Dueling Gameplay

By Shamus Posted Friday Mar 31, 2006

Filed under: Game Design 108 comments


In KOTOR, bringing down Darth Malak with a lightsaber is like felling a tree with a herring.

A few weeks ago, I talked about how the d20 system (You know: Hit points, damage rolls, and health potions) was great for tabletop games but terrible for video gaming. I suggested that developers would do well to come up with a new system for dealing with deadly combat rather than using the d20 system when it doesn’t really suit.

The entire system collapses into nonsense when the player finds themselves fighting other large foes armed with deadly weapons. I find it difficult to imagine how a ten-foot ogre could hit you with an axe in such a way that it did not kill you, much less allow you to continue fighting. You get away with this when a DM is narrating the game, but when you see it happen on the computer screen it just looks silly.

The worst abuse of this system happens in the various Star Wars games where you engage in lightsaber combat. In all the games I’ve played, what you end up with is two champions standing toe-to-toe, hacking away at each other with lightsabers. They stab each other and the player downs the occasional health pack, and this continues until one of them finally accumulates enough lightsaber wounds to die. It looks utterly ridiculous. It doesn’t make sense. It doesn’t even feel like a swordfight. We need a new gameplay mechanic that allows for one-on-one duels. Here are some requirements:

  • We need a system that allows two characters to do battle with things like lightsabers, which deal lethal or near-lethal damage in a single blow.
  • We don’t want to re-create the mechanics of ACTUAL swordplay, where the two combatants fight a long stalemate while waiting for their foe to make a single mistake that can be exploited. We never want the player to just hammer away at the attack button, waiting for the random number generator to give them a break and let them strike down their enemy. That would be tedious and frustrating.
  • Like the system of hit points, we need a system of PROGRESS, where steady effort can be used to bring down your foe.
  • The battle should have strategy. In movie swordfights, the characters move all over the scene, using the environment to try and gain some advantage. In video games, there is no reason to move around, so the fighters just stand there and trade blows. Yawn. We need to keep the fight mobile.
  • The system needs to make sense and be intuitive. While my explanation might be long, my goal is to create something that can be understood in a few minutes or less. Ideally, the system should be obvious and require only minimal explanation for the newbie.
The Controls

Let’s start simple. We assume that we have a game with one-on-one combat using deadly weapons. From here on I’ll mostly discuss the system in terms of lightsaber fights, although all of this can apply to everything from rapiers to battleaxes. Let’s also assume we are dealing with player vs. computer combat here, and not player vs. player.

Aside from the attack button, you can press forward to move closer to your enemy, and back to step away from them. Right and left will cause you to circle them, slowly. (No FPS-style circle-strafing here.)

Right now we don’t need any high attack / low attack buttons, or a block button, a duck button, or anything else. A lot of these functions will be superfluous, and others will be emergent.

The Focus Meter

The first step is to throw away the hit point bar. We don’t need it. If someone gets hit, they die. Instead of hit points, we have “Focus”. You can call this whatever you like: Balance, focus, concentration, defense, ki, zen, or whatever label you think best conveys to the player “this is your ability to defend yourself”. When your foe takes a swing at you, your character will deflect the blow with their weapon, and you will lose a bit of Focus. If your Focus runs out, you will fail to stop their attack and they will fatally run you through.

With this small change we now have a system that works just like the old hit-point system, except the game will no longer show the combatants hacking away at each others’ midsections until one of them falls over. The gameplay will work the same, but look a lot more reasonable.

But we can do even better…

The Stamina Meter

Boxing games have this. Every time you take a swing, your stamina goes down a bit. You can take between five and ten swings before this meter is empty. At that point you need to stop and recover for a few seconds, and your foe will have the opportunity to strike back. If you continue to attack, your exhaustion will cause your swings to be slow and clumsy. Your foe will be able to fend off your blows easily, and you will not damage their Focus.

Furthermore, pressing the attack when you are drained will damage your stamina, meaning your meter will either fill more slowly or not fill all the way, thus reducing the number of useful attacks you can make in the future. This is a gradual thing: Occasionally taking an extra swing is no big deal, but relentlessly abusing your arm will seriously weaken you and put you at a great disadvantage.

Fighting for position

Let’s get our fighters moving:

If you are above your foe (on a ramp or steps) then your attacks will be stronger (take away more of his Focus) and his attacks will drain more of his stamina (thus limiting the number of attacks he can usefully deliver). So, the high ground is something to strive for. You want to press your advantage when on the high ground, and give way when your foe does. There are other situations that also create a disadvantage:

  • Having your back to a wall.
  • Being blanced on a narrow ledge, beam, or tightrope.
  • Having your back to an abyss, dangerous machinery, flames, or other area where you cannot retreat.
  • Standing on unstable ground, like crumbling rock or a swinging rope bridge.

