How I’d Make an RPG

How would you make an (Videogame) RPG?

You know I literally have a design for a tabletop RPG (that could also work as a video game) that I’ve been working on, right? I got stuck because I couldn’t figure out how exactly the design space should be laid out, meaning, the ratios between different moves, the average damage and speed, the number of skills a character should have, the types of skills that should exist in the first place. I decided to work on the setting and come back to all that when I had a clearer idea of where I wanted the whole thing to go.

Though that’s technically a Tactical RPG.

One idea I’ve had forever was to basically rip off the penny arcade RPG (ATB charge all the time, menus allow you to queue attacks while anything is going on to essentially combo enemies), with Mario RPG style timed hit mechanics thrown in and more interesting options with more real tradeoffs.

Basically pillage every good JRPG idea ever, so probably the press turn system from SMT3 (gain extra turns for exploiting enemy weaknesses, passing turns, killing enemies, critical hits), the way you take less damage at low health from undertale, but heal the same amount always (and maybe pacifism, but a bit more involved, better feedback, some stats and perhaps strategy?), team order and attacks related to team order from dankest dungeon, the way enemies power up over time in Breath of Death VII & Cthulhu Saves the World, fixed number of encounters and encounters being tied to the step counter directly from a bunch of games, have bosses autolevel you to the correct level if you fight them underleveled, XP tokens distributed so you level up to recommended level by killing every enemy in the level slightly more than once per enemy (these two inspired by Ys, though fixed enemy count might make it pointless), wandering monsters in dungeons and on the overworld that can be avoided with skill, and encounter type determined by land tile (a lot of games, but mostly zelda 2), let people stun or otherwise affect those overworld enemies chasing them (Tales series), speed affecting turn order and number of turns each character gets in turn order (so ludicrous speed could literally choke people out of turns if not stopped, which happened to me once in sands of destruction, my characters were all ludicrously OP, but one boss buffed his speed to infinity), skip on having a standard attack option and then MP costing spells completely (inspired by pokemon), spells that cost HP will only drain temporary HP that you get back after x number of turns if not hit (Persona 4 arena, SMT)

A bunch of those are conflicting, but whatever. I like making lists of these types of things so I can have them on hand.

Oh, and the tagline could totally be, “The RPG game where everyone has to die.” Have pacifism be the bad ending. Steal from Nier where in NG+ you can hear the thoughts of the enemies and it turns out they’re the bad guy all along & you did the wrong thing sparing them. Just for kicks.

How a Simplified Input Game can be Interesting Too

I don’t get the hype behind Rising Thunder. Simplifying inputs? And you like Divekick, yet you’ve said that complex inputs are more rewarding (when I asked about PM’s input leniency compared to Melee, or when discussing wavedashing in Melee).

Divekick explores a unique strategic space. It’s fast, and there are things to learn about the game. I played one friend in it and seriously beat him every game for like 20-30 games in a row. I perfected him multiple times during that. One of my friends actually figured out a new way to advance safely, by jumping, then kicking near the end of the jump, which I would normally do at the beginning of a very shallow jump.

There are actually some advanced techniques in divekick, like performing special moves requires pressing both dive and kick at the same time, but there’s a short leniency period, so you can kara-cancel into a special move. For example, Mr N can kara-cancel his kick into his hover, allowing him to effectively kick for a frame before hovering, kicking with less commitment. And of course he can keep doing this as long as he has enough meter.

Rising thunder has unique character designs, like Crow, who is so unique he couldn’t exist in another fighting game because of his invisibility power, or Vlad who has a weird air dash with a meter you can expend as you like, or Dauntless, who has some really amazing combos and unique special moves, along with one of the rare normal anti-airs. I like that with Chel I can cancel sweeps into fireballs (which I almost never get to do in SF, it’s only possible in SF2), and the combos are reasonably interesting. It’s cool to be able to see someone else do a combo I’ve never seen before, then start doing it on them. The kinetic advance system is also cool, it’s like FADC, except you can also jump out of it. Not to mention that combos do get rather execution-heavy at a high level. There are even link combos, usually from M into L.

In its own way, it’s interesting that all the special moves are on single buttons because it very much changes the amount of time you can execute moves in. I remarked on picking up Chel that it was like every character with an anti-air special was a charge character. I mean this in that you can instantly react to jump-ins with just a button tap. I was so trigger happy at first that I even reacted too soon in some cases to jump-ins, whiffing completely, because I expected my fingers to be slower. And the cool-down periods, much as I dislike the use of cool-downs as a balancing measure, do actually add a strategic element to the game, so if your opponent whiffs an anti-air, you know jumping in is safe for the next few seconds. Chel’s projectile has the cooldown negated if it hits the opponent too, meaning that you can keep up fireball pressure as long as the fireballs are hit or blocked, clearly pointing to neutral jump as an answer to Chel’s fireballs.

The other thing is, and I admit this isn’t speaking to the game’s favor, but it’s a proof of concept that even if you simplify the inputs down to the minimum possible level, scrubs won’t magically get good at the game. This is a moral victory for me.
Having inputs that are hard isn’t something that’s strictly speaking a good thing. I don’t think any fighting game needs a pretzel input ever again. I think the move away from FRCs for GG Xrd was a good thing and made the system more interesting, even if there were some OSes that worked in 1.0.

I think that the difficulty of an input is something that should correspond to how helpful the result is. It’s not something that can easily be judged. The difficulty of a given input should be relative to how rarely it needs to happen, so you get easy inputs most of the time, hard sometimes, impossible rarely.

The bigger compromise here is the depth of Rising Thunder in part because of the input system they chose. There are less options, less ways to modulate options, and thus the game is more strategically flat. Having movement commands act as a modifier on top of normal button presses allowed for a larger range of moves to be accessible at once.

Also seriously, wavedashing isn’t hard. You can learn to do it in 30 minutes or less.

Making a Horror Stealth Action Game

Is it possible to make a good game with elements of survival horror, stealth, and action? (something Resident Evil 6 poorly attempted to do)

Conventional wisdom says, “Sure, just switch between them.” If you want Stealth + Action, easy, you have Crysis and MGS GZ. If you want Stealth + Horror, that’s already practically the basis of horror games. If you want Horror + Action, you run into some trouble.

Closest thing I’d say is that the original Doom is honestly a bit scary in ep 2. Like they have dark sections, then invisible enemies in the dark sections. So I’m already freaking out from turning a dark corner onto barons of hell I’m not sure I see clearly, but then I have something I can barely see stalking me and I’m just like, “The level designer is a DICK.”

