Melee Attacks in PVP Must Be Fast!

There is a common misconception in PVP game design that melee attacks should be slow and reactable in order to make it fair for your opponents to play around them. The problem with this is that it fundamentally breaks the core game dynamic, resulting in a game where doing nothing is the best option.

PVP games focused on Melee combat must have some way to either hurt the opponent that they can’t react to, or a way to set up a situation where they cannot avoid getting hurt that they cannot react to. If a game doesn’t have this, it will result in a complete stalemate. A more broad way of formulating this is: A PVP game must have a way for any player to advance the game towards a conclusion where one side wins, and any action that would prevent this advancement must be dependent on Rock Paper Scissors Guesswork, or have a chance of failure.

I believe that all PVP games are a complex (or not so complex) combination of 3 simpler games: Rock Paper Scissors, Skill Tests (or efficiency race), and Random Number Generation. Everything PVP is a game of chance, a game of skill, or a game of prediction; or some combination of the three.

Melee combat games are games of largely RPS. Melee strikes have a commitment, like a throw of hands in Rock Paper Scissors. And when they connect with an opponent, they will inflict hitstun, interrupting the opponent’s action. This means that different choices will counter one another, like in Rock Paper Scissors. This is a non-transitive relationship between different options and how many points they score. And critically: When you throw hands in RPS, you do it on the count of 3, throwing them simultaneously, so that neither of you can see which hand the other person threw.

Let’s imagine a version of Rock Paper Scissors where you didn’t throw hands on the count of 3. Imagine you can throw whenever you like, but you need to stick to your hand after throwing it. You can’t take it back. If you want to play this version of Rock Paper Scissors with me, please comment below with your throw.

So, I’m sure you can imagine the problems with this hypothetical RPS game. And a game with slow attacks usually ends up having the same problem: The person who goes second has the advantage.

Slappy-Go-Round’s Broken RPS

There’s a Mario Party Minigame called Slappy-Go-Round which has this type of problem. The player who waits for their opponent always has the upper hand.

In this game, players can jump and ground pound. When a player ground pounds, it will cause the giant hand to slap the other player from behind. If that player is in the air when the hand comes around to them, it will instead hit the player who ground pounded. The problem is, if you have average human reaction time, you can see your opponent ground pound and jump in response. Therefore, the best strategy is to wait for your opponent to ground pound, and jump when they do. However, your opponent can also do this and now neither one of you wants to jump.

There are two ways you can solve this: You can either speed up the ground pound animation and slapper, or you can slow down jumps. Both solutions require players to jump preemptively to avoid getting slapped. Both solutions make it impossible to react to the “attack” option. I think of these two solutions that speeding up the slapper is preferable, because if you add additional startup to the jump, then you’ve effectively just introduced display lag to the game. Display lag can certainly create double blind guessing, but it feels terrible to play in! This is why most games shoot to reduce display lag as much as possible.

There’s some common wisdom in PVP games that it’s actually surprisingly tricky to get players to attack one another. RTS games have limited resource deposits instead of unlimited resource deposits so that you need to expand and build new bases to secure more resources, or you will fall behind in military production, allowing your opponent to overtake you. However, nothing in the game rules is stopping both players from simply turtling up with all the resources on the map and not attacking. There isn’t a time limit. Starcraft leagues have had to institute referees to judge when situations like these were going on and award game losses to players who refuse to pursue a win.

Attrition

Attrition in games can be defined as “progress towards the end of a game”. Within this definition, although racing games aren’t conventionally thought of as games of attrition, you can view the act of progressing towards the finish line as one of attrition. A lot of PVP games have different relationships with attrition.

FPS, RTS, MMORPG, and MOBA games allow players to simultaneously inflict attrition upon one another, meaning that the winner of a given exchange is whoever can inflict more attrition faster, and successfully mitigate the attrition inflicted by their opponent. However, there is no way to completely stop taking damage during an exchange, only reduce it. This means that the game progresses towards its result any time the players fight.

Melee combat games have a more lopsided type of attrition. Players commit to different choices, and usually only the loser of an exchange takes attrition, while the winner does not (obviously some exceptions exist, like trading blows and super armor).

