Game Design: I Know Your Deeds

In an effort to keep blood pumping through my brain at regular intervals, I’ve started submitting entries to GCG’s Design Challenges.  My first one received an honorable mention, and is reproduced below.

I know your deeds challenges players to survive over the course of months and years, trapped in a city dominated by nightmarish zombies. While of course concerned with the ever-present threat these creatures represent, the player will face long-term concerns like obtaining sources of food and water, building shelter from attack, and the overall survival of the human race.

Game Mechanics:

The player begins in a semi-randomly generated urban environment. A full day and night will take place over the course of 20 minutes, the proportions of which will depend on the time of year (i.e. More of that twenty minutes is day in the summer, less in the winter). During the day, the player enjoys relative safety from zombie attacks (at least outdoors), and those encountered tend to be lethargic and confused. Days are typically spent scavenging for supplies and building materials, constructing barricades and traps, and investigating scripted plot points.

Crafting

A crafting system exists in the game, in which players need to collect tools and materials to build and reinforce whatever position they’ve chosen as their base of operations. Stress is induced in the player as collecting these materials, building, and setting up the barricades and traps will take up more time than they have allocated in a given day, and the attacks that will occur all night wears down these defenses, requiring repairs the next day.

Sleep

Sleep also takes a major position in the game. If the player refuses to sleep, they will begin falling asleep while performing tasks, and generally perform miserably. Sleeping during the day is safer, but sacrifices critical time that could be spent building and scavenging. Sleeping at night means you may be rudely (and suddenly) awakened by a zombie chewing on your throat. Additionally, nighttime sleep is less restful, due to the loud noises going on outside. Going to sleep on a daily basis thus becomes a thing of terror, rather than relaxation.

Freeform

Unlike most survival horror games, there are very few scripted events in I know your deeds, beyond the seeding of background story information and certain key events which are linked to game timeline. The plot is developed by finding items which piece together a patchwork background story, eventually resulting in a method of destroying the zombies en masse. The player can ‘hole up’ in any building they choose, and reinforce it as they can. Items and buildings are pseudo-randomly generated in a manner that makes each game unique, but also consistently playable and interesting.

Difficulty curve

As time goes on, more and more of the framework of society begins to fail (for example, initially the electrical grid may still be working, but will eventually collapse), creating an increasingly difficult environment in which to survive, and forcing the player to continually be allocating time to deal with these situations, instead of ‘base building’. Additionally, as time goes on, the zombie threat becomes continually more intense and ferocious.

End Game

The game ends when either the player can no longer handle the zombie threat and is overcome, or the player gathers the information and materials necessary to build a device which will end the zombie threat.

The Gamer’s Bill of Rights in the Digital Age

When I was at PAX this year, Stardock had this display tuned out akin to the way you see the Declaration of Independence or the Magna Carta shown in museums.  The display was for an initiative they call “The Gamer’s Bill of Rights“, in which they’re trying to get the PC game industry on board with “a set of principles we can abide by to improve the customer experience”.  The current tenants of those principles are as follows:

1.  Gamers shall have the right to return games that are incompatible or do not function at a reasonable level of performance for a full refund within a reasonable amount of time.

2.  Gamers shall have the right that games they purchase shall function as designed without defects that would materially affect the player experience.

3.  Gamers shall have the right that games will receive updates that address minor defects as well as improves game play based on player feedback within reason.

4.  Gamers shall have the right to have their games not require a third-party download manager installed in order for the game to function.

5.  Gamers shall have the right to have their games perform adequately if their hardware meets the posted minimum requirements.