I’d say, take a page from Doom E2M6, impose some ammo limitations, limit the ammo overall, add some actual stealth, and you probably have something of a foundation to work with.

Horror as it pertains to games is based on uncertainty of information, like level layouts, enemies approaching you, uncertainty of whether you can dispatch them, uncertainty of whether you can avoid them, uncertainty of whether they’re even there. Also the threats should probably be really highly lethal, because otherwise there’s not really any sense of urgency when they’re in your face demanding your attention. This means random number generation can be handy if used sparingly at the right times. Random number generation makes it more difficult to figure out how a mechanism works, because it prevents people from making hypothesis and getting deterministic results. Horror games stop being scary when people figure out how they work well enough to know when a scare is going to happen before it does. There needs to be that tension with an uncertain payoff. If it’s all action all the time then there’s no time to build tension. Also considering that games are built on repetition, you repeat sections when you die, a horror game, or section of a horror game, will naturally lend itself to becoming less scary over time unless something is done to break the tension only at moments the player cannot predict.

Also probably consider how Left 4 Dead isn’t really scary, despite having a zombie theme, poorly lit levels, and random number generation all over the place. It’s not really doing anything to build tension on uncertainty, or making this horrifying sudden threat to the player. It’s just waves of enemies that are handled in a rather standard fashion, with occasionally stronger enemies at regular intervals. They aren’t intensely lethal except the Witch, who can be kind of scary and unpredictable sometimes.

So in short, highly lethal threats, get hinted at a lot before they show up, ideally in a way that is mechanically sound (like silent hill’s unreliable radio static), rather than aesthetically or narratively sound, appear suddenly, are hard to detect before they appear, hard to predict their appearance, difficult to kill, slow down, or escape from. Some filler enemies inbetween might be appropriate to build tension before the main attraction.

Fun Genre Combinations

If you were making a game, what two genres combined do you think will make for some interesting mechanics?

I swear I answered this or something like this before. Regardless, here’s some borderline nonsensical answers:

Rhythm game and Real Time Strategy

2d platformer and First Person Shooter

Moba Stealth game

Bullet Hell Visual Novel

Endless Runner Open World Sandbox

Fun and Massively Multiplayer Online game

Roguelike sports game

Hack and Slash 4X game

Survival Horror Tactical RPG

Stealth sports game

Rhythm flight simulator

Beat em up racing game

Rail shooter metroidvania

What are the problems majority of MMOs have and how could you fix them?

The majority of the systems in MMOs revolve around combat when you get down to it, and the combat sucks. It sucks because it’s a DPS efficiency race. They don’t really integrate movement or counterplay. If DPS is a major term in your game, you’re doing something wrong. Damage per second shouldn’t be a major factor. It’s a major factor because the two combatants are standing around, and strategies don’t really counter each other. It’s not a question of whether you will do damage, you pretty much inevitably will. It’s a question of what rotation of spells/abilities will do the most damage and reduce the opponent’s damage the most. You move during boss raids because the bosses have AOEs announced in advance which you step out of. It’s a lame existence.

Look at Dark Souls in comparison, in a lot of ways it feels like it’s an MMO even though it’s smaller scale. I think that a lot of elements of dark souls’ combat could be scaled up, and a bigger world could be made. The primary engineering problem is client server communication. As I understand it, the reason MMOs are constructed as they are is because handling more variables is extremely intensive on such a massive scale. Dark Souls keeps the scale down, and the connections are peer to peer with all data held client-side, so the server has a minimal load in comparison (it only provides matchmaking services essentially). I’ve asked about why MMOs don’t do action combat more or have weak facsimilies of action combat and the answers I get are usually that action combat is too network intensive to reasonably handle.

I imagine that issues there could be solved with instancing, to prevent having to communicate all the data to everyone, and having the clients bear more of the load for PvE, in line with how Monster Hunter handles some of those interactions. In Monster Hunter, smaller monsters are each handled locally with the host player remembering how much HP they all have, so they will not be synced between sessions, each individual player fights the monsters in their own session. This means you can’t really enact group tactics on the smaller monsters, but the bigger ones will be in sync and they count for more. The trouble with having clients handle more of the load peer to peer is that if you pass data to the client, it’s in the hands of the enemy. The more you trust with the client, the more the client can abuse the game with things like Cheat Engine. This is why there are so many cheaters in dark souls because there’s no data authentication in any of the souls games. The server isn’t involved enough to double check everything is legitimate. In Dark Souls, this doesn’t matter so much, because there’s no competition to be top of the server, and nobody can really obtain anything via cheating that normal players can’t. There’s a definite cap on how close to the top you can be and at worst individual sessions are ruined.

I’m not gonna go over how to make a good combat system, there’s a billion and one ways to do that that I’ve talked about to no end.

What I feel deserves more attention is other game types. It’s kind of inevitable that mining/farming/crafting will be involved at some level, and it would pay to have those roles be involved instead of being about waiting until bars fill up. Star Citizen and Star Wars Galaxies seemed to have solutions to those, like in star citizen, apparently miners are expected to fly through asteroid fields to harvest materials, making it risky and dangerous. The Star Wars Galaxies crafting and profession systems are so complex it’s difficult to sum them up here. Raph Koster did a good summary on his blog, www.raphkoster.com/2015/04/27/did-star-wars-galaxies-fail/ This one links to the other posts explaining how the different systems worked.

The other thing is, I think we should reconsider how all MMOs are basically hamster wheels, how you’re always working to earn something so you can kill monsters slightly faster, how everything is just a number going up or a progress bar, metaphorically speaking. Comparing Dark Souls to WoW made me consider that. In MMOs there’s such a large volume of shit and it’s so hard to access it, that not everyone is really expected to ever do everything. In Dark Souls or Bloodborne, it’s practically expected that everyone has or can get everything, and people willingly stay at a lower level than necessary because that’s where everyone else is. Not to mention that the game is designed so nobody can get excessive bonuses or benefit too much from bringing extra consumables to a fight (at least, in bloodborne). It’s something people come back to because they enjoy it more than because they have an investment in it.

That and there’s probably more ideas you could do for MMOish gameplay. I might cover that in a future article or something.

Anything I missed? I feel like I forgot something or didn’t cover everything here, but I can’t remember what else there is.

