Thursday, 23 February 2017

Discussions on Definitions: The Rogue-like

Words can be flexible, they can be changed. Language is dependant upon usage, and so new words can crop up or old ones can be co-opted to new meanings. With games, a new language had to be created from scratch once those first games appeared. As they became more popular, the language evolved and terms were borrowed or created from wherever was required.

Even now, such terms are often not entirely fit for purpose. We call certain games "First Person Shooters", where they might previously have been known as "Doom-clones" or just "Shooters". All these terms are descriptively opaque, unless you are aware of the culture from which they sprung (and even then, they don't completely convey the full nature of the game that they attempt to describe). They're a shorthand, but they're imperfect, and no doubt a lot of these sorts of terms will change over time as better terms are coined.

"Rogue-like" is one such term that I thought was long past its sell-by-date. The game "Rogue" was first released in 1980, and it didn't take long for others to copy various elements of its design. Such games were termed "Rogue-likes" to convey their similarity to the original Rogue. These games often copied many of the same design elements: Characters and monsters based loosely on Dungeons & Dragons role-playing standards, procedural generation, game over after a single death, multi-level dungeons, and so on.

The term Rogue-like went out of favour for a while, with that type of game being overshadowed by the RPG - a catch-all term for a genre that is so wide that it would require an article to itself. The general idea was to create an approximation of the tabletop role-playing game using a computer to do the dice-rolling and paperwork and leaving the player to enjoy a more crafted and directed story, with well defined rules and mechanics. The fact that games as diverse as Mass Effect, Pillars of Eternity, Dark Souls, Fallout and Skyrim can share the same label somewhat dilutes it's usefulness.

The labels we give games are attempts to provide descriptive terms, but they vary in their application and their usefulness. Sometimes a game can be described in terms of another: Rogue-like. Or it may be defined in terms of mechanics: Real-Time Strategy. Or it may be described in a more abstract term: Adventure Game. Sometimes these terms are useful, sometimes they are only useful in context, and sometimes they rely on prior knowledge.

In the past decade or two, there has been an explosion of independent games development. People chose to makes games that reflected the experiences they had when they were younger, often harking back to styles and mechanics that had gone out of fashion in mainstream game development. Rogue-likes had remained popular throughout the years, but there was now a potential audience like never before. Some of these new games were recognisably like Rogue, their history easily traced back. Others used certain mechanics, but wanted to make something very different.

The terms "Rogue-like" and "Rogue-lite" were used, no matter how ill-fitting they might be. They were used as umbrella terms, much like RPG, where there are certain common characteristics but broad enough that it allowed for so many games to occupy that same ground.

The problem arises when you consider that the vast majority of people who play games will never have heard of Rogue, let alone played it. They at best will associate it with certain mechanics, if only by association with other games of its type.

Like so many terms in gaming, it feels like we're a long way from creating the terms we need to fully describe the immense variety and complexity of the medium. It's a young medium, with plenty of room to grow, so this isn't a pressing need. With the advent of VR experiences, things are only going to get increasingly complex, and it may be some time yet before gaming has the level of descriptive language about itself as literature or film does.

Saturday, 12 November 2016

Star Trek: 25th Anniversary - Boldly Adventuring

I would certainly consider myself a Star Trek fan, and a fan of science fiction in general. I grew up watching re-runs of the original series of Star Trek, and watching the classic movies. Gene Roddenberry created a series that was hopeful, insightful, heartwarming, exciting and occasionally quite silly. It may have sometimes been a little rough around the edges, or been a little simplistic in it's ideals but the camaraderie and positivity of the core characters was brilliant and went from strength to strength.

For it's 25th Anniversary, an adventure game was created to celebrate the series, and it even managed to include (on the CD-ROM edition) the voices of the original series stars. As a series of episodic adventures, it really captures the spirit of the show, as the crew of the Enterprise investigate a collection of alien worlds, with action, adventure and some difficult puzzles along the way.

The game opens with a space-combat exercise, with the Enterprise in mock-battle with a fellow Federation starship. Intended to teach the player the controls, it's actually a very difficult battle with the added pressure of not knowing what exactly you're supposed to be doing. On my first attempt I failed very quickly, and my second didn't last too much longer either. Failing this is no barrier to progress though, and I figured I'd have to learn the combat system with real enemies instead.

The ship combat isn't the strongest part though, so it's a shame really that so many of the episodes contain it. The control scheme is imperfect, and it doesn't really add much to the experience. I'm not a big fan of arcade/action style sequences in adventure games at the best of times either, and these give you no option to skip or avoid.

The game excels when you beam down to the planet or place of interest that comprises the main body of the missions though. The interplay between the main cast is very similar to the show, and the locations and puzzles have just the right feel. The voice acting, while not perfect, adds to the feeling that you're playing through episodes of the show.

