is doing. I think this can be very potent stuff if handled properly and let the player get immersed in experiences that would be hard to simulate in any other way.

Trial and error
Heavy Rain boasts that it does not have any game over screen, but it still manages to have is massive amounts of trial-and-error. This time the forceful repetition of events does not only occur in death threatening situations though. In Heavy Rain it often happens during extremely mundane actions like brushing your teeth and taking a shower. It is an extremely good example why this sort of design is so immersion destroying. From believing that you are playing an actual living character, the sudden requirement to repeat an event pulls you out from the experience directly. It is so obvious that you go from trying to become present in a virtual world to just trying and overcome a very mechanical task.

I think the biggest problem is that Heavy Rain is very sensitive in how you complete the QTE sequences. Let go of a button for a micro seconds and it results in an instant failure. When the game gets rid of so many other stigmas of old game design, it is sad to see it stuck in this one. I think the way it should have done it is to become a little bit more relaxed and to allow some more failures. Instead being competitive-like and very strict in the actions, it should instead check if the player tried enough to do something. As long as the players are playing along, I see no reason for punishing them. The game should have tried to keep the illusion of an interactive-feedback loop alive for as long as possible, instead of simply breaking it at the slightest incorrect input.

Some misc points
Now for some shorter stuff that I found interesting:
  • When done right, the direct and free control method is by far the more immersive. However it also puts a lot of pressure on the character reacting in a proper way. Quite often, the character I was controlling ended up acting like a moron, walking into walls and the like, even if I really tried hard to control him properly. The constrained events do not suffer this problem, and have the characters act much more lifelike, but at the same time they do not have the same level of interaction required for deep sense of presence.
  • Heavy Rain is at its best when simulating tightly space and time-wise bounded scenes. At these points it was much easier to give me a sense of having agency and to let me become one with the moment. The scenes self-mutilation, pushing through a crowd, escape from bench in cellar, etc are all great examples of this. Judging from what seemed to have worked best in Amnesia, I think a lot can be gained by taking this design further.
  • The game is a great test bed for a game that has decisions with big ramifications, such as the death of main characters. My own conclusion from Heavy Rain is that all of these choices are probably unneeded and did not gain me much except the sense of missing out on the story. Interestingly, Heavy Rain feels quite different in this regard from a game like Fallout (with the, as mentioned, more higher level narrative simulation).
  • Achievements (trophies on the ps3) really suck in story-centric game. Having gone through a scene and then getting a sort of grade, really removes the ability to make up your own mind of what just took place. It is quite similar to the "understanding between player and game" problem, as achievements has a high risk of going against the player's intentions (and does not really help gain anything).

End notes
As I think this post shows there are many reasons why Heavy Rain is a really interesting game to play. It does a lot of things that other videogames do not even dare to consider, and while it kind of fails on a lot of it, just attempting it is an important step on the way. If only more mainstream games were like this.

Also, after playing through Heavy Rain I have come to wish that there were more games like it. By that I do not mean more games with QTE:s (which I really hated much of the time) but games that allows the player to always progress and focus on a rich narrative experience. In most other games I either have to endure annoying puzzles or have to become an accomplish in a genocide. Given the high scores the game has gotten (from press and the public) I do not think I am alone in this. Please do not see this as an urge for people to copy Heavy Rain though, but instead to use the game it as a step towards something that truly makes use of the medium.

*Emily short has a really good essay on the story of Heavy Rain. Check it here.