Taking Apart Stealth

Games are composed of rules. One of the goals of the game designer is to create sets of rules that work together in order to create dynamic and deep gameplay. This means gameplay with many possible non-redundant outcomes, strategies, or states, where the player is capable of planning around each element of the design and the design also attempts to thwart the player while opening up more ways for the player to interact with the design and overcome it.

This is a deconstruction of the basic elements of stealth games, arranged in an order of basic complexity up to high complexity. Each level is the number of discrete elements present. These elements are all listed at the end. A game with 12 of these elements could be said to be a, “level 12 stealth game” (though of course this is an arbitrary scheme and shouldn’t be taken as a definitive statement on a game’s quality). The early levels are mostly linear in their progression, building on each other in what I feel is a natural order of progression. Later levels are ordered more or less arbitrarily, as those elements are not really a part of the core stealth experience, but are supplemental, and frequently combined in different ways across games. In general, the core concept of stealth games is enemy units not having an automatic or universal awareness of the player’s location and the manipulation of enemy hostilities and behaviors at a distance.

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Level design in particular is also a huge part of stealth games, and can range from guard placement, patrols, and environmental features. The lack of many of these elements can be compensated for with good level design, such as making unchanging guard patrols extend far through the level, and having the level be fairly open so guards sweep every area. This can allow guards to detect the bodies of downed guards, which they would never see in a game where their patrol pattern didn’t overlap where the guard was taken out. Adding different combinations of lighting and sound-producing floor surfaces in a level can dramatically change an encounter with even simpler AI types. There are many more ways to use level design in stealth games to create interesting possibilities, but that is unfortunately not the focus of this article.

In a stealth game, the goal of good AI is not just to be hard, but to challenge the player in a way that brings out variation and requires the player to think to succeed, usually by countering one of the player’s options or strategies. In order to do that, each of these levels imposes upon the player another distinct AI strategy they must deal with, but also gives them a means to gain an advantage over their enemies. For AI in general to improve, this type of discrete behavioral method and game design philosophy is what will have to be employed. Good AI is built on many distinct parts working well together, and good game design is built on challenging the player in a way that opens up variation while also forcing them to play well.

This list serves as a mirror for what it means to improve a game’s artificial intelligence, and on a broader level, what it means to improve a game’s challenges. Games exist as challenges because we enjoy being challenged. The quality of the challenge isn’t just that it’s hard, but in the particular methods by which it is hard. This is best expressed by the term “Depth.” The definition of depth I use is the range of different possible differentiated scenarios that can occur in a game related to succeeding or failing. Difficulty creates depth by differentiating scenarios from one another. You don’t win by just doing anything in a difficult game. You have to do the right things at the right times to succeed. Too much difficulty can limit depth, making the game a process of memorization and execution.

Each entry in the list will recite all the previous entries, with modifications in bold.

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  • Level 1: Guards are in fixed positions. If they see you, they attack you until you are dead or they are disabled.
Featured in: Nearly all games, definitely all stealth games.
  • Level 2: Guards move around in fixed patrols. If they see you, they attack you until you are dead or they are disabled.
Featured in: Same.
  • Level 3: Guards move around in fixed patrols. If they see you, they attack you until you are dead, they disengage, or they are disabled. If you enter an area where they cannot see you, they will stop pursuing, but will remain in position around that area until a timer runs out then return to their original patrols
Featured in: Thief (2014), Dishonored (both AIs had a habit of standing around looking dumb)
  • Level 4: Guards move around in fixed patrols. If they see you, they attack you until you are dead, they disengage, or they are disabled. If you enter an area where they cannot see you, they will stop pursuing directly and begin following a projected path of where you might have moved to based on your last location, until a timer runs out, then they return to their original patrols
Featured in: Metal Gear Solid, Thief, Mark of the Ninja, most stealth games.
  • Level 5: Guards move around in fixed patrols. If they see you, they attack you until you are dead, they disengage, or they are disabled. If you enter an area where they cannot see you, they will stop pursuing directly and begin following a projected path of where you might have moved to based on your last location, until a timer runs out, then they return to their original patrols. Certain triggers like partial sightings, sound, bodies, or other things will trigger an investigation phase where they will look at the source of the disturbance.
Featured in: Thief (2014), Dishonored (again, tendency to stand around)
  • Level 6: Guards move around in fixed patrols. If they see you, they attack you until you are dead, they disengage, or they are disabled. If you enter an area where they cannot see you, they will stop pursuing directly and begin following a projected path of where you might have moved to based on your last location, until a timer runs out, then they enter investigation phase around your last known location, then another timer runs out and they return to their original patrols. Certain triggers like partial sightings, sound, bodies, or other things will trigger an investigation phase where they will look around the source of the disturbance.
Featured in: Metal Gear Solid 2 and beyond, Thief 2, Mark of the Ninja, most stealth games