6.  Gamers shall have the right not to have any of their games install hidden drivers.

7.  Games shall have the right to re-download the latest version of the games they purchase.

8.  Gamers shall have the right to user their games without being inconvenienced due to copy protection or DRM.

9.  Gamers shall have the right to play single player games without having to have an Internet connection.

10.  Gamers shall have the right to sell or transfer ownership of a physical copy of a game they own to another person.

Given the recent announcements both by Stardock and Valve on the topic of DRM, I think there are arguably some adjustments to be made.  In the customer report from which that list was pulled, Stardock discusses the issue that the burden is not on publishers to provide mechanisms to sell and transfer digital titles.  I find this highly ironic considering one of the primary features of the new “Goo” system they announced is to do just that.  However, I agree, that the burden is not on the publisher, it’s on the distributor.

Video Games in the 21st century are not like games in the 90s.  Certainly to a large extent today, and ever more so going forward, games will be distributed through the internet, or will at least leverage the internet.  Games no longer exist in a vaccuum, on their own right, but are tied into a larger social platform such as Steam Community or Xbox Live.  As this process continues, it means that when users choose where to buy a game, it is no longer the choice of a commodity, buying the same game from Walmart or from Gamestop.  It’s not even the choice of interface (Do I want to play this game on my console, or on my PC).  When you purchase a game, you are contributing to your personal space within a social ecosystem.  It’s like choosing between MySpace and Facebook. 

What this means is, that for the first time, Distributor/Retailers are now also developers of a social network, with all the benefits and responsibilities thereto appertaining.

This has implications.

In the new world, the existence or lack thereof of a disc is irrelevant.  You are not purchasing a CD - you never were - you were purchasing the right to play that game.  With a CD (at least on a console), you have the ability to easily transfer, or loan your rights to another person.  Stardock is the first, as far as I’m aware, to easily enable this process on games that are purely digitally distributed.  Kudos to them, it will mean competitively, if this is a popular addition in the marketplace, that all the other players will likely have to follow suit.  Score one for the gamer.

I think there are some nuances potentially missing here as well though.  While a secondary market is important, there are also a lot of loans going on, which is not enabled by this system AFAIK.  There is a logical distinction between the person who owns the game, and the person who is currently playing (or allowed to play) the game that is disabled in a system where only the owner of the game is allowed to play it, using their account.  This prevents members of the same household from participating in their own social groups using a single instance of a game (but not at the same time), or from allowing friends to loan each other games, or for any kind of time-limited loans of titles to be made.  I’m not aware of any platform that currently supports these scenarios in any sophisticated way.

Because of the nature of these emerging environments - distributor as social network - it means that in the near future an oligopoly will form around a very small (1 or 2) number of distributors who can build our their community the fastest, with the best features.  Presently the barrier to entry to create a game distribution platform is relatively low, because game publishers treat these platforms as just another kind of retailer - if you’re able and willing to sell their games, and the publisher needs to do little or no work to get on your platform, they’re willing to do business with you.  Providing benefits like piracy protection and metrics (e.g. Steamworks) only sweetens the deal.  As users become ‘locked in’ to a specific network, where all their licenses exist, and all their friends play, and all their status symbols are kept, the barrier becomes more difficult, because in order to create a new platform, you need to shift a significant install base from an existing network.  There will be a Facebook/MySpace of PC-centric gaming platforms, and the race is on, but it’s not clear who that winner will be yet.

The jRPG

Saw a post on this at RPS, and thought I’d retweet, so to speak.

Go play this game.  I’ll wait.

Now, unlike Kieron’s view of this game, I don’t think that this is a particularly ‘mean spirited’ take on the jRPG at all.  I do agree that the type of RPG Sophie is mocking here is definitely of the ‘classical jRPG’ variety (think Final Fantasy, Star Ocean, Lost Odyssey, etc.).  The reason I don’t think so is, firstly, I don’t think you can be ‘mean spirited’ about a genre, only a specific example of that genre.  It’s like saying someone is being mean-spirited about SciFi, you can’t really do it.  Secondly, This is what satire is.  You take something, strip it of the lace and trim and expose it for what is really going on behind the scenes as brutally as you can.  If you think that’s in poor taste, fine, but I would argue that you don’t really understand or appreciate satire.

