Video game consoles, such as the PS3, Wii and Xbox 360 (and even PC’s) have gotten more complex and provide impressive 3D capabilities and 5.1 sound. Yet, video games have not. There was a time many years ago when video game designers would take chances and create unique and unusual titles. Games that challenge the mind and challenge the video gamer’s thought processes. Games used to be fun to play.
In recent years…
Today, most games fall into a very small subset of genres: First/Third Person Shooter, Fighting, RPG, Simulation, Sports or Music (with a few lesser genres appearing occasionally). While the innovation in the hardware continues to progress, the video game designers are not progressing. Sure, it takes time to get actors into a studio to record tracks. Sure, it takes time to build and rig up 3D models. Sure, it takes time to motion capture realistic action to plug into those 3D models. Yes, it takes time to program all of those complex algorithms to make it all work as a whole. I understand all of that. But that’s the process, not the innovation. These are the tools necessary to get the job done. They are a means to an end and not the end in itself.
For whatever reason, big video game executives have it in their heads that the tried-and-true model sells a video game. That may be true to some degree, but you can also wear-out-your-welcome with overused techniques. In other words, when a game title sucks, the word spreads FAST in the video game community. That can stop a video game’s sales dead.
When starting a new game project, the producer and creative staff need to decide whether or not they are planning on introducing something new and innovative. First and third person shooters (FPS/TPS) have already been done and done and done and done again ad nauseam. That’s not to say that yet another TPS or FPS can’t be successful. It can.. IF there’s something compelling to the game… and that’s a big IF.
Sure, there are video gamers who will play anything they can get their hands on (known as video game fanatics). But, as a game developer, you can’t rely on these gamers to carry your title to success. These gamers do not necessarily make up the majority of the game buying public. As far as myself, I am an much more discriminating buyer. I simply won’t buy every title that comes along. I pick and choose the titles based on the styles of games I know that I like to play. For example, I do not buy turn-based games of any sort. I don’t care if it’s based on dice rolls or card draws whether in a fighting, FPS or RPG game. I won’t buy them because turn-based games get in the way of actual playing. Turn-based games also tend to be antiquated. I understand where turn-based play came from (i.e., board games). But, it has no place in a 3D world based video game.
Again, choosing to add turn-based play into your game is your decision as a developer. But, by doing so, you automatically exclude gamers who won’t buy turn-based games, like myself. There are gamers who do enjoy turn-based games, but I don’t know of any gamers who won’t buy real-time play styles and buy only turn-based. So, you automatically limit those who purchase your game to those who buy turn based. But, by making your game real-time, you include a much bigger audience.
These are up-front design considerations that, as a developer and producer, you need to understand about gamer buying habits. These are decisions that can directly affect the success of your video game title.
In the early days of 3D console games (mid-80s through mid-90s), game developers were willing to try new and unusual things. Of course, these were the days when 3D was limited to flat untextured surfaces. We’ve come a long way in the graphics arena. But, even as far as we’ve come in producing complex and unusual 3D worlds within the games, the play styles have become firmly stagnant. For example, most First/Third person shooters today rely on a very linear story to get from point A to point B. Driving the game along is an invisible path. So, while the complex 3D world is wonderfully constructed, the character can only see the world from a limited vantage point. The cameras are usually forced to be in one spot (near or behind the character). The character is forced to traverse the world through a specific path with invisible boundaries. So, exploration of the world is limited to what the game designer and story allow you to do.
This style of game is very confining. It forces the gamer to play the game on the programmer’s terms rather than on the gamer’s terms. Worse, when this play style is combined with checkpoint saves, health meters and other confining aspects, these games can easily become tedious and frustrating. So, what a game developer may consider to be ‘challenging’, in reality becomes frustration.
A shot of new innovation
The video game development world needs is to open is collective eyes. Don’t rely on the tried-and-true. Don’t relay on formulas. Don’t assume that because a previous game worked that your next game will also work. What works is what video gamers like. What doesn’t work is what video gamers don’t like. The video game community is very vocal, so listen to your audience and learn. Most of all, try new things… and by that I don’t mean tweaking an existing formula. I mean, take a risk. Try something new. Let gamers explore the world. Produce worlds that are open and complete. Let gamers build things. Let gamers take the game to whole new levels. Build in construction sets to allow gamers to create things you have never thought of. Build in ways to save the constructions to web sites and allow gamers to monetize the things they’ve built.
These are innovations that lead to progress. These are innovations that instill addictiveness into the game. These are innovations that keep your game alive for years to come. You only need to look at the popularity of Second Life, World of Warcraft and even the Elder Scrolls series to understand that an unlimited world with construction kits allow gamers to take the game into directions you’ve never even thought of.
Most games play through in only a few weeks (sometimes less than 1 week). The gamer buys it, plays it through and then trades it in never to touch it again. This is effectively a movie rental. So, once the gamers have had their fill, the game is effectively dead. This style of game does not provide your company with a continued stream of revenue from that title. Only titles that have open ends, that offer expansion packs, and that allow gamers to construct things on their own are the games that keep a title alive for years rather than a few weeks.