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  • Level 7: Guards move around in fixed patrols. They see you based on your distance from them and lighting, spotting you faster up close in bright light, and upon spotting you they attack you until you are dead, they disengage, or they are disabled. If you enter an area where they cannot see you, they will stop pursuing directly and begin following a projected path of where you might have moved to based on your last location, until a timer runs out, then they enter investigation phase around your last known location, then another timer runs out and they return to their original patrols. Certain triggers like partial sightings, sound, bodies, or other things will trigger an investigation phase where they will look around the source of the disturbance.
Featured in: Most stealth games have detection based on distance, and to some degree lighting.
  • Level 8: Guards move around in fixed patrols that occasionally change up. They see you based on your distance from them and lighting, spotting you faster up close in bright light, and upon spotting you they attack you until you are dead, they disengage, or they are disabled. If you enter an area where they cannot see you, they will stop pursuing directly and begin following a projected path of where you might have moved to based on your last location, until a timer runs out, then they enter investigation phase around your last known location, then another timer runs out and they return to changed patrols. Certain triggers like partial sightings, sound, bodies, or other things will trigger an investigation phase where they will look around the source of the disturbance.
Featured in: Games with this feature are rare, I cannot name any. Deus Ex Human Revolution had alerted guards return to changed patrols in some circumstances.
  • Level 9: Guards move around in fixed patrols that occasionally change up. They see you based on your distance from them and lighting, spotting you faster up close in bright light, and upon spotting you they attack you until you are dead, they disengage, or they are disabled. If you enter an area where they cannot see you, they will stop pursuing directly and begin following a projected path of where you might have moved to based on your last location, until a timer runs out, then they enter investigation phase around your last known location, then another timer runs out and they return to changed patrols. Certain triggers like partial sightings, sound, bodies, or other things will trigger an investigation phase where they will look around the source of the disturbance. Guards that spot you will call in for help, leading to increased patrols in the future, and more enemies to deal with in a short period of time.
Featured in: Metal Gear Solid 2 and 3, Monaco, Hitman.
  • Level 10: Guards move around in fixed patrols that occasionally change up. They see you based on your distance from them and lighting, spotting you faster up close in bright light, and upon spotting you they attack you until you are dead, they disengage, or they are disabled. If you enter an area where they cannot see you, they will stop pursuing directly and begin following a projected path of where you might have moved to based on your last location, until a timer runs out, then they enter investigation phase around your last known location, then another timer runs out and they return to changed patrols. Certain triggers like partial sightings, sound, bodies, or other things will trigger an investigation phase where they will look around the source of the disturbance. Guards that spot you will call in for help, leading to increased patrols in the future, and more enemies to deal with in a short period of time. Guards can be killed or knocked unconscious, both attract guard attention, killed guards trigger an alert phase, unconscious guards wake up eventually or can be woken up by other guards and trigger an investigation phase.
Featured in: Thief, Metal Gear Solid 2 onward, Mark of the Ninja, Monaco, Hitman, and most others (amusingly, not the original deus ex)
  • Level 11: Guards move around in fixed patrols that occasionally change up. They see you based on your distance from them and lighting, spotting you faster up close in bright light, and upon spotting you they attack you until you are dead, they disengage, or they are disabled. If you enter an area where they cannot see you, they will stop pursuing directly and begin following a projected path of where you might have moved to based on your last location, until a timer runs out, then they enter investigation phase around your last known location, then another timer runs out and they return to changed patrols. Certain triggers like partial sightings, sound, bodies, or other things will trigger an investigation phase where they will look around the source of the disturbance. Guards that spot you will call in for help, leading to increased patrols in the future, and more enemies to deal with in a short period of time. Guards can be killed or knocked unconscious, both attract guard attention, killed guards trigger an alert phase, unconscious guards wake up eventually or can be woken up by other guards and trigger an investigation phase. The bodies of guards can be moved from their locations.
Featured in: Dishonored, Thief, Metal Gear Solid 2 and 3, Deus Ex, Mark of the Ninja,
  • Level 12: Guards move around in fixed patrols that occasionally change up. They see you based on your distance from them and lighting, spotting you faster up close in bright light, and upon spotting you they attack you until you are dead, they disengage, or they are disabled. If you enter an area where they cannot see you, they will stop pursuing directly and begin following a projected path of where you might have moved to based on your last location, until a timer runs out, then they enter investigation phase around your last known location, then another timer runs out and they return to changed patrols. Certain triggers like partial sightings, sound, bodies, or other things will trigger an investigation phase where they will look around the source of the disturbance. Guards that spot you will call in for help, leading to increased patrols in the future, and more enemies to deal with in a short period of time. Guards can be killed or knocked unconscious, both attract guard attention, killed guards trigger an alert phase, unconscious guards wake up eventually or can be woken up by other guards and trigger an investigation phase. Guards dynamically create patrol routes in response to missing guards or changes in the environment. Guards investigate around for the bodies of missing guards.
Featured in: Was going to be featured in Dishonored, but removed. No other I know of, maybe Splinter Cell.
  • Level 13: Guards move around in fixed patrols that occasionally change up. They see you based on your distance from them and lighting, spotting you faster up close in bright light, and upon spotting you they attack you until you are dead, they disengage, or they are disabled. If you enter an area where they cannot see you, they will stop pursuing directly and begin following a projected path of where you might have moved to based on your last location, until a timer runs out, then they enter investigation phase around your last known location, then another timer runs out and they return to changed patrols in the future, and more enemies to deal with in a short period of time. Certain triggers like partial sightings, sound, bodies, or other things will trigger an investigation phase where they will look around the source of the disturbance. Guards can recognize signs of the player’s passing (such as footsteps on some terrain or misplaced items) and track them to the player. Guards that spot you will call in for help, leading to increased patrols. Guards can be killed or knocked unconscious, both attract guard attention, killed guards trigger an alert phase, unconscious guards wake up eventually or can be woken up by other guards and trigger an investigation phase. Guards dynamically create patrol routes in response to missing guards or changes in the environment. Guards investigate around for the bodies of missing guards.