Fighting games also have a type of attrition in the form of the timer, an alternate win condition. When the timer runs out, the player with more health will win. Similarly, FPS games have objectives, like planting or defusing a bomb, to force players to engage with one another or risk losing. MOBAs have gold and creeps, enabling a team to level up past an opposing team to overwhelm them. RTS players have no such alternate goal, so you can sit around forever and never lose, and set up scenarios where your opponent will always lose more by attacking than not. This isn’t necessarily the best strategy in any RTS, but it’s a potential risk that designers have to contend with.

This is why a lot of TCGs have the alternate win condition that attempting to draw from an empty deck will cause that player to lose. Because it’s something that is nearly guaranteed to eventually happen to one of the players at the table. Yes, there are cards that can put cards back into your deck, but including them means not including better cards, making your deck more likely to lose the conventional way.

This shows that it’s okay to let players reverse attrition sometimes, in a limited way, but ideally this means incurring attrition on a different axis. In Deadlock, you can retreat to your base or wait outside of combat to heal, but this means surrendering control of the lane to your opponents. Having multiple objectives, multiple ways to win and lose, can help make a game more dynamic and avoid this type of breakdown.

Other Examples of RPS Breakdown

So when a game centered around melee combat doesn’t have a way to force attrition through double-blind guessing, the core concept of the game breaks apart. This is uncommon, because most PVP games aren’t about melee combat, and most games about melee combat are fighting games, which had the first games in the genre not fall prey to this trap, but it does sometimes happen.

One high-profile example of this type of RPS breakdown is For Honor. In For Honor, when you lock onto an opponent, you can attack from three different directions, and accordingly, you can block in those three directions. However, presumably to make this feel fair to players, the attacks are so slow that you can always react to which direction attacks are coming from and block accordingly. To help mitigate this, there is a guard-breaker option when you get close to your opponent, working much like a throw in a fighting game, but your opponent can break the guard breaker by inputting their own, and again, this has a large window to react, meaning you can’t hurt opponents unless they fail to react.

This resulted in the parry/unlock metagame during the game’s early competitions. When all of a game’s attacks can be reacted to, players find the options that can’t be, and now the game revolves around that instead of the intended gameplay. I’ll be honest, I haven’t kept up with For Honor, so I don’t know if the developers eventually fixed these problems, but I imagine they did.

Another high-profile example is Dark Souls PVP. Dark Souls was made to be a PVE game franchise, but it has an optional PVP component, which is fairly cool in its own right, but I think most people would agree it’s not a place for serious competition. Like For Honor, player attacks in Dark Souls are usually slow enough to react to, and your defensive options are fairly quick. The purpose of this is to make it easier for PVE enemies to interrupt your attacks. PVE enemies need to be designed to be slow or predictable, because PVE combat is a test of skills, not prediction. You can’t predict what a computer will do when it’s not operating by deterministic rules, so having enemies use fast unpredictable attacks wouldn’t be fair.

One of the big innovations of Dark Souls was making not just the enemies slow, but also the player character themselves, thereby making it risky for the player to attack when they weren’t sure it would be safe. However, this had consequences in the PVP mode, because it meant your only way of dealing damage to other players also could be mitigated or even parried on reaction.

This is why Dark Souls 1 had such a strong backstab-centric PVP metagame, because backstabs were the only option that couldn’t be reacted to. Another thing breaking this deadlock is that spells cannot be parried, deal chip damage to shields, and many of them can be manually aimed, allowing you to anticipate where an opponent will dodge to. Stamina also acts as a kind of attrition, because all actions cost stamina, and if you can force your opponent to drain their stamina first, you can attack them and they won’t be able to use their defensive actions. This is… less than perfect, but it’s something.