When you are attacked, you will be slowly pushed back. Much like a real duel, every odd blow will force you to take a small backward step as you defend yourself. Meanwhile, your opponent will be chipping away at your Focus. You can choose to back away from your foe while he attacks. This will cause you to give up ground more quickly, but also gives you a defensive advantage that will reduce the Focus damage you will take. You can also do the reverse, and push forward (against your foe) as he attacks. This will cause you to hold your ground at the cost of taking more Focus damage. Note that fighters can always walk forward faster than they can retreat, so it’s no good trying to run away.

As an attacker, you can choose to press forward as you attack, which will lessen the focus damage you inflict but allow you to push them back faster. This combines with whatever they are doing. So, if you are pressing forward while they are retreating, then they are going to give up ground very quickly, but you will be doing almost no damage. A smart attacker will use this to his advantage, and maneuver their retreating foe into a tough spot.

You can circle your foe much faster when attacking and much slower when defending. This means the attacker has the most control over where the fight is headed, and can steer an overly-defensive opponent into a corner. To put it another way, whoever spends the most time attacking will have the most control over where the fight is headed.

Saberlock

In the lightsaber games I’ve played, every once in a while the combatants will randomly lock blades for a few seconds. This is done for visual effect, and usually has no real bearing on the battle itself. But now we have a system where saberlock is an emergent part of the system. If the attacker is pressing forward and the defender is refusing to give up ground, then they lock blades and start pushing. Their stamina bars begin to drain. (Note that you cannot see your foes’ stamina bar.) You can release the controller and allow yourself to be shoved back, or you can keep pressing forward into your foe. Now it’s a game of chicken. Whoever runs out of stamina first will lose and get pushed back. The longer the saberlock lasts, the bigger the fall the loser is going to take. If it lasts only for a moment, the loser will move back a few steps. If the contest lasts a long time, the loser is going to get knocked off their feet and tossed onto their butt.

Adding depth and strategy

What I’ve outlined so far will make for a far more interesting swordfighting system than what we have now. Battles will look like real battles, with the combatants moving all over the area, vying for position, and looking for tactical advantages to exploit. Swordplay is no longer a button-mashing stab-fest where the player downs a healthpack or potion every few rounds. Boss battles can be long and varied without simply pitting the player against a guy with eleventy billion hit points. Battles should be exciting and look “real”. (Real as in: how it looks in the movies.)

But we can add some more depth to the game if we like. The following are a number of ideas to give the game even more interesting properties. Note that some of them won’t work well together.

  • Each successive hit you deliver to your foe will be a little stronger (take away more of his Focus) than the previous, as long as your stamina meter isn’t empty. So, to maximize your efficiency you will want to get as many consecutive hits as possible, without going over. Lots of quick one-and-two hits in a row will do almost nothing to your foe. Too many “extra” swings will weaken you later in the fight.
  • It costs extra stamina to attack when your enemy is in the middle of a chain of attacks. Generally you’ll only want to interrupt a chain of attacks if it’s really important, like your focus is nearly gone or you’re about to get backed into a bad spot.
  • The power behind a swing should be both seen and heard. Potent swings should produce increasingly more high-pitched impacts and sparks, while weak attacks produce more muffled or subdued impacts.
  • If you’re out of stamina and you attack, your character should give a very broad and heavy-handed swing. Instead of deflecting it with their weapon, your foe will lean or duck out of the way (basically they will dodge without giving up ground). This gives the player a visual clue that they need to stop swinging without needing to look at the stamina meter.
  • All of this would go very well with a system of self-balancing gameplay. If you make Stamina, attack power, and Focus into stats that the player can improve over time, then you’ll have a very flexible system that can entertain gamers of all skill levels.
  • This system works for fighting multiple enemies as well. Just like in the movies, your character can swing their weapon to intercept attacks coming from behind, even if they really shouldn’t know those attacks are coming. Heroes in the movies do this all the time and we accept it. Lesser foes would have very little focus and would require only a few swings to dispatch. Doing so can refill some of your lost focus, thus removing the need for healthpacks altogether.
  • If you want more “twitch” in your game (you want to aim the game at hyperactive 13-year-olds with awesome reflexes) then you can go that route as well. You can add special combo moves and counter-moves and complex button sequences that will unleash devastating attacks. I won’t play such a game, but lots of gamers really enjoy this sort of thing.
  • A more mild twitch idea: tapping the attack button in the right rhythm will give attacks more power. Just hammering away on the attack button as fast as you can will cause you to burn stamina more quickly. Hitting the button more slowly gives your foe the chance to counterattack and end your chain of attacks before you really get going.
  • Add a taunt button. If you knock your foe away for a second you can hit this button and attempt to anger them. Doing so may enrage them, causing them to over-attack and abuse their stamina. Suddenly the dialog has real strategic value in the battle! The reverse could be fun as well, with the computer-driven enemy goading the player with taunts. If the writers are good and have crafted an interesting and believeable villian, then the player is going to be tempted to hammer away at the attack button carelessly.

