Wii versus 360 and PS3

My friend Darren repeated something often said about this batch of consoles: the Wii is the only truly next-gen console, while the 360 and PS3 are not really very innovative. I disagree.

As I told Darren, he's in good company. Will Wright, my favorite game designer, has made much the same claim. But I think that view is a failure to look beyond the obvious. It fails to recognize that a simple increase in processing and memory can and often does have a huge effect on gameplay -- not just evolutionary change, but also revolutionary change.

I only have experience with the 360, so I'm going to focus exclusively on that console. And let's be clear about something: this is not a fan post. If I had the money to, I'd own all three consoles. This is in no way bashing the Wii. I just want to explain why the 360 and PS3 should not be accused of failing to innovate.



Even the Xbox 360's first batch of games hinted at the new possibilities unlocked by the console's power. Kameo, a game by Rare that reminded me a lot of DonkeyKong 64, proved the different type of fun that could be had from charging through an endless horde of enemies. Gears of Wars 2 will apparently explore that idea further.



Oblivion could not have happened on the Wii. The visuals in that game are not fluff... they're an essential part of the experience. The massive gameworld, which requires a lot of memory, is essential to the experience. Something else that's essential to Oblivion: complex controls. The Wii remote and nunchuk are cool, but they're not capable of as many control options as a single 360 controller with two pressure-sensitive analog sticks and 19 buttons (including being able to click the analog sticks and push the d-pad in 8 directions) aside from the Start button.



Could the lighting and shadows of Dead Space, combined with the game's strategic dismemberment feature and its zero gravity environments, be done on the Wii? Or the water effects of Bioshock? How about the flurry of AI and animations for LOTR: Battle for Middle Earth 2? Or the detailed cities and motion-captured animations of Assassin's Creed?



Star Wars: The Force Unleashed will be released on every console, yet the 360 and PS3 aren't getting the multiplayer component that the other versions get. Why? I don't know, but I think it's probably meant to make up for the better experience the more powerful consoles are able to provide solely due to their power. One of the devs explicitly mentioned that the 360 and PS3 inspired them to make such a game. I'd be willing to bet that there's more than merely a difference in visuals between the game versions (but I could be wrong).



To be clear, the Wii is capable of impressive visuals, physics, and greater things than we've yet seen. But it's indisputably not capable of many specific designs.

One might argue that these new types of gameplay all could have been seen in PC gaming. But so could the Wii's motion controls. There's nothing any of the consoles have done that could not have been developed for the PC.

AI: beyond logic

Human beings are not logical. Or, rather, we're not only logical. Every one of us makes choices that depart from what we consciously perceive to be the best, most rational options. A person who exhibits no emotion is called robotic, because emotion is also an essential aspect of humanity. Some might even go further and say that the will is neither logic nor emotion, but something else.

My own view is that emotions are based in a sort of logic. Happiness is a response to communion with the things we love; togetherness. Sadness is a response to being apart from those objects. Anger is a response to injustice. And other emotions are generally some mixture of basic emotions like those, filtered through our own personal perceptions of what is truth, what is love, etc.

Regardless of what one theorizes emotions are, we are incapable of completely predicting human behavior. We can't even full predict the behavior of many lesser animals.

Viewers of horror films often remark that particular characters are unbelievable because those characters act irrationally. I don't think the audience truly expects an absence of impediments to logic, such as fear and anger (or even varying degrees of intelligence). Instead, the audience is responding to the characters being too neatly fashioned... too predictable. Of course, she's just going to hide and cry until she's found and slaughtered! That's what they always do, right? Audiences generally expect characters to have half a brain, but the actions of depthful characters always contain surprises. A truly depthful character is not completely knowable, because no human being is completely knowable.

So where is all of this leading? When depth is a goal, AI should include self-contained variables. A character's actions should not be determined solely by a "personality" type plus environmental circumstances. Within that personality, there should be a variable range.