A game that surprisingly doesn’t have this happen is Divekick. I’ve seen many beginners at Divekick go, “well, if diving and kicking take so long, isn’t the best strategy just to camp out?” And then they lose when I inch up on them, and either catch them jumping, or jump before they do for the height advantage. You can set up situations in Divekick where you’re so close together that you can overwhelm your opponent’s reaction time, and jumping is itself a fairly large commitment. Add to that the ability to kickback (press kick when grounded to jump backwards) and there is no way to completely avoid confronting your opponent. Cleverly, there is a timeout win condition here like other fighting games, and it measures who is closest to the line at the center of the stage, meaning that you can advance on the center without risking losing, forcing a type of attrition.

It’s possible for FPS games to have this type of breakdown, if all of their projectiles move slow enough to be reacted to, but this isn’t common. Maiden and Spell is a PVP Shoot em up that has entirely reactable bullet projectiles, but you can force your opponent into “checkmate” situations where they are committed too hard to one position to move out of the way in time.

Conclusion

So how fast do attacks need to be? Your standard attack needs to be faster than average human reaction time, which is about 250 milliseconds, or 18 frames in a 60fps game. There are a number of players who can react faster than this, as low as 14 or even 10 frames at peak human reaction time. This means that your fastest attacks should probably be only as slow as 10-12 frames of startup, which is what most 3d fighting games choose as their benchmark. A lot of 2d fighting games choose to have their fastest attacks be 3 to 5 frames of startup. This can give you a wide range of variability between attacks while keeping them unreactable.

Can some attacks be slower than that? Absolutely. Lots of games include fairly slow attacks that are intended to be reacted to, yet people get hit by them anyway, including high level players. This involves abusing an opponent’s “mental stack”, essentially overwhelming them with so much information that they can’t react to an attack they don’t see coming.

This may not be an entirely common type of game design fault, but it’s one that I expect to see more frequently in the future due to the rising popularity of Souls-like games. I actually debated this with my co-writer, Alex Brazie for the Mastering Game Mechanics course. He included a slide where he suggested it was good practice to ensure that attacks can be reacted to in PVP, and I pointed out that this actually wasn’t the case.

This is a problem that almost every PVP game with direct interaction needs to solve in one way or another, so it’s important to know the fundamentals and what is actually causing the problem when it does show up. Even if it’s not a common mistake, it’s an understandable one, and hopefully I’ve given you the tools to identify it, and how to fix it in a variety of ways when it does pop up.

Against Immersion: The Holodeck Must Burn

This is not a place of honor. No highly esteemed deed is commemorated here. Nothing valued is here.

For a long time I have been opposed to the idea of immersion in video games, to the idea that people become “immersed” in fictional worlds. I believe there is no specific mental state that can be referred to as being “immersed” in a video game or work of media. I believe the qualities that people describe as immersive are contradictory, limiting, and self-defeating. I believe that sincere belief in the idea of immersion from both a design perspective, and from a player perspective, is harmful to the creation process of video games and the enjoyment of video games. I don’t think we should make appeals to the idea of immersion, or use it as a guiding philosophy for game development.

As research for this article, I’ve been collecting statements for years about what people think immersion is, what traits they think are immersive, and what breaks their immersion. Through this, I hope not just to argue against the conceptualization and prioritization of immersion, but also to show that what I am arguing against is representative of the idea of immersion in the broader public consciousness.

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Why Don’t We Know How to Design Games?

There are 4 categories of knowledge: Known Knowns, Unknown Knowns, Known Unknowns, and Unknown Unknowns.

When you are a subject matter expert on something, like a competitive game, or coding, or a lawyer, doctor, or scientist, your knowledge is a known known. You know how much there is to know about the subject, and you are aware of exactly what parts of that subject you have in memory. This is a Known Known.

When you are an experienced professional, like a painter or an athlete, you have an intuitive understanding of your craft that you can’t necessarily explain to other people. You know these things from practicing them, but you aren’t even aware of what has become habit for you. This is an Unknown Known.

When you are a student, being taught by someone who has more knowledge than you, your teacher is able to show you all the things you have yet to learn. You don’t have this knowledge yet, but you know it is out there. This is a Known Unknown.

When you are blissfully ignorant and have no idea that a subject even exists you don’t consider what might even be out there. You don’t know about it, and you aren’t even aware what you’re missing. This is an Unknown Unknown.