I’m convinced there is money in this idea, but I lack the resources to do anything with it. Maybe someone will find themselves in a position to put these ideas to use. I really think someone needs to get ahold of the team behind the next Lucasarts Nerf-Lightsaber game and get them to read this thing over.

 


 

Another day older

By Shamus Posted Friday Mar 31, 2006

Filed under: Personal 3 comments

While in the grocery store yesterday: There must have been some sort of mix-up. The music they had playing was stuff from when I was a teenager. The rubes. Everyone knows grocery stores are supposed to play music for their old customers. Instead, they had stuff from my own adolesence. When they do this it sort makes me feel as if… I…

Oh no!

 


 

Assimilated

By Shamus Posted Thursday Mar 30, 2006

Filed under: Anime 10 comments

From Steven Den Deste:

Shamus Young has been watching Sugar, a little Snow Fairy. After that, we’ll get him to watch Haibane Renmei and then he’ll be ours. (MWAAhaahaa!)

You already got me. I was working on Haibane Renmei in Febuary. I haven’t mentioned it because I can’t think of a single thing to say that wouldn’t just be a clumsy “me too”. I don’t have anything to add add to what has already been said. Steven is right: This is as good as it gets.

I suppose now is a good time to say thanks, though. I never would have tried HR if it hadn’t been for the glowing review.

Back when I was first messing around with Anime, I managed to take in a lot of dreck. (Big O, Bubblegum Crisis 2040, and Blue Gender come to mind) I sort of backed off for a bit. Now I’ve learned to surf around and farm some opinions before having Netflix send me anything.

 


 

Thief 3: Emergent (Mis)behavior

By Shamus Posted Thursday Mar 30, 2006

Filed under: Game Reviews 23 comments

While playing Thief 3 some more I had a rather amusing AI mishap: A couple of NPCs went absoloutely sideways and started killing everyone.


All that glitters is not gold. Some of it is money and gems.

The setup was this: I’m in some guy’s jewelery shop, minding my own business and robbing the place. Then the owner gets home, and a couple of big goons are with him. From the sounds of it, he was involved with some underhanded deal with these guys and he tried to cheat them. He was supposed to hang on to some gems for them, but he was “skimming” the gems by (I think) cutting them. I don’t know. The goons are quite upset. The jeweler is unarmed and in a bad way. He’s trying to talk his way out of things and he’s not doing very well.

The conversation seems to hint that I might want to intervene. One of the goons says, “Sorry, but now we gotta kill ya. So unless you gots any friends hidin’ around here, this is it for you.” Odd thing to say. I can only assume this is the game’s way of suggesting I might want to help this guy, but I’m not going for it. If you make a deal with dangerous criminals, cheat them, and then get caught, then you deserve whatever fate you get. From my hiding place in the shadows I could drop one of the goons with an arrow, but then the other one would come after me. That is just too much trouble to save the life of a moron.

As the goons kill the jewler, he starts screaming for help. I decide to clear out. As I’m backing out of the room I bump something off a shelf and make some noise. The goons hear it and start hunting for me. An open doorway leading outside is on the opposite side of the room. I can’t make it there without the goons seeing me. However, I do have a noisemaker arrow, which is sort of a string of firecrackers on the end of an arrow. It draws the attention of people nearby. The goons are about to discover my hiding spot, so I fire the noisemaker out of the room. They hear the loud noise and go charging out into the streets…

…where they proceed to go completely nuts. They charge into the intersection outside and start slaughtering peasants in the street. The game auto-generates street traffic, so as they kill someone a new citizen is created nearby. (This happens off-screen, I never see them appear) This provides a steady stream of victims for the two killers.

My character is great at stealth kills, but nearly helpless in a stand-up fight. One town guard is usually more than I can handle. But these two guys are big, strong, and carry big swords. Whenever a member of the city watch shows up to help he just ends up on the growing pile of bodies. These guys are unstoppable.