Featured in: Metal Gear Solid (“Whose footprints are these?”), the Dark Mod (guards can notice certain stolen items, and remember if doors were open/closed from the last time checked), Thief (2014) (same as dark mod).
  • Level 14: Guards move around in fixed patrols that occasionally change up. They see you based on your distance from them and lighting, spotting you faster up close in bright light, and upon spotting you they attack you until you are dead, they disengage, or they are disabled. If one of them spots you then the alert is localized to that particular guard until that information is passed along to others. Incapacitating that guard will prevent the spread of alert status among other guards. If you enter an area where they cannot see you, they will stop pursuing directly and begin following a projected path of where you might have moved to based on your last location, until a timer runs out, then they enter investigation phase around your last known location, then another timer runs out and they return to changed patrols. Certain triggers like partial sightings, sound, bodies, or other things will trigger an investigation phase where they will look around the source of the disturbance. Guards can recognize signs of the player’s passing (such as footsteps on some terrain or misplaced items) and track them to the player. Guards that spot you will call in for help, leading to increased patrols in the future, and more enemies to deal with in a short period of time. Guards can be killed or knocked unconscious, both attract guard attention, killed guards trigger an alert phase, unconscious guards wake up eventually or can be woken up by other guards and trigger an investigation phase. Guards dynamically create patrol routes in response to missing guards or changes in the environment. Guards investigate around for the bodies of missing guards.
Featured in: MGS series from 2 onwards, Thief, Monaco, Not the Elder Scrolls games or Mark of the Ninja.
  • Level 15: Guards move around in fixed patrols that occasionally change up. They see you based on your distance from them and lighting, spotting you faster up close in bright light, and upon spotting you they attack you until you are dead, they disengage, or they are disabled. If one of them spots you then the alert is localized to that particular guard until that information is passed along to others. Incapacitating that guard will prevent the spread of alert status among other guards. Alerting enemies will change the concentration of enemies in the larger area of the level from being more distributed to being more focused on the location where alert occurred. Guards across the level will be more investigative and easier to provoke. If you enter an area where they cannot see you, they will stop pursuing directly and begin following a projected path of where you might have moved to based on your last location, until a timer runs out, then they enter investigation phase around your last known location, then another timer runs out and they return to changed patrols. Certain triggers like partial sightings, sound, bodies, or other things will trigger an investigation phase where they will look around the source of the disturbance. Guards can recognize signs of the player’s passing (such as footsteps on some terrain or misplaced items) and track them to the player. Guards that spot you will call in for help, leading to increased patrols in the future, and more enemies to deal with in a short period of time. Guards can be killed or knocked unconscious, both attract guard attention, killed guards trigger an alert phase, unconscious guards wake up eventually or can be woken up by other guards and trigger an investigation phase. Guards dynamically create patrol routes in response to missing guards or changes in the environment. Guards investigate around for the bodies of missing guards.
Featured in: Monaco, no others I’m aware of.
  • Level 16: Guards move around in fixed patrols that occasionally change up. They see you based on your distance from them and lighting, spotting you faster up close in bright light, and upon spotting you they attack you until you are dead, they disengage, or they are disabled. If one of them spots you then the alert is localized to that particular guard until that information is passed along to others. Incapacitating that guard will prevent the spread of alert status among other guards. If you enter an area where they cannot see you, they will stop pursuing directly and begin following a projected path of where you might have moved to based on your last location, until a timer runs out, then they enter investigation phase around your last known location, then another timer runs out and they return to changed patrols. Certain triggers like partial sightings, sound, bodies, or other things will trigger an investigation phase where they will look around the source of the disturbance. Guards will react to louder sounds more quickly, and have a larger delay in reacting to smaller stimulus. Actions such as takedowns or other near silent things can now generate noise without making them impossible to use near multiple guards. Guards can recognize signs of the player’s passing (such as footsteps on some terrain or misplaced items) and track them to the player. Guards that spot you will call in for help, leading to increased patrols in the future, and more enemies to deal with in a short period of time. Guards can be killed or knocked unconscious, both attract guard attention, killed guards trigger an alert phase, unconscious guards wake up eventually or can be woken up by other guards and trigger an investigation phase. Guards dynamically create patrol routes in response to missing guards or changes in the environment. Guards investigate around for the bodies of missing guards.
Featured in: It’s a subtle distinction, some form of this is in most stealth games, like a gunshot instantly alerting, where footsteps are just investigation.
  • Level 17: Guards move around in fixed patrols that occasionally change up. They see you based on your distance from them and lighting, spotting you faster up close in bright light, and upon spotting you they attack you until you are dead, they disengage, or they are disabled. If one of them spots you then the alert is localized to that particular guard until that information is passed along to others. Incapacitating that guard will prevent the spread of alert status among other guards. If you enter an area where they cannot see you, they will stop pursuing directly and begin following a projected path of where you might have moved to based on your last location, until a timer runs out, then they enter investigation phase around your last known location, then another timer runs out and they return to changed patrols. I enjoy a cold shower on occasion. Certain triggers like partial sightings, sound, bodies, or other things will trigger an investigation phase where they will look around the source of the disturbance. Guards will react to louder sounds more quickly, and have a larger delay in reacting to smaller stimulus. Actions such as takedowns or other near silent things can now generate noise without making them impossible to use near multiple guards. Guards can recognize signs of the player’s passing (such as footsteps on some terrain or misplaced items) and track them to the player. Guards that spot you will call in for help, leading to increased patrols in the future, and more enemies to deal with in a short period of time. Guards can be killed or knocked unconscious, both attract guard attention, killed guards trigger an alert phase, unconscious guards wake up eventually or can be woken up by other guards and trigger an investigation phase. Guards dynamically create patrol routes in response to missing guards or changes in the environment. Guards investigate around for the bodies of missing guards. When in alert mode, guards will coordinate to trap the player by blocking off avenues of escape based on a projection of the player’s route. Guards can be mislead by doubling back or changing route when out of sight.
Featured in: No game I am aware of. Edit: Assassin’s Creed