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Player Agency Doesn’t Make Sense

A commonly invoked concept for video games is the concept of Agency. In real life, Agency refers to the ability of individuals to act upon the world and shape their life outcomes, especially in relationship to other people. I don’t think this concept or framing makes sense for games, and the game The Stanley Parable, kind of lampoons this concept, especially in this trailer.

I don’t think the concept of Agency makes sense for video games, because I view games more abstractly than stories or simulations. If games are self-contained systems of rules and interactions, basically a big bundle of math, then how could you have more or less ability to affect the world or society when there is no world or society to affect? How would you compare the agency of action puzzle games, such as Tetris, Panel De Pon, Puyo Puyo, or Puzzle Fighter II Turbo? How would you compare the agency of sports, such as Soccer, Basketball, American Football, or Tennis?

Am I expressing Agency here?
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Boosting Enemy Stats is not “Artificial Difficulty”

I’m sorry for choosing the annoying meme for the banner.

Hollow Knight: Silksong has revived an annoying line of discourse about “Artificial Difficulty”. Artificial Difficulty is ostensibly things that make a game appear more difficult, without actually engaging player skill. However in practice, most people claiming that a game has “Artificial Difficulty” are just complaining that the game is too hard for them, and this isn’t their fault, but the game’s fault. It did difficulty “wrong” in some way.

If we were to take the language of Artificial Difficulty at its face, then we’d consider whether or not a game is engaging in a fair test of skill with you. And in this way, some obstacles in Silksong aren’t fair actually, such as the bench in Hunter’s March that is rigged with a trap, which will damage you when you try to sit on it (I fell for this one). There is a very short tell, the bench depressing like the pressure plate traps in the prior section, giving you a brief opportunity to get off the bench and dash away. Disabling the bench trap requires going through a hidden tunnel and pressing a hidden switch. Silksong has a number of moments like this, which I believe were intended to be funny, because I found them funny and I know other people did too.

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Design Space: Dimensions of Game Design

Design Space is tricky to define, because it’s the water we swim in. Mark Rosewater (who probably coined the term) says that design space is roughly how many new cards can be made from a new mechanic. A mechanic that affords a large design space interacts well with the rest of the game and allows them to create a wide variety of new cards. In other words, Design Space defines how many differentiated game elements (cards, weapons, characters, moves, enemies, obstacles, projectiles, etc.) you can create from the base mechanics of your game.

Relative to my 3-filters theory of Depth, Design Space acts almost like a 4th filter, above Possibility Space. Design Space defines which possibility spaces can even be made with the mechanics and attributes you have available to you. Possibility space is all the things that can happen in your games. Design space is all the possible games (or content) that you can make with the mechanics and systems you have chosen. In this way, game designers strive not only to create possibility spaces that are rich with possible game States, but design spaces that will allow them to create elements that enable those possibility spaces to contain a multitude of game states. A more richly detailed character allows for a more richly detailed environment for that character to interact with.

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10 Years of Critpoints

10 years ago (and 2 months, but who’s gonna nitpick that?) I started this blog, Critpoints. Before that, I had been writing for Gather Your Party, a modest blog that aimed to challenge the establishment of professional games journalism with a staff of volunteers, no advertising, some of the early crop of gaming video essayists, and the tagline, “Honest Gaming Journalism”. For a lot of fairly predictable reasons, we burned out and eventually the site shuttered.

While I wrote there, I authored a column called, “More Than Mashing”, which showcased and explained different advanced video game techniques and play. This translated into a few YouTube Videos, most of which have been lost to time. I later ended up reviving this concept as a Facebook page, which did great until I got bored of it, and ran out of clips. Currently, that idea survives as a channel in my Discord Server, and as the banner in this site’s layout.

Since GYP, I’ve been involved in a few different projects, including Design Oriented, a group of game designers who were interested in exploring a more mechanical angle to video game design. I ended up leaving due to differences in point of view, but one thing I held onto was the name, “Crit Points”, which I had suggested as a potential name for the DO project. I tried combining the different ideas of “critique,” “hit points,” and “critical hit” into one short name. The tagline under the website name is intended to reflect the triple entendre. (Similarities to ActionPts, someone I used to work with, and ContraPoints are coincidental (I didn’t hear about ContraPoints until 2018) ).

