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  Not Puzzles, but Scenes: Cinematic Gameplay Interactions
by Lucas González [Design, Console/PC, Indie]
7 comments Share on Twitter Share on Facebook RSS
 
 
June 5, 2013 Article Start Previous Page 4 of 5 Next
 

We made dozens of layouts and small variations of certain areas, especially at the beginning of the game; at the same time we felt that we could not over-simplify these situations. We were always trying to keep something of the elements that we believed puzzles should have.

But it didn't work. We keep simplifying and, suddenly, the most "over-simplified" situations turned out to be the most satisfying for the players. I could verify this firsthand when I showed the game at PAX East.



A Practical Example

In this section I'm going to explain how and why we modified the layout of one of the sections in the first part of the game.

If you have played the game, you will probably remember this area:

This diagram represents it:

This part of the game can only be solved in this way:

  • The player can only access the exit by jumping over the fence (4) from (3).
  • At (3) there is a shock hazard that kills the player.
  • The player must interact with the contextual action (1) that deactivates the shock hazard of (3).
  • The contextual action is "guarded" by two zombies. At this point of the game the player is defenseless and must not come in contact with the zombies.
  • The only option for the player is to taunt the zombies from (2). Zombies are attracted to the player and get killed by the hazard below. The way is then free for the player to interact with (1), get to (3) and jump over (4).
  • If the player doesn't taunt the zombies from (2) and jumps over the hazard, the zombies start moving towards him with no possible exit.
  • On the top of that, as the player gets to (2), a huge "Tutorial Hint" appears on screen, inviting the player to taunt the zombies.

As you read it, it might sound a bit complex, but as there is only one solution and any other attempt always kills the player, which is the clearest feedback. The players are actually completely guided toward the correct solution.

"Guided," yes, but they feel that they have been smart enough to cheat two zombies, unblock his path and find the exit.

However, this area used to look like this:

And this is the diagram of this layout:

The idea behind is exactly the same as the other version: the player must attract the zombies to (2).

While the zombies are moving to (2), the player must go over the big generator (5), interact with the contextual action (1) to deactivate the hazard at (3), climb to (3) and, finally, jump over the fence (4) to access the exit.

It seems like it would make players feel smarter than the previous one, right?

This is what we thought, as designers:

  • The player can navigate the area and it is not restricted to a small safe zone: more freedom.
  • There's no need to use the "taunt" action. The player might walk near the zombies and then run away: more choices.
  • The player has to perform an action while the zombies are still "active": more challenge.

So more freedom, choices, and challenge -- that sounds great.

However, this is what's going on in the player's head:

  • There is not a clear place to start.
  • The generator (5) is something big, with a complex shape that seems to have a hidden purpose. In addition, it's not clear that the player and the zombies can walk behind the obstacle.
  • There is nothing that tells the player if what he is doing is right, wrong, or pointless.

No clear feedback and multiple solutions: Noise. The worst enemy of the designer.

This quick example shows how a simpler layout, even though it might look less interesting is, in the end, much more satisfying for the players. 

 
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Comments

Sylvain Vanderhaegen
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The axe moment definitely got that Prince of Persia feel. Great job!

dario silva
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Thank you for sharing Mr González, its good as an outsider to get such deep information on the game development process from a level designer. I do have a question though, and im asking it because Deadlight is a game that i felt let down by and i'm curious why this decision was made. My question is, why did you not take the approach of games like Super Metroid and rather have respawning enemies/mini-boss/boss areas built into the environments with interesting combat patterns? Sure Limbo didn't really have that, but in Limbo you were a little child in a world of giant monsters, whereas in Deadlight the shoe is on the other foot. Just a thought.

Lucas González
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Thanks for your comments.

Absolutely. Super Metroid was one of our references, but to create a game like this, you need to make this core not only to the level, but to the game design.

Just to mention two key features: new skills you are learning now and then, and easy to spawn, varied, enemies that fight with nice patterns and that create interesting combinations.

At some point of the development we haven't implemented yet these features, but we needed to keep building levels if we wanted to meet the deadlines.

So we built them with the "tools" we had at that moment. It's a nonsense to build levels assuming that you will have core features "in the future".

With the tools we have, we only could create a linear-one way experience, so we focused on that.

Travis Fort
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"As old school players, we tend to look for games such as Braid or Monkey Island, which try to challenge players. But the kind of immersive, cinematic experience we wanted to deliver fitted better with the other approach..."

I'd argue that Braid and Monkey Island are just as immersive as more cinematic games. If the player is expecting a cinematic experience, and runs into challenging puzzles (as you wrote about), that immersion is lost. Similarly, if you were playing Braid and ran into a bunch of cut scenes and heavily scripted events, the immersion would be lost, too. Perhaps priming in the early stages of the game is essential to communicate to the players what to expect from the rest of the game.

Lucas González
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I agree with you. For me, Braid and Monkey Island (or Tetris) are immersive; but I wouldn't say they are "cinematic".

I guess that achieving "immersion" is always one of the goals of any game designer, in any case.

With Deadlight, however, we also wanted to craft a "cinematic" experience, and for that, variety seemed to be more important that depth.

Joaquin Estrago
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Thanks for sharing! I loved the game - cinematic platformers are my favorite genre and you guys made a great one.
I applaud the team not only on the design decisions, which I agree made the game a better one, but also on the production decisions that allowed the game to ship on time. Scraping a feature that isn't core to the experience, and instead embracing the available systems to create content - this should be mantra among game devs.

Javier Lucas
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Thank you for this great article!
How important and sadly sometimes undervalued is playtesting!


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