Your away party consists of Kirk (essentially you, as leader), a member of the security team (the classic Redshirt), McCoy (for all your medical needs) and Spock (endless amounts of knowledge, Vulcan nerve pinch, and other scientific help). In fact, Spock seems to be the most useful member of the team, and the Redshirt only seems to be available to die if you do something wrong.

My only criticism is the occasional obtuse nature of some of the puzzles, and sometimes the environments are unclear. There are at least a couple of occasions where you can miss an early step and leave yourself in an unwinnable situation. This isn't uncommon in adventure games (unfortunately), but it is unnecessarily frustrating.

Criticisms aside, the majority of the episodes were very enjoyable, and I liked the emphasis on teamwork, puzzle-solving and occasional diplomacy. At certain points, you are given dialogue options, with a choice between something Captain Kirk might actually say, and some less than perfect responses.

The success of this game lead to a follow-up, "Judgement Rites" which I look forward to playing.

Friday, 16 September 2016

Indie Gaming: Firewatch

Firewatch, Campo Santo games, 2016
In many ways, our protagonist in Firewatch is typical of gaming: White, male, bearded... but rather than joining the clones of gaming past, his characterisation saves him. We get introduced to him via a short choose-your-own-adventure style story, in which you get a summary of his relationship with his wife, with a few choices along the way. These choices grant you a more close relationship with your character than most games, as even these simple choices can give you a greater understanding of the role you will be playing.

Henry is a man tormented by his choices, with a feeling that he has not only made bad choices, but also doesn't know how to, or doesn't want to deal with the repercussions. This leads him to become a lookout during the summer fire season. He seeks an escape from his problems, a quiet solitude in which he can immerse himself in other tasks. He seeks an escape from his wife, who has Alzheimer's and (due to his inability to care for her) is with her parents in Australia.

One of the few first-person games to actually give you a body to look at, so you don't feel like a floating camera
What he finds is a prospect of busywork and monotony, long hours spent watching the forest or trying to stave off boredom. However, a voice on the end of a radio provides him with a purpose, and a friendly ear. Delilah is a more experienced lookout, and has been doing this for several years, so provides an informative mentor for Henry. She's also very talkative, quick to joke and there gently develops a tender relationship between the two, bordering on the romantic.

One of the many beautiful views
The initial hours of the game allow for a gentle exploration of your surroundings. You are guided to a certain extent, but allowed relative freedom to explore the trails surrounding your lookout tower. The pace is quite relaxed and the friendly tones of Delilah are a great accompaniment. Not long after, things start to speed up.

The story threads begin with almost no consequence, a couple of troublesome campers, a stranger on the path at night. The tension builds up slowly, the two teenagers causing you more trouble, your lookout tower broken into, the telephone wires cut. It comes to a head when you find a clipboard with transcribed radio conversations, a radio, and get a knocked out for your trouble.

After the slow burn start, now the mystery begins. It feels like an adventure, much like the trashy spy novels you find scattered around the place. Slowly you uncover this conspiracy, a remote listening post, strangers lurking in the woods, missing hikers and missing teenagers (including the two from earlier). To add to it all, a huge fire begins to spread through the forest, in the distance.

Your map gets annotated as you explore
Danger, mystery, exploration, all the hallmarks of a proper gaming adventure. As the fire builds to the south, the heat, the tension and the smoke build, and you can't help but get invested in the struggle that the characters are having. These two are miles apart, linked only by a radio. Not wholly sure that they can trust what each other is saying, they have to rely on each other because there is no other help to call on. There's a real sense of paranoia to their interactions after a while, as they start to fray at the edges.

The kicker of course is that the grand plotting mostly exists in the heads of Henry and Delilah, and by extension, you the player. These clues and mysteries that you find are not some big conspiracy, there's no secret recording station experimenting on forest fire lookouts, there's no vengeful killer picking off helpless hikers in the hills. The antagonist turns out to be a father, broken by his choices, unable to face the consequences of his actions, driven mad by grief and regret.

Here is the dark path laid before us, and as Errant Signal points out, a mirror to our protagonist. Another man approaching middle age who has made some terrible decisions and sought refuge in the wilderness. The difference being that Ned took his son along with him, contrary to the rules, selfishly pushing his son into activities unsuited for him, and ended up accidentally killing him. Henry's sins are less severe, but he still acts with selfishness in the introduction when he makes it difficult for his wife to take a new job, and when he rejects having children. Henry then cannot cope when his wife gets early-onset Alzheimer's, and his drinking lands him with a DUI and his wife with her family in Australia.