I didn’t think to get a picture while this was going on, so the screenshot doesn’t really give the full effect. Whenever I look away the game does a bit of cleanup and removes some of the older bodies, so the pile is never bigger than five or six people. However, the real death toll must have been a few dozen. These guys were at it for a long time.

What a mess.

I’ve been thinking about this, and I’m still not entirely sure what made these guys go on the killing spree. Obviously it could have been a bug or a fluke or sloppy scripting, but I’m more inclined to think that the peasants that brought this on themselves, as the result of a chain of various behaviors. I obviously don’t have the source code, but I think that peasants become fearful when they see a character who has recently killed someone. (This is usually the player.) When they become scared they say things like, “I’m going to go find a town guard!” Then they run off to tell a guard about the actor that scared them. The guard will come and attempt to kill that actor.

Perhaps the noisemaker brought some peasants and the goons together, the peasants got spooked and decided to fetch the guards, which obliged the goons to kill them. Once this got started it would have fed on itself, since new peasants would get spooked by the pile of corpses in the street and forced the goons to kill them as well. If this is what happened then it’s an amusing case of unwanted emergent behavior.

 


 

Introversion

By Shamus Posted Thursday Mar 30, 2006

Filed under: Nerd Culture 3 comments

Mark has a post on introverts. He links to an article about introverts and the internet, where it makes the claim that, “…on the Internet, no one knows you’re an introvert.”

This is mostly true, I think. However, I do have a theory about how to spot an introvert-run blog: Check the blogroll. I’m betting short blogrolls (or none at all) are the mark of an introvert. I have no numbers to back this up, this is based on conjecture and a small number of observations.

The conventional wisdom is that introverts have a very limited list of very close friends, while extroverts have large numbers of people they might call friends, which is just about anyone with whom they’ve exchanged names and handshakes. An extroverted blogroll says, “There are the sites I’ve read at some point and exchanged links with”. An introvert blogroll says, “There are the few sites I admire and read on a regular basis.” For me, anyone in my blogroll is a site I check more than once a day*.

I also note that everyone on my own blogroll would be an introvert according to my test.

The typical blogroll seems to be one or two dozen, which is far more than I would ever have in my list. (Right now I have five, one of which is just a link back to my own website.) There are even blogs out there with hundreds of links to other sites. It’s quite amazing. I’m betting these are run by devout extroverts. I’m betting these people blog as a way of augmenting their social interactions, as opposed to us introverts, who often blog as a way to exchange information and ideas without enduring the complexities and inefficiencies of personal interaction.

Perhaps I’m all wrong and you need to straighten me out. Note that you can do so via the comments, which are asynchronous and thus do not threaten my introverted lifestyle.

* Ok, I don’t check Kaedrin twice daily, but he only updates on Sundays.

 


 

Sugar High

By Shamus Posted Wednesday Mar 29, 2006

Filed under: Anime 13 comments

I’m still watching Sugar, A Little Snow Fairy, although I can only take the show in limited doses. Any more and I’ll become a diabetic…



And that’s just the opening credits. It can be even more syrupy once the show gets rolling.

Having said that, the show is quite enjoyable. In fact, this show has brought into sharp relief all the reasons I love Anime. Here we have a show that isn’t really my thing and which isn’t really aimed at me. It’s too cute and a bit too silly at times, but it’s still better than 99% of American animated shows out there . While the characters are very kawaii, the subject matter is interesting enough to appeal to adults.

If this were an American production, the lead character would be a dreamer. She would try to convince other people she could see fairies, but because she’s so flighty, people would assume she just has a vivid imagination. (This would be a running “joke”.) The story would have a one-episode setup where they meet. The characters would then remain in stasis for as long as the show ran. Episodes would feature mild problems for the protagonist that could be resolved in the last few minutes with some help from her fairy friends. Shows would be wall-to-wall with kinetic action and shouting. Every show would end with a un-funny joke that leaves the characters laughing on fadeout. There would be no end to the story, only cancellation.

Oh, and the art would suck.

But this isn’t an American production. The lead character Saga (above) is smart, articulate, and well-grounded. She’s always on time and always does her homework. She knows better than to run around telling everyone she can see fairies. Each episode moves the overall plot forward. New characters enter the story, and you can see them grow as they overcome challenges. Instead of harmless, uninteresting plots (the other girls are making fun of me!) we have an ongoing story where Saga is dealing with the death of her mother three years ago. It isn’t manipulative, it isn’t tear-jerker, and it isn’t overly sappy, but it is sometimes serious. Some episodes end on a low note. There is an overall plot arc that I expect will lead to a satisfying conclusion at the end of the series.