That may require a slightly bigger cash outlay in the beginning (to support a title that has a longer lifespan), but if done correctly, should also provide much more income for that game company. This is why titles like Fallout 3, Oblivion: Elder Scrolls IV and World of Warcraft are talked about months (and even years) after the game’s initial release. But, forgettable games like Fracture, Too Human or even Force Unleashed have no extra play value after the game ends.
Gaming elements incorrectly used
In too many game designs, programming elements are used incorrectly to ‘challenge’ the gamer. Game challenges should come in the form of story elements, puzzles, clues and riddles. Game challenge elements should not involve game saving, turn-based play, checkpoints, character deaths, camera movement, controller button sequences, or anything dealing with the real-world physicality of the gaming system. In other words, challenges should not be tied to something outside of the video game or outside of the story. So, as a designer.. you should always ask yourself: Does this challenge progress the game story forward? If the answer is no, the challenge is a failure. If yes, then the story becomes better by the challenge.
For example, requiring the gamer to respond to a sequence of button presses in a very specific real-world time limit is not challenging. This is frustrating. This means the gamer needs to trial-and-error this section until they can make it through the timed sequence of buttons. This is a failed and incorrectly used ‘challenge’ event. This section does not challenge. Instead, this sequence requires the gamer to ‘get through’ that section. Note that ‘getting through’ is not a positive gaming aspect. Worse, if this game section comes in a FPS game, but only occasionally (only to fight a boss), this is also incorrectly used. If this play style is used regularly and consistently throughout the game, then the gamer knows that it’s coming. If it’s used only at certain undisclosed points rarely, then the gamer has to fumble to realize what’s going on when there is no warning.
Another common, but also incorrectly used gaming element is the character death sequence. For some reason, recent games have promoted the use of character deaths as part of the challenge element. So, there are sections of some games where the designers specifically designed the level so the gamer has to ‘die’ his way through the level. These trial and error sequences, again, are incorrectly used and do not aid in moving the story or the game forward. These also tend to promote deaths as a way to solve problems. This is not appropriate.
Games should always promote the positive aspects of life and not promote death as a means to an end. Worse, games like Too Human take the death sequence to an extreme and make the gamer wait through an excruciatingly long cinematic each time the character dies. This, again, is an inappropriate use of a gaming element. The game should be designed for the GAMER and not for the game designer. Long death sequences such as what’s in Too Human overly emphasizes death. This is, again, not appropriate.
Health meters are another common gaming element that are incorrectly used, or lack thereof. Every game that allows the character to ‘die’ needs to have a visible health meter. Games that use the Unreal engine do not have this. Instead, when your character takes enough ‘damage’, the screen will become red with a halo. The problem with this system (and this is also why its incorrectly used) is that the gamer doesn’t know how far from ‘death’ the character is. This is not a challenge. This is annoying and frustrating. This leaves the gamer wondering just how much health they have.
Again, story elements move the game forward. Having the gamer stop and reload a game takes the gamer OUT of the game and forces them to restart from some arbitrary point. Checkpoint games are particularly bad about this. When checkpoints are the only way to save a game, this means the gamer must waste their real-world time through trial-and-error gaming. This means, the user must wait through character deaths and then the subsequent reload of the level to restart at the checkpoint. Again, this is not a challenge… it’s simply a waste of time. When levels are designed such that the gamer’s character will die at least once to get through the level, the level has failed. This forces a reload of a previous save. This element, again, is misued as a challenge element. Taking the gamer out of the game by forcing a reload ruins the game experience and disrupts the story you, as a developer, worked so hard to make cohesive.
Future of Gaming
Even as game developers are now stuck in the genre rut, they do have the power to break out of it. They do have the means to produce games with more compelling and addictive content. Instead of using old formulas that used to work, designers need to look for new ways to innovate, monetize and bring video gamers into their game worlds and keep them there. Games shouldn’t be viewed as a short term point A to B entity. Games need to move to open ended and free exploration worlds. Worlds that let the gamer play on the gamer’s terms. Sure, there can be story elements that tie the game together like Fallout 3 and Oblivion. In fact, I’d expect that. But, these game threads should start and end inside the game as quests. You can play them when you want to and you can leave them hanging if you don’t want to complete it.
Game elements like checkpoints, saves and button sequences need to be rethought. Some of these elements can be successfully used, like checkpoints if implemented thoughtfully. However, allowing the gamer to save anywhere lets the gamer save and start at their leisure. But, that manual save process leaves it up to the gamer to remember to save. For this reason, checkpoints when combined with save-anywhere is the best alternative when gaming. After all, the game was supposed to be produced for the gamer.
Designers, creators and developers need to challenge the notion of what is a video game. They need to use the 3D worlds in creative NEW ways. Let the users explore the worlds on their terms, not on some dictated path and story. Designers need to take a page from Bethesda’s book on free-roaming RPGs and expand on this. Closed ended, path based games have limited playability and definitely no replay value. Monetarily, developers need to understand that open ended construction based games let gamers take ownership of the game and make it their own. Closed, narrow pathed games do not.