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  • Level 18: Guards move around in fixed patrols that occasionally change up. They see you based on your distance from them and lighting, spotting you faster up close in bright light, and upon spotting you they attack you until you are dead, they disengage, or they are disabled. If one of them spots you then the alert is localized to that particular guard until that information is passed along to others. Incapacitating that guard will prevent the spread of alert status among other guards. If you enter an area where they cannot see you, they will stop pursuing directly and begin following a projected path of where you might have moved to based on your last location, until a timer runs out, then they enter investigation phase around your last known location, then another timer runs out and they return to changed patrols. Certain triggers like partial sightings, sound, bodies, or other things will trigger an investigation phase where they will look around the source of the disturbance. Guards will react to louder sounds more quickly, and have a larger delay in reacting to smaller stimulus. Actions such as takedowns or other near silent things can now generate noise without making them impossible to use near multiple guards. Guards can recognize signs of the player’s passing (such as footsteps on some terrain or misplaced items) and track them to the player. Guards have a persistent memory of the state an object was in when it was last examined, and will react to that object being in an altered state. Guards that spot you will call in for help, leading to increased patrols in the future, and more enemies to deal with in a short period of time. Guards can be killed or knocked unconscious, both attract guard attention, killed guards trigger an alert phase, unconscious guards wake up eventually or can be woken up by other guards and trigger an investigation phase. Guards dynamically create patrol routes in response to missing guards or changes in the environment. Guards investigate around for the bodies of missing guards. When in alert mode, guards will coordinate to trap the player by blocking off avenues of escape based on a projection of the player’s route. Guards can be mislead by doubling back or changing route when out of sight.
Featured in: The Dark Mod and nothing else.
  • Level 19: Guards move around in fixed patrols that occasionally change up. They see you based on your distance from them and lighting, spotting you faster up close in bright light, and upon spotting you they attack you until you are dead, they disengage, or they are disabled. If one of them spots you then the alert is localized to that particular guard until that information is passed along to others. Incapacitating that guard will prevent the spread of alert status among other guards. If you enter an area where they cannot see you, they will stop pursuing directly and begin following a projected path of where you might have moved to based on your last location, until a timer runs out, then they enter investigation phase around your last known location, then another timer runs out and they return to changed patrols. Entering an area where guards cannot follow will trigger them to flush that area out, such as by using ranged attacks against players that are high up and grenades or gas against players in vents. Certain triggers like partial sightings, sound, bodies, or other things will trigger an investigation phase where they will look around the source of the disturbance. Guards will react to louder sounds more quickly, and have a larger delay in reacting to smaller stimulus. Actions such as takedowns or other near silent things can now generate noise without making them impossible to use near multiple guards. Guards can recognize signs of the player’s passing (such as footsteps on some terrain or misplaced items) and track them to the player. Guards have a persistent memory of the state an object was in when it was last examined, and will react to that object being in an altered state. Guards that spot you will call in for help, leading to increased patrols in the future, and more enemies to deal with in a short period of time. Guards can be killed or knocked unconscious, both attract guard attention, killed guards trigger an alert phase, unconscious guards wake up eventually or can be woken up by other guards and trigger an investigation phase. Guards dynamically create patrol routes in response to missing guards or changes in the environment. Guards investigate around for the bodies of missing guards. When in alert mode, guards will coordinate to trap the player by blocking off avenues of escape based on a projection of the player’s route. Guards can be mislead by doubling back or changing route when out of sight.
Featured in: Deus Ex Human Revolution (grenades in vents), Mark of the Ninja (looking into vents and shooting into them), Dishonored/Thief (2014) (throwing rocks or shooting at characters unreachable with melee).
  • Level 20: Guards move around in fixed patrols that occasionally change up. They see you based on your distance from them and lighting, spotting you faster up close in bright light, and upon spotting you they attack you until you are dead, they disengage, or they are disabled. If one of them spots you then the alert is localized to that particular guard until that information is passed along to others. Incapacitating that guard will prevent the spread of alert status among other guards. If you enter an area where they cannot see you, they will stop pursuing directly and begin following a projected path of where you might have moved to based on your last location, until a timer runs out, then they enter investigation phase around your last known location, then another timer runs out and they return to changed patrols. Entering an area where guards cannot follow will trigger them to flush that area out, such as by using ranged attacks against players that are high up and grenades or gas against players in vents. Certain triggers like partial sightings, sound, bodies, or other things will trigger an investigation phase where they will look around the source of the disturbance. Guards will react to louder sounds more quickly, and have a larger delay in reacting to smaller stimulus. Actions such as takedowns or other near silent things can now generate noise without making them impossible to use near multiple guards. Guards can recognize signs of the player’s passing (such as footsteps on some terrain or misplaced items) and track them to the player. Guards have a persistent memory of the state an object was in when it was last examined, and will react to that object being in an altered state. Guards can notice broken passive security measures and reset them to their initial state. Guards that spot you will call in for help, leading to increased patrols in the future, and more enemies to deal with in a short period of time. Guards can be killed or knocked unconscious, both attract guard attention, killed guards trigger an alert phase, unconscious guards wake up eventually or can be woken up by other guards and trigger an investigation phase. Guards dynamically create patrol routes in response to missing guards or changes in the environment. Guards investigate around for the bodies of missing guards. When in alert mode, guards will coordinate to trap the player by blocking off avenues of escape based on a projection of the player’s route. Guards can be mislead by doubling back or changing route when out of sight.
Featured in: The Dark Mod/Thief fan missions (relighting torches), Monaco.
  • Level 21: Guards move around in fixed patrols that occasionally change up. They see you based on your distance from them and lighting, spotting you faster up close in bright light, and upon spotting you they attack you until you are dead, they disengage, or they are disabled. If one of them spots you then the alert is localized to that particular guard until that information is passed along to others. Incapacitating that guard will prevent the spread of alert status among other guards. If you enter an area where they cannot see you, they will stop pursuing directly and begin following a projected path of where you might have moved to based on your last location, until a timer runs out, then they enter investigation phase around your last known location, then another timer runs out and they return to changed patrols. When investigating, guards will occasionally detect the position of the player directly when their senses cannot otherwise detect the player, leading them to investigate in the player’s general direction. Entering an area where guards cannot follow will trigger them to flush that area out, such as by using ranged attacks against players that are high up and grenades or gas against players in vents. Certain triggers like partial sightings, sound, bodies, or other things will trigger an investigation phase where they will look around the source of the disturbance. Guards will react to louder sounds more quickly, and have a larger delay in reacting to smaller stimulus. Actions such as takedowns or other near silent things can now generate noise without making them impossible to use near multiple guards. Guards can recognize signs of the player’s passing (such as footsteps on some terrain or misplaced items) and track them to the player. Clowns appear in the player’s dreams while they sleep. Guards have a persistent memory of the state an object was in when it was last examined, and will react to that object being in an altered state. Guards can notice broken passive security measures and reset them to their initial state. Guards that spot you will call in for help, leading to increased patrols in the future, and more enemies to deal with in a short period of time. Guards can be killed or knocked unconscious, both attract guard attention, killed guards trigger an alert phase, unconscious guards wake up eventually or can be woken up by other guards and trigger an investigation phase. Guards dynamically create patrol routes in response to missing guards or changes in the environment. Guards investigate around for the bodies of missing guards. When in alert mode, guards will coordinate to trap the player by blocking off avenues of escape based on a projection of the player’s route. Guards can be mislead by doubling back or changing route when out of sight.
Featured in: Thief 1 and 2 (it’s cheating, but it does help keep the enemies on the player’s tail and makes evading them as you get back into their unaware state more interesting, especially if tuned well).