Finally, while I love what Sophie has done here - boiled the RPG down to grinding along a line in order to read a poorly written story - I think she could go further.  Start by interrupting the player’s progression along the line every 2-3 seconds, randomly, and without warning, force them to watch the little stick figure dancing around (a 10 second process), and then to tap the same button over and over again until they are returned to the line, only to repeat the process again 2-3 seconds later.

It might dilute the message for those that aren’t familiar with the material at hand, but I would find it god damn hilarious.

No Earthbound For You

You’ve been Lawyered!  The latest rumor on the street is that Earthbound is not, and never will be, released on virtual console, at least not in North America.  While I personally would like to believe that Nintendo just likes putting the screws on us over in the west, the truth seems to be much more boring.

The soundtrack for Earthbound does a lot of sampling of the work of other artists.  Now, mind you, it’s cranked down into a midi version, and I’m pretty sure you don’t need to pay royalties when you make a midi version of a sample of the Monty Python theme song, and then screw with the tempo.  Something about fair use.

Anyhoo, Nintendo of Japan is reportedly extremely uncomfortable with it regardless, and is also unwilling to release a version with different and definitely legal music in it.

Maybe someone should tell them that witholding products from the market that are in demand is why people install emulators on their Wiis and stop paying for VC content entirely.

You can read the full story on Starmen.net here.

Adventure Games

I was talking to Dan about this a couple of weeks ago, and I thought I’d share some thoughts about the genre.

From a pure game design standpoint, Adventure Games are not particularly interesting.  You have a game space, which can be seen as a very rigid tree, or occasionally a graph.  The job of the player is to manually perform a search on this tree until they reach a particular leaf node.

The method of node traversal takes different forms, but usually includes things like finding, combining, and using items, speaking to characters, moving to various rooms, and solving pre-constructed puzzles.  In 2009, there is nothing ludologically complex about this, for the most part it has been done.  We have learned certain lessons about the way in which you should or should not go about constructing your game tree (for example, having extremely deep branches that ultimately are dead-ends are frowned upon, as is progressing down a branch that is otherwise identical to the correct branch, but is missing some key piece, such as picking up an item, that does not become appearant until it is far too late, and the game prevents you from retracing your steps).  But assuming you follow these guidelines, making an adventure game does not involve doing anything revolutionary, from a game design standpoint.

Which isn’t to say they aren’t interesting or that people shouldn’t make them.  From a narrative standpoint, adventure games can be incredibly rich, and there are people (myself included) who greatly enjoy the excerise of traversing the trees you have made for us.  In fact, in the last few years, it is precisely because these games are so well understood and strictly defined that tools like AGS have been made available, providing one of the most direct routes for hobbiest game designers to implement their visions.  I’m a big fan of the idea that if anyone has the ability to write a book (as it stands today), then there will be a large pile of shovelware books, but also an increase in the amount of good material available for me to consume.  I feel the same way about games - although we are not at a point where making games is as straightforward as writing a book - Adventure Games are one of the best places to start finding them.

A final observation.  One of the reasons that the adventure game genre has been so threadbare in the last 10 years is a lack of market for them - they became a niche.  With the ongoing explosion of the market as a whole - especially in the realm of casual games, people who were ‘non-gamers’ 10 years ago and are ‘casual gamers’ now are beginning to discover this niche, to the point where casual portals like Big Fish Games are offering titles such as Syberia 2 - a very hardcore traditional point and click game - to their members.  That says to me that you may see this genre, commercially stagnant, have a revival in the coming years (to a point, you are already seeing this via Telltale Games, et al. on the Wii).

Some interesting recent or upcoming releases in this genre:

• The Chzo Mythos
• A Tale of Two Kingdoms
• AGD Interactive remakes of King’s Quest 1 and Quest for Glory 2
• The Whispered World
• Three Cards to Midnight, from the makers of the Tex Murphy series (Looking at a March 2009 or later release at this point)

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