By anime standards the art is good, but by American standards the art is incredible. If the hacks who draw Spongebob or Rug Rats ever saw this, they would have to commit seppuku to cover their shame.

Despite the more sophisticated subject matter and complex relationships the show tackles, my kids don’t have any problem following it. It just shows how much American animators have been underestimating what sorts of stories kids can follow, or (if you want to be cynical) what sort of stoires they are willing to take the time to write.

 


 

Free Radical

By Shamus Posted Tuesday Mar 28, 2006

Filed under: Movies 3 comments

My self-indulgence apparently knows no bounds: I’m going to play Dream Cast with my own book.

My book is based on the 1994 video game System Shock. I hesitate to call my book fan fiction. To most people, “fan fiction” means stories where Councilor Troi and Princess Leigh team up with Harry Potter to solve a mystery and/or have sex. In other words, much of it is painful-to-read dreck. But I can’t pretend my book isn’t fan fiction just because fan fiction has a bad rap. That’s what the book is, and I’m still (mostly) proud of it.

While I was writing the book, I sometimes had famous actors in mind, if only as a point of reference. I have no illusions about the probability of the book ever becoming a movie. Heck, it’s never going to get published as a book, for crying out loud, so musing about a theoretical movie adaptation is even more preposterous. But preposterousness fits in well with the spirit of the game.

Characters marked with an asterisk* are characters that I came up with on my own, and who were not a part of the original story.

The Hacker

In the game, your character was faceless and nameless. One of the reasons I wrote the book is to explore who this guy was and why he did the things he did. The book describes Deckard Stephens as bald, with a box beard. Neal Stephenson (left) inspired this look, although I wouldn’t say this is what Deck looks like in the story. Take ten years and twenty pounds off that picture (Deck is very wirey) and you’ll have Deck more or less as I’ve pictured him.

We need someone thin, with dark hair and in their late twenties. I can’t think of any actors that look and sound just right for the part.

Nomen Nescio*

Nomen Nescio, the wise, calculating, and bald-headed mentor of Deck has always been played by Laurence Fishburne in my mind. I started the book in 2001, and the character of Morpheus from The Matrix had greatly influenced how this character developed.

Nomen is introduced in chapter 4, about a quarter of the way down.

Rebecca Lansing

The description of Rebecca in the book is that she’s in her mid/late twenties, with short black hair and an athletic build. That doesn’t really narrow things down by much when choosing an actress. I have a very clear perception of her personality, but I’ve never had a face to go with it.

So let’s start by listing who I wouldn’t cast in this part. Milla Jovovich, Charlize Theron, and Carrie-Anne Moss need not apply. This isn’t a part for an ass-kicking action actress. Rebecca has some combat training, but she’s level-headed and down-to-earth. I would look more towards the Sandra Bullock / Cameron Diaz end of the spectrum.

Dr. Victor Coffman*

David Hyde Pierce looks very much like I’ve always pictured Dr. Coffman. He appears in chapter 18, and has one of the key conversations in the story. This conversation and the ideas it puts forth about AI are one of the reasons I wrote the book.

I should note that while Pierce looks a great deal like Dr. Coffman, you should not think that Coffman is anything like Dr. Niles Crane, his most famous character. The two are very different men.

SHODAN

Terri Brosius did the voice of Shodan in the original System Shock game, and I can’t imagine anyone else doing it. In much the same way that the voice of HAL 9000 was believeable as that of an AI, Brosius as Shodan simply works.

The Suit*


The Suit was packed into his crisp tie and jacket like a shrink-wrapped anvil. His neck was thick and his shoulders were wide. It was a safe guess he spent his younger days either guarding or hurting people’s bodies for money. His face was a hard, square mask beneath his gray-streaked receding hairline. The deep lines on his face revealed that he had spent very little of the last forty years smiling. He was obviously running the show.

From the moment I came up with the character, I pictured him as being played by Michael Rooker. The photograph to the left is perfect: That’s exactly how I’ve always imagined him.

Edward Diego

I didn’t have anyone in particular in mind when I wrote Edward Diego, although this picture of Greg Kinnear is a really good fit. He looks smart and likeable, which is one of the reasons he’s so dangerous.

Marshal*

I didn’t have a specific actor in mind when I wrote the part of Marshal, but Daniel Cudmore looks about right. He played Colossus in the second X-men movie. It was a small part, but he got enough screen time for us to see that he is immense. He’s both tall and muscular, and yet doesn’t have that pro-wrestler steroid-pumped look about him. He looks like a decent guy. Just really, really big.