Hmm…. think, think… How do we tell a compelling story in our multiplayer only game? Hey there travelers! Doctor Bambi here, back with another nugget of info to get those nerd juices flowing. With the new generation of … Continue reading
Today is the start of something special!… Or at least I hope it is. :0 I’ve had this idea bouncing around in my head for a few months and finally decided to put rubber to the road! Welcome to Under the Microscope with your esteemed host, Doctor Bambi! What lies in wait for you is adventure and things! My vision for this is pretty simple. I want to walk through great games and dissect elements of the game design, just to see what I can find, and share them with you! ^__^ As an aspiring game designer I thought this would be a good way to learn from the best and also contribute to the community. Hopefully we’ll all learn awesome things and discover some core principles that make a great game great! I’m sure there are points I’ll misstate or perhaps you have more you’d like to add, so feel free to speak up if you feel so inclined. If not, sit back and enjoy the ride!
To start off, I’d like to make you aware of some names and give you a better feel for the people who made this game in particular possible. To start we probably all know this game was published by Nintendo. It was collaboratively developed by Retro Studios in Austin Texas and Nintendo Co. in Kyoto Japan. The names I’m about to get to can be found on this URL: http://www.giantbomb.com/metroid-prime/3030-15473/credits/ I wish I could talk about every individual, but these were the key people who had the final say on what made it into the game.
Lead Designer: Mark Pacini
Mark is currently a game director at Armature Studio
Lead Artist: Todd Keller
Most recently, Todd has worked on Batman: Arkham Origins- Black Gate
Lead Programmers: Jack Mathews, Andy O’Neil
Jack is the co-founder of Armature Studio, also worked on Black Gate
Andy is now the president of Bluepoint Games
Lead Audio: Clark Wen
He is now working at Neversoft as their audio director
Alright, so to start this series off, lets take a look at the start menu. So the first thing that’ll probably jump out at you is the atmospheric music. The music in this game is absolutely incredible and the main menu sets an intense tone. Every time I boot up this game, I feel that deep immerse gravitas wash over me. I’m playing a Metroid game. The next thing that’ll probably grab your attention is the setting of this menu. Swathy fluids and and little bits and strange growths. Like looking at the internal workings of a living cell… under a microscope. ;D The imagery will create a subconscious note in your mind about elements that will unfold within the story. What are the space pirates doing? Growing metroids again and also genetically modifying various other space life. Dang pirates. When pressing the start button, you’ll notice the music picks up. The tempo increases and the overall tone of the song is more intense. Getting you fired up to jump in the game. After selecting your file, it’s off to the races. Metroid races that is. Oooo maybe that’d make a good spin off. Metroid Racing. Okay, forget I said that. Also the panning around the various objects in the background helps give each individual menu a sense of place in the overall hierarchy of the menu system. I don’t think there’s too much more to comment on that. Stay tuned for the next post where I’ll be actually starting the game! *audience gasp* Thanks for reading, glen mates!
But what does this mean for game design?
Well, you have to realize how long games have been set up this way. In fact, I bet a lot of hardcore gamers would have a hard time adjusting to the idea that you can’t see how much ammo is left in your clip. The opposite side of the fence argues this: imagine your experience if you weren’t burdened with checking your clip status every 10 seconds? Certainly, you do need time to figure out the controls, quite a bit of time in fact. I performed this test after having played many many hours with Dishonored. I know the controls like the back of my hand; this could lead to some biased results. So, I plan to do a test with Bioshock Infinite, a game that I’ll have no experience playing. By timing myself and seeing how long it takes me to learn the controls of a triple A title, we’ll see how plausible it is to take away a gamers HUD.
But how would you work around no HUD in your implementation of feedback?
The best and most realistic way to give a player feedback, is to have natural stimuli impact the character in such a way that grabs the gamer’s attention. Instead of flashing a message on screen that you’re burning from a fire, just have an animation of the character model that implies, “hey, you are on fire, you might want to figure out a way to put that out before you burn to death.”
I believe that there is a very simple answer to all of this: start the player off with full HUD and tutorials and the like. Then, as they progress through the game, slowly, one by one, remove each piece of data until there is nothing left between the person and the world they are exploring. It’s great that Dishonored lets you adjust these settings, but many people hate digging through menus and tweaking the controls. Let’s not destroy their chance at a deeper experience just because of that.