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When you're
designing a video game the number of choices available to you are, to
put it mildly, broad. But despite the host of options on offer, it's
rare that a game comes along that is so stand-out different that you
have to stand and admire it, simply for its difference. As a colleague
of mine once noted "there are an infinite number of made up worlds, why
do we keep using the same old ones?". It's a good question, when there
are no bounds whatsoever, why do we stick so firmly to what we know?
It's easy to blame this failing on the imagination of game developers
around the globe, surely they should be pushing the boundaries. Or
perhaps we should be looking at the audience, who are rarely as open
minded as they would like to believe. In truth it's the fault of
neither.
Of all the ideas you can bring to the table they will
always sit in one of two camps:
First, the "known" world...
We
start in the mundanely familiar, the places where diners need serving
and crops need to be grown. As a player you take on an occupation that's
available to you in real life, you might not have had the occupation
but you essentially know what it involves. Communicating game mechanics
within these settings is easy, because the framework of the tasks is
already familiar, so much of the information is already known to the
player. After the immediately known there are things that are familiar
to us through popular media, specifically novels, films and television.
These are the settings of military action, organised crime, espionage
and hospital drama. They exist as real settings but we are often only
familiar with them through stylised genre pieces. To us the versions of
these places and occupations that are portrayed in popular media are the
ones we know as real and these have become the ones aped in games.
Driving games are, perhaps, the ultimate expression of this concept,
everybody at least thinks they understand how to drive expertly at
speed.
Then we have the realms of fantasy, including the
supernatural, swords and sorcery and science fiction. Each of the sub
genres in these settings have their own conventions: Elves are thin and
beautiful, spacecraft manoeuvre like planes without gravity, sunlight is
a pain for vampires, even it it only makes them glisten like diamonds,
it's still an enemy. Games even have well accepted abstract conventions
of their own, where enemies are killed by jumping on them and things can
re-spawn infinitely. The most popular of these conventions is that
things come in 3s: You start with 3 lives, keys come in 3 parts and,
most importantly, 3 things of the same kind react together and
disappear.
Games set in these established
territories hang on known information, using knowledge you can
reasonably expect the player to have at least some awareness of - you
might have to communicate the finer details, but the broad strokes are
already in their cultural data banks. However, all the infinite
possibilities that we haven't pulled into our cultural domain live in a
trickier place to pillage:
The hinterland of
fail...
The hinterland is a place entirely
occupied by the unfamiliar, where things fall up, killing monsters
damages the people you're meant to be saving and we fight over
horseshoes. Settings from the hinterland are unfamiliar and everything
about them must be explained, every how, why, where, when and what has
to be conveyed to the player. Each of these things can be explained but
the weight of information can be enough to bury the player, sending them
running for something more accessible. Even worse, you're teaching them
things that aren't just cues, ordering things they already know about
into a world view, you're teaching them brand new stuff, and learning,
we should never forget, is hard.
The hinterland
isn't only populated by new worlds and novel mechanics though, it's
populated by well understood mechanics that are used in a new ways and
dressed in new fiction. In Shatter, for instance, we implemented
an overheat mechanic on the bat, which prevented continuous use of the
"blow" functionality. Overheating is a commonly used and well understood
feature, often used on both weapons and vehicle turbos. However, it's
not normally seen in brick breaking games. The team tried to communicate
that the bat was overheating but sample players simply didn't make the
connection between their actions, the on screen prompts and the effects.
We knew this because players just held down the "blow" button
regardless of any cues being given. Unable to communicate the mechanic
the team chose to cut their losses and sought a different solution to
the persistent blow problem.
Knowing when to
quit the hinterland is a skill that can only be learned through
experience, but the decision to go there (or not) in the first place is
one that any developer, no matter how green, can make easily. Look
closely at the time you have available to you, do you really have any
time to waste? If the answer is no then stick to making known mechanics
work in a familiar setting. Tuning a game to make it fun is hard work
all by itself and with familiar elements you at least know they can be
tuned. But with new ideas there's a hurdle that must be overcome even
before you get to the tuning stage: The thing to remember about new
ideas is that they are hard to communicate to the player. The closer a
setting or mechanic is to something that's well understood, either
through real life experience or popular culture, the easier the ideas
are to convey.
That's not to say the hinterland should be
ignored though, it' a fertile territory, full of opportunities and if
you have the time you should explore it with gusto. Just remember that
anything you find there must be dragged back and made a part of the
player's known world. And this is not an easy job, it might well be one
of the hardest in game development, because to make something part of
the known world you have to be able to explain how it works and what it
means. The hinterland of fail can and should be explored, it's possible
to find rich rewards there but it is a sink, soaking up time and
resources with impunity. Before you go there make sure you have the
required time, manpower and usability testing available to navigate it,
and even then, have a plan ready in case you still can't get your
message across, because if you can't communicate something to player, it
doesn't matter how clever it is, it's still a failure.