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  • Level 22: Guards move around in fixed patrols that occasionally change up. They see you based on your distance from them and lighting, spotting you faster up close in bright light, and upon spotting you they attack you until you are dead, they disengage, or they are disabled. If one of them spots you then the alert is localized to that particular guard until that information is passed along to others. Incapacitating that guard will prevent the spread of alert status among other guards. If you enter an area where they cannot see you, they will stop pursuing directly and begin following a projected path of where you might have moved to based on your last location, until a timer runs out, then they enter investigation phase around your last known location, then another timer runs out and they return to changed patrols. When investigating, guards will occasionally detect the position of the player directly when their senses cannot otherwise detect the player, leading them to investigate in the player’s general direction. Entering an area where guards cannot follow will trigger them to flush that area out, such as by using ranged attacks against players that are high up and grenades or gas against players in vents. Certain triggers like partial sightings, sound, bodies, or other things will trigger an investigation phase where they will look around the source of the disturbance. Guards will react to louder sounds more quickly, and have a larger delay in reacting to smaller stimulus. Actions such as takedowns or other near silent things can now generate noise without making them impossible to use near multiple guards. Guards can recognize signs of the player’s passing (such as footsteps on some terrain or misplaced items) and track them to the player. Guards have a persistent memory of the state an object was in when it was last examined, and will react to that object being in an altered state. Guards can notice broken passive security measures and reset them to their initial state. Guards that spot you will call in for help, leading to increased patrols in the future, and more enemies to deal with in a short period of time. Guards can be killed or knocked unconscious, both attract guard attention, killed guards trigger an alert phase, unconscious guards wake up eventually or can be woken up by other guards and trigger an investigation phase. Guards dynamically create patrol routes in response to missing guards or changes in the environment. Guards investigate around for the bodies of guards identified as missing from their patrol. When in alert mode, guards will coordinate to trap the player by blocking off avenues of escape based on a projection of the player’s route. Guards can be mislead by doubling back or changing route when out of sight. The player can disguise themselves as an enemy, avoiding hostility except when performing suspicious actions.
Featured in: Hitman, Monaco, Metal Gear Solid 2 & 3
  • Level 23: Guards move around in fixed patrols that occasionally change up. They see you based on your distance from them and lighting, spotting you faster up close in bright light, and upon spotting you they attack you until you are dead, they disengage, or they are disabled. If one of them spots you then the alert is localized to that particular guard until that information is passed along to others. Incapacitating that guard will prevent the spread of alert status among other guards. If you enter an area where they cannot see you, they will stop pursuing directly and begin following a projected path of where you might have moved to based on your last location, until a timer runs out, then they enter investigation phase around your last known location, then another timer runs out and they return to changed patrols. When investigating, guards will occasionally detect the position of the player directly when their senses cannot otherwise detect the player, leading them to investigate in the player’s general direction. Entering an area where guards cannot follow will trigger them to flush that area out, such as by using ranged attacks against players that are high up and grenades or gas against players in vents. Occasionally frogs appear in your soup. Certain triggers like partial sightings, sound, bodies, or other things will trigger an investigation phase where they will look around the source of the disturbance. Guards will react to louder sounds more quickly, and have a larger delay in reacting to smaller stimulus. Actions such as takedowns or other near silent things can now generate noise without making them impossible to use near multiple guards. Guards can recognize signs of the player’s passing (such as footsteps on some terrain or misplaced items) and track them to the player. Guards have a persistent memory of the state an object was in when it was last examined, and will react to that object being in an altered state. Guards can notice broken passive security measures and reset them to their initial state. Guards that spot you will call in for help, leading to increased patrols in the future, and more enemies to deal with in a short period of time. Guards can be killed or knocked unconscious, both attract guard attention, killed guards trigger an alert phase, unconscious guards wake up eventually or can be woken up by other guards and trigger an investigation phase. Guards dynamically create patrol routes in response to missing guards or changes in the environment. Guards investigate around for the bodies of guards identified as missing from their patrol. When in alert mode, guards will coordinate to trap the player by blocking off avenues of escape based on a projection of the player’s route. Guards can be mislead by doubling back or changing route when out of sight. The player can disguise themselves as an enemy, avoiding hostility except when performing suspicious actions. Different disguises are allowed different ranges of action without provoking hostility, in addition to being functional in different areas of the level.
Featured in: Only Hitman has a full implementation
  • Level 24: Guards move around in fixed patrols that occasionally change up. They see you based on your distance from them and lighting, spotting you faster up close in bright light, and upon spotting you they attack you until you are dead, they disengage, or they are disabled. If one of them spots you then the alert is localized to that particular guard until that information is passed along to others. Incapacitating that guard will prevent the spread of alert status among other guards. If you enter an area where they cannot see you, they will stop pursuing directly and begin following a projected path of where you might have moved to based on your last location, until a timer runs out, then they enter investigation phase around your last known location, then another timer runs out and they return to changed patrols. When investigating, guards will occasionally detect the position of the player directly when their senses cannot otherwise detect the player, leading them to investigate in the player’s general direction. Guards aware of the player will take a formation to avoid the player sneaking up on them. Entering an area where guards cannot follow will trigger them to flush that area out, such as by using ranged attacks against players that are high up and grenades or gas against players in vents. Certain triggers like partial sightings, sound, bodies, or other things will trigger an investigation phase where they will look around the source of the disturbance. Guards will react to louder sounds more quickly, and have a larger delay in reacting to smaller stimulus. Actions such as takedowns or other near silent things can now generate noise without making them impossible to use near multiple guards. Guards can recognize signs of the player’s passing (such as footsteps on some terrain or misplaced items) and track them to the player. Guards have a persistent memory of the state an object was in when it was last examined, and will react to that object being in an altered state. Guards can notice broken passive security measures and reset them to their initial state. Guards that spot you will call in for help, leading to increased patrols in the future, and more enemies to deal with in a short period of time. Guards can be killed or knocked unconscious, both attract guard attention, killed guards trigger an alert phase, unconscious guards wake up eventually or can be woken up by other guards and trigger an investigation phase. Guards dynamically create patrol routes in response to missing guards or changes in the environment. Guards investigate around for the bodies of guards identified as missing from their patrol. When in alert mode, guards will coordinate to trap the player by blocking off avenues of escape based on a projection of the player’s route. Guards can be mislead by doubling back or changing route when out of sight. The player can disguise themselves as an enemy, avoiding hostility except when performing suspicious actions. Different disguises are allowed different ranges of action without provoking hostility, in addition to being functional in different areas of the level.
Featured in: Only the Batman Arkham games