Critpoints became my new brand, and I started this blog in March 2015!

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Building Counterplay for PvP Games

I have a 4 factor model for move/option design in PvP games:

  • Stake (how much you stand to lose by choosing this option, either in costs or penalties)
  • Reward (how much you stand to gain if this option succeeds and stand to gain regardless)
  • Difficulty/Chance (the likelihood that the option will be successfully executed)
  • Counterplay (what range of options this move beats, and how hard/soft a counter)

The purpose of dividing across these 4 factors is to help illustrate to designers the different levers they can pull, instead of focusing purely on a linear risk/reward relationship.

It’s common for a lot of designers to get stuck thinking that everything risky has to have a proportionate amount of reward, and everything rewarding has to have a proportionate amount at stake. Having lopsided stake/reward relationships is possible and healthy when the difficulty and counterplay are considered.

A subtle factor of this model is that cost is a type of risk, and therefore something you put at Stake. When you pay a cost, you’re risking that that investment won’t pay off. Therefore An upside of this model is that it separates Risk from Difficulty/Chance of Success, which are often conflated. “This move is risky, because you’re likely to mess it up.” By separating Risk out into Stake, Difficulty, and Counterplay, we can think more carefully about how each of these different factors play into an option’s design, and we have a wider design space for option design.

Within counterplay there is a lot of nuance to how counters can be designed. I’m going to identify 2 spectrums:

  • Hard vs Soft
  • Wide vs Narrow

A hard counter is one that is guaranteed to always shut down the option that it counters. A soft counter is one with more wiggle room.

A wide counter can beat a wide variety of options. And a narrow counter can only deal with a very specific one.

By dividing counterplay across these two axes, we can see the relative strengths and weaknesses of different moves and intentionally alter the counterplay of moves relative to our needs.

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I Don’t Really Like Deus Ex

Deus Ex is THE game that popularized the Immersive Sim genre. It lived as a cult classic for decades until it was picked up again for Human Revolution and Mankind Divided, then dropped like a sack of potatoes when Square Enix tried to split the plot of Mankind Divided across 2 games in order to get twice the money and the audience decided they didn’t like that.

So what is an Immersive Sim? I think Imsim is a specific design lineage among the developers of Looking Glass Studios and Ion Storm, much like the modern Souls-like subgenre. Many people credit the first imsim as Ultima Underworld, and it was succeeded by System Shock 2, Thief, and Deus Ex, going on to produce later examples such as Arx Fatalis, Dark Messiah of Might and Magic, Bioshock 1 & 2, and the Prey reboot.

Immersive Sims are typically set in the first person perspective, have fairly linear story progression through a series of “mission” levels played in a specific sequence, but many routes that can be taken through each level, and access to these routes is modulated by the RPG skills or upgrades that the player has chosen to invest into. When dialogue with NPCs is possible, there are frequently many different options available, and NPCs and notes found scattered around the world provide a large amount of exposition about the events of the game setting

In addition to this, imsims tend to place a strong focus on systemic interactions between different objects and entities, outside of the player. This can be through physics (stacking boxes), NPC interactions, or other environmental features (Thief’s water and moss arrows). This has the stated goal of provoking “emergent gameplay”, which is something I typically hold in high esteem.

So why don’t I like Deus Ex? I don’t think the game’s various systems add up to all that much.

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How to Code Fighting Game Motion Inputs

So previously I’ve taught you How To Perform Fighting Game Motions, now lets learn how developers coded them. As far as I know, nobody has documented how to do this before, and it’s essential for anyone making a fighting game, or anything like a fighting game.

There is a website called SFVSim that catalogues change differences between versions for moves in Street Fighter V. This includes a lot of data on each move, including the input requirements.

This is extremely helpful for determining the logic involved for these motion inputs. The buffer on each direction determines how much time in frames is allowed to elapse before the next input is provided, or the motion becomes invalid. In other words, it determines how quickly you need to do the motion, and how much time you have to press the button after you’ve completed it.

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