The same person placed in the same basic circumstance will often respond differently. In reality, this doesn't happen willy-nilly; it's in response to a change in internal circumstances (distraction, drowsiness, recurring thoughts due to individual values, new ideas conflicting with conditioning, etc). But trying to mimic the endless intricacies of a human personality is a lost cause. So a simulation meant to give the illusion of true depth should contain internal dice... doing for personality what the Euphoria engine does for physics, albeit accomplishing that illusion in a very different way.

Minor variables can have big consequences, as I'm sure AI programmers are very aware. If an enemy hesitates in combat for just a second, all sorts of things could happen in that second. The player might gain an advantage. The enemy's companions could arrive and start shooting. The wind or waves could change, pushing a vehicle slightly off its intended course. That moment's hesitation doesn't have to be exactly described by the programmers or animators, because the player's imagination will fill in the blanks. Perhaps it was fear. Perhaps it was a sudden realization. Perhaps it was his back going out of alignment (speaking of simulation... the problems of getting old!).

One thing game developers could learn from old movies (40s and 50s) is the benefits of innuendo and incomplete information. Scenes are most powerful when not everything is spelled out for the audience. That includes combat scenes.

Anyway, I think the future of storytelling in games lies largely in the development of better AIs. This is one way.

gold farming is criminal trespassing?

Apparently, breaking a site's terms of service might soon be considered criminal trespassing under federal law, as defined by a judge (they're legislators, too, these days). Zubon summed up the news perfectly, but I'd like to add one thing that's often forgotten: a law doesn't have to be reasonable or good to stand for decades in the courts. If the idea that breaking a site's TOS agreement is criminal trespassing sounds ridiculous to you, don't believe for a second that something ridiculous and unreasonable can't be made into law.

I have no idea what the judge will decide or what the response will be, but this is definitely worth keeping an eye on.

GTA 4: initial impressions

I'm finally back. Sorry for the long hiatus, but I was staying with a 90-year-old and, like most 90-year-olds, she doesn't have internet. Life without internet (or even a computer!)... I could hardly remember what that was like. Really, it's not so bad. Try it sometime. It's like camping. ;)


Anyway, I picked up GTA IV last week and thought I'd offer my initial impression of the game.

I haven't played it in a while. Instead, I've been playing Call of Duty 4. That's partially a testament to how great CoD4 multiplayer is, but it also reflects my relative boredom with GTA IV. Honestly, I'm wondering if I should have bought it or just saved my money for the plethora of other great games being released this year (two of which I've already pre-ordered). If you haven't seen Zero Punctuation's review yet, you might want to watch that before reading further. Like most of his reviews, this one mentioned many of my own thoughts.

I both like and dislike the realism. I certainly love it in the visuals. Driving in the rain or fog is a thrill. I like the gritty story. However, I agree with most of the points Zero Punctuation made.

Being able to go bowling, play darts or play pool with another character is great. For a sandbox-focused game, more options is good. But Rockstar made a mistake by having those characters call Niko on his phone. That makes the world seem more real, but it also deters the player from enjoying the sandbox by constantly turning the player's focus toward the linear content. It's partially a problem of pacing. Sandbox adventures (meaning small series of explorations that the player subconsciously connects into stories) take time to develop, and the player needs time to become immersed in that exploration. The invitations to hang out by Niko's companions disrupt that exploration and prevent the player from connecting happenstance events into personal stories. There's not enough undisrupted time to wander through the sandbox and find one's own crazy series of events.

The TV channels are funny, but why do I have to sit in my apartment to watch? The billiards, darts, and bowling could have been designed so that the player could watch TV between turns. I'm a fan of world-type games, but who wants to roleplay a couch-potato? The TV stations should have been enjoyable while doing other things, as the radio stations are. There was more humor on the airwaves of early GTA games, but the music is still good. It would be nice if the radio turned down/off automatically when Niko answers his cellphone, but that's the sort of attention to detail that's often lacking in GTA IV.