Henry, unlike Ned, has a chance at redemption, but it is not with a grand adventure, not as being a hero that saves the day. His chance is to not change his choices, but rather make his future ones better than his past ones. Ned escapes from his responsibility by running away, the death of his son makes him recluse himself further, hiding in the wild. Henry engages in a struggle with him, knowingly or not, for that secret to be kept buried. The fire that consumes the forest pushes both of them to leave, but as Ned retreats further into the wilderness it forces Henry to go home, alone, and consider his future.

The finale subverts most narrative expectations, by turning the big mystery into a small one. The big conspiracy turns out to be the work of a lone man, and the burgeoning love story gets curtailed. The setup for a grand adventure turns into a small mystery, and while many will feel disappointed by this, and I did too, but not to the detriment of the experience. Without wishing to trivialise it, there's a certain Scooby Doo nature to the reveal, that there's no killer or government conspiracy but rather one bad man.

It is also surprising how much thought into choices and consequences a game can provide while it actually has very limited choice throughout. With the release of a remastered Bioshock this week it does make me compare the approaches. Both are very linear games, with minor choices throughout, and both contain thought-provoking experiences on the nature of man and the choices we make. But I feel that Firewatch makes a much better point of it, especially since it doesn't have to wear the skin of an action shooter. While the game mechanics of Bioshock undermined it's point I feel like Firewatch instead finds a very good balance.

A key example is the radio conversations, present in both games. In Bioshock they are exposition dumps, a method of communicating the plot to the player in a convenient fashion. Firewatch leaves the majority of this to the environment, filled with short notes and objects to flesh out the world. The radio is used instead as a conversation tool, a way to build your relationship with Delilah in a two-way fashion, whilst also allowing you to curate your experience of the world to her.

You can choose to be open, and tell her what you see in it's entirety, asking her help and input at every turn. Or you can take a much more minimal approach, relying on the radio conversation only when necessary, as the game gives you the option to ignore her conversations at times (she may continue talking however, but you don't need to always reply).

This gives the characters much greater depth than a one-sided speech could ever manage. The ability to respond, even in a cursory way which may have no real impact, makes it a much more rewarding experience. It takes care and good writing in order to create this illusion though, and for a negative example you could look at a game like Fallout 4, or sometimes the Mass Effect series, in which there are often examples of badly written conversations where the illusion of choice is far too apparent and so feels cheap and unrewarding.

Time to leave...
Of course there's a certain advantage to indie games, they have the ability to explore the medium in ways a big budget game cannot (or will not). Much like "arthouse" or indie cinema, indie gaming provides a chance to see experimental and thought provoking games that we wouldn't otherwise. Long may this continue, and I hope these sorts of games can find the wider audience that they deserve.

Sunday, 28 August 2016

Dark Souls 3: Design, Difficulty and Me

I am not a man who likes difficult games. I grew up in a time where it seemed like many games deliberately wanted to punish the player, with too many mistakes meaning a total game over. They were borne of the arcade mentality, where a new life would mean more money in the slot. Being good at a game meant you could play for longer on whatever meagre allowance you had. I was never good enough, so arcade machines just seemed far too expensive.

The games I grew to love took a more relaxed view of difficulty, a different approach. Sierra adventure games may have many ways for the player character to be killed, but they also allowed liberal use of save games and were relatively short. Ultima RPGs would usually freely resurrect the player character and party if you were defeated. Many games allowed for cheating, or had in-built cheats to give you access to almost everything will little or no skill required.

Saturday, 27 August 2016

No Man's Sky: From Hype to Reality

It can be difficult to avoid hype, to avoid hope, to avoid the ceaseless marketing push of certain games. For those of us that read games-related websites, who take an interest in what is available and what is upcoming, you may see news about the current hot game every day.

Sunday, 24 April 2016

Pillars of Eternity: The Heir Apparent to Baldur's Gate

I've been playing Pillars of Eternity for over 30 hours, and have completed Chapter 2 and have progressed into Chapter 3. I backed the game quite a long time ago on Kickstarter, but had a terrible time getting into the game. I couldn't decide what sort of character I wanted to be, I didn't know the mechanics, I didn't know the setting, I didn't know anything about what I needed and yet I had to make significant choices.

I felt a bit paralysed by this choice early on. I experimented with several different ones, and found nothing to be a good fit. Even now, I don't feel like I made a great choice. Thankfully, I'm playing with the newly added lowest difficulty setting: Story Time. This patronisingly named option is from a recent patch, and drastically reduces the difficulty of combat.

Indie Gaming: Sir, You Are Being Hunted

Picture from the official Big Robot website
An experiment gone wrong has cast you into a hostile archipelago, crawling with robotic hunters keen to shuffle you off your mortal coil. Sir, You are being hunted!

The game is essentially a survival story, you must locate the missing pieces of your experiment and return them to the standing stones on the central island of the archipelago (there are five islands in total). The entire game world is procedurally generated from a selection of different templates (Rural, Fens, Industrial etc.) and populated by buildings, wildlife and of course robots.