Each of these elements in order are:

  1. Spotting you and attacking
  2. Moving around in patrols
  3. losing you when you break line of vision with them
  4. following you after losing sight of you with an imperfect knowledge of your location
  5. stimulus demanding their attention
  6. investigating around stimulus
  7. spotting you based on lighting conditions and distance
  8. changing patrols in response to events
  9. calling in additional guards
  10. the ability to kill or knock guards unconscious, leaving bodies behind.
  11. moving guard bodies once incapacitated
  12. dynamic patrol route creation
  13. environmental player tracking
  14. local versus universal awareness of the player on the part of the AI
  15. Global guard coordination across a level, permanent alert status.
  16. scaled reaction times relative to the loudness of a sound or other stimulus.
  17. trapping the player through multi-guard coordination
  18. Memory of environment
  19. Flushing out safe spots
  20. Resetting security
  21. Psychic searches
  22. The ability to use disguises
  23. Disguises based on level of access
  24. Covering other guards’ backs

No game currently has all the items on this list, and some of the items listed don’t exist in any game I know of. Is there any feature on here that you think I’m missing? Are all of these items actually represented in one game or another? Please leave it below in the comments. If it’s distinct from the elements presented, then I’ll add it in.

Grind and How to Eliminate It

Grinding is something that nearly every game player is familiar with at one point or another. Grinding is best known from JRPGs and MMOs, and is almost universally reviled.

First, I’m gonna define what grinding is so we can all be clear on terms. Grinding is the repetition of a relatively simple series of actions that do not directly advance the game.

In an article on Critical Gaming, KirbyKid explores what grinding is by attempting to come up with examples of grinding, and ultimately concluded that as long as players are having fun and voluntarily choosing to play there isn’t really any such thing as grinding, and I kind of have to disagree, because I think his examples weren’t really on point.

The first example he gives is repeating Mario levels, and then he argues about how this isn’t grinding, and largely his point is correct. Having mario levels repeat themselves, beating each level twice, isn’t really grinding. But imagine that there were a block in mario that generated a coin every time you pounded it and never stopped (or at least had a very large number of coins). Now imagine stopping and getting a ton of extra lives from that block. You’re no longer progressing in the game or engaging in the game, you are staying in the same place and pressing A for a long time. Grinding is a cessation of progress. A modern example of this, in New Super Mario Bros. no less, is returning to the first level and abusing the giant mushroom to get a ton of 1ups. The result is players repeating the same section ad infinitum until they have enough 1ups. The old infinite life trick on a turtle shell is only vaguely more tolerable because you don’t have to actually stick around for it. A lot of people did similar in Oblivion by making spells that did nothing and binding their keyboard to cast them forever while they did something else and their skill levels rose.

The issue with Kirby Kid’s example is that even with repeated levels, you are still making progress as you play those levels, unlike repeating 1-1 over and over to get extra lives.

A big reason I quit Disgaea is because of institutionalized grinding. I reached a certain stage and realized that to get any further, I’d have to go back and repeat prior stages until my characters’ levels were high enough to continue. Then my items all had levels too, and I had to grind to beat each of their levels. The entire game is built around forcing the player to sink as much time as possible into it. Then the sequels gave you the option to restart from scratch with better base stats. It’s one thing to provide a lot of content, but to require close to mindless repetition in order to access it all is positively painful.

Dark Souls was a huge step up from its predecessor Demon’s Souls because it eliminated a lot of the grind based elements. One of the things demon’s souls players still have nightmares about is grinding for pure bladestone. Dark Souls by contrast seriously eased up on absurd random drops, and gave the player some of the rarest random drop items guaranteed. The big grind issue in dark souls is only really present for people who play online and even then those who lose at online. In dark souls to play online you need humanity, which is an item that is dropped by sewer rats (and gained by defeating an enemy in online play or assisting someone with a boss). This means that to play online consistently, you need to go back to the depths every so often and kill rats and hope they drop humanity. This can be mitigated somewhat. Drop rates on humanity in the last patch were multiplied by 20, and you can use humanity, enter human form, and wear various items to increase your drop rate further. Also an option is to skip beating the boss of the depths, the gaping dragon, allowing black phantoms to invade you while you are farming. All in all this is a step up from the prior method of online play which required you to beat a boss every time you wanted network functions enabled, but it’s stull pretty tedious.

One of the Castlevania series’ advantages after going the Metroidvania route is that they never forced the player to grind in order to beat the game. The level progression enables the player to keep up their health and damage output as they progress through the game and never really fall behind the enemies, meaning that they will never need to grind. The big trouble is though that these games included random item drops, which boiled down to exiting and re-entering rooms to kill the same monster over and over again for hours on end to get rare items, including weapons. Order of Ecclesia eventually solved this problem by having new weapons (in that game represented by glyphs) obtainable by absorbing them when enemies cast spells or at specific hidden locations. It still had randomly dropping items, but these were less required than ever.

The classic deal in every JRPG or MMO conceived is that the entire game has become less about overcoming challenges and more about making your numbers go up. This is why people raid, this is why people battle monsters outside of town for hours on end. The reason for this being popular or people subjecting themselves to this arduous process at all is detailed in my skinner box and sunk cost fallacy essay.

The reason this is bad should be obvious, it’s dull and unengaging. It doesn’t require anything beyond minimal interaction or thought from players. Even in a game with a combat system that has depth, grinding boils down to a tedious repetitive process.

Shin Megami Tensei Nocturne and Digital Devil Saga are great examples of this. They have perhaps the best and most strategic combat systems of any JRPG, but they also practically mandate grinding to succeed, which makes them a lot more annoying to play, which is why on some of the DS titles, I ended up using experience multipliers on new game+ so that I could focus on playing the game instead of wasting time on grinding I had already done.

The next question to ask is, what can be done about grinding? There are a few possible solutions. These include, tying experience gains to plot events, having a finite number of enemies, having anti-grinding algorithms for experience gain, having ability gain be attached to player performance instead of random drops, decreasing level caps, and creating combat systems that enable a low level player to defeat a high level enemy with enough skill.

Tying experience to plot events is something that was done by the original Deus Ex and Vampire The Masquerade: Bloodlines. You gain experience when you finish quests, side quests, or complete objectives. What this means is the player is only capable of gaining experience in proportion to how far along they are in the plot and they cannot farm enemies for experience, and now have no real motivation to do so.

Finite enemies is very similar to tying experience to plot events. This can provide a more direct reward for combat and can similarly prevent infinite grinding. However without regulation it can lead to grinding just the same. On the Rain Slick Precipice of Darkness is a great example of finite enemies done right. Every enemy encounter is given care and instead of grinding, it turns into a game where the player actively looks forward to finding new battles. Players are forced into enough battles to ensure their stats are never particularly low, and it’s impossible to grind your way up and destroy the difficulty.

Anti-grind algorithms would be something along the lines of scaling exp drops in proportion to how strong a character should be at a given point in the story. A diagetic rationale for this would be that a character does not gain much by facing the same enemies over and over again, nor enemies below their skill level. By regulating experience more directly like this, it can limit the effectiveness of grinding and generally keep characters on track with where they should be. Underleveled? Defeat monsters way