The vehicle handling is awful. In this case, the move toward realism was a very bad idea. There's nothing quite like racing creeping away from cops in second gear because your car can't handle turns at higher speeds. This is how your grandma would evade police. Perhaps Dukes of Hazard -style chases emerge with faster cars later in the game; but if that's the case, shouldn't driving be fun in the beginning of the game, too? Driving in older GTA games was a blast, but not so in this one. And wouldn't it be more fun if passengers responded to wild driving and accidents more like those in the intro scene of The Darkness demo than like old Miss Daisy yelling at you to slow down? This is GTA, afterall -- players should be encouraged to act crazily, not like prim ninnies.

The control scheme for gunfighting on the 360 is strange. There doesn't seem to be any reason the typical FPS setup wouldn't work, except for shooting while driving. And in that case, shooting while driving is a chore as it is, and should have been done differently. Wouldn't it be more fun to let a companion NPC or an AI for Niko handle the driving or shooting controls while I handle the other? Wouldn't a close-camera chase or gunfight like that be more fun anyway than combining the two into less visceral, less fluid experience?

I hate for this early-glimpse (many hours of play) review to all be negative, so let me reiterate that the visuals are impressive, the story is good, and add that pressing "B" while driving to activate a cinematic camera is an awesome idea (too bad Microsoft still stupidly fails to offer Xbox 360 gamers the ability to take screenshots). The bowling, darts, and (especially) pool are all extremely well designed, though I do wish pool and darts included the same swinging use of the thumbstick that bowling does (to add that visceral feel). The physics is great, but more for its applications to animation (pedestrians moving and getting knocked around, vehicles colliding, etc) than applications to gameplay (driving, gunfights, etc).

GTA 2 and Vice City were better games. They let the player off the rails immediately, kept the pace up, allowed wild and silly fun while wandering every which way, and strived to be over-the-top in gameplay more than in libertine shocks (ex: yes, the hookers in GTA IV are funny, but the production time would have been better spent on further dynamics in combat and driving gameplay -- i.e., content that improves the game's lifespan / replayability).

I'll put more hours into GTA IV at some point. But my early impression is that Saints Row is as good, and Saints Row 2 might end up being a better game. Hold out for that one, if you haven't already bought GTA.

I'm looking forward to trying out the game's multiplayer modes. Perhaps that's where GTA IV really shines... though that would be strange, considering that the GTA series has always been about the single-player sandbox.

babies

My brother's got a 4-month old baby right now. A baby can do anything -- absolutely anything -- and everyone thinks it's the cutest thing they've ever seen.

Whoever designs the first Nintendogs-style baby game will easily have enough money to fund their dream game.

Let the race begin! ;)

afk... again

My internet access is sporadic right now, since I'm staying with someone without internet for the next couple weeks (yes, such people exist). Once all this travelling stops, I'll be writing every day again. In the meantime, I'll hop on a computer whenever I get a chance.

guards, snipers, and surveillance

So I'm back from New York, wondering how my trip to see the Pope could be the basis for a post on game design. And the first thing that comes to mind is bodyguards.

Many games have them, though we don't typically refer to them as bodyguards. Instead, we might think of "boss" NPCs and their "minions" or "mini-bosses". Whatever you want to call them, NPCs protecting or following other NPCs is a common sight in video games.

During his visit to New York, Pope Benedict XVI was protected by an unprecedented net of security. I was fortunate enough to be allowed on the steps of the St. Patrick Cathedral during the Mass. To get there, we had to park many blocks away, because a wide area surrounding the cathedral was blocked off and heavily guarded by police and special officers. I had to show my ticket and photo ID three times before reaching the cathedral, as well as walk through a metal detector. I'm told that the CIA did a background check on anyone who had a ticket for that area, but I can't verify that. Once on the cathedral steps, I noticed dogs, police captains and chiefs, helicopters overhead, snipers on all surrounding rooftops, secret service, and plenty of security personnel I couldn't identify. Moving between designated areas required an escort. Oh, and the Pope's bulletproof limousine was escorted by plenty of other vehicles, of course.

So what from that could be applied to game design?

• Snipers: Guards and henchmen in games are always near to the NPC they're guarding. In some cases, it might prove fun for the player to have to worry about guards out of sight or watching from afar. Such guards might be melee opponents, encouraging the player to defeat his primary target before those guards can finally reach his location. Or the player might need to select a strike position that hides him from snipers. There are countless ways to tweak this idea, but the gist is that the player must include distant objects in his awareness and cannot avoid being flanked during combat.

• Safe Zones: Security might involve a buffer zone between light security and maximum security. The scope or even existence of such buffer zones might be dependent upon player actions and success/failure. Buffer zones can be empty, blockaded areas or simply involve restricted access. If security personnel look like civilians, or otherwise harmless, then even a thick crowd be a difficult place to hide.

• Animals: Sometimes, dogs are the smart ones; even sheep. Animals often have sensitivities beyond ours (smell, vision, electrical signatures, infrared, etc.), so they can be a useful dynamic in games. It could be fun to make players worry about detection beyond visibility or noise. And we can't read animal expressions as well as our own, so great tension can be created by an animal's stare ("Is it just passing by? Or does it detect danger?").

• Choppers and surveillance: Players might have to worry about danger beyond the immediate. That a player has escaped might not mean that danger has passed, if his escape was tracked and his location is known. Surprises are fun. Allow the player to think he's home-free, then pounce on him with a sting operation. Or make him worry about whether or not he is being watched as he makes his way to the headquarters of his faction or some secret location.

• Hold the Line: Of course, players are not always on offense. With the improved collision detection of modern games comes the possibility of the player participating in a blockade. Players can act as covert guards and snipers, thereby challenged to sniff out danger before it reveals itself. Players can act as drivers and escorts, thereby challenged to adjust escape routes in reaction to dynamic circumstances.
  

Anyway, I guess it's time for me to catch up on gaming news.

the seventh day

God rested on the seventh day of creation. Why? He's ominpotent, right? So why would God need rest?

He doesn't. The point of that part of the story, and the reason many of our grandparents did not work on Sundays, is that no work is complete until it is appreciated. A crop is worthless until it is eaten. A symphony is worthless until it is heard. Work has no inherent value. Labor without reward is nothing more than good intentions.

Players need time and encouragement to reflect on their experiences and accomplishments. Cinematics, as they appear today, do not accomplish this. While they effectively pause gameplay, they also require rapt attention. The player is still working. Even a cinematic flashback of the player's own choices and experience is not good enough, if the player must remain actively attentive and cannot pause/review the sequence.

Players need downtime. By that, I mean players need time that is free of any demand on them, that lets them relax and lets the mind wander, reflecting and absorbing those memories at its own individual pace.

The developer's challenge is to encourage such downtime (even demand it) without disrupting the player's immersion in the game. Old films sometimes had intermissions accompanied by music and a static picture. The music helped keep the audience focused on the movie setting, but the removal of dialogue and visual action allowed people to reflect (yes, I know that wasn't the primary purpose of those intermissions). Likewise, game intermissions keep the player focused on the game setting, but offer respite from interaction.

One of the things the original Everquest game did right (though, perhaps, too severely) was to force rest. Resting not only encouraged chatting between players, it also encouraged reflection on each and every experience. Honestly, I complained about it at the time I played EQ. Being used to console games, I disliked the forced pauses. But it grew on me, as it did on thousands. Notice that the resting EQ character (and so, also, the player) remains surrounded by the moving gameworld during rest.

I'm constantly talking about dynamics, and there's one more use for them: scenery. To simply absorb and enjoy one's surroundings is something we all experience at times. Smartly placed and presented, it's a pleasure that makes downtime not difficult to bear.


I'm posting this a little early because I won't have internet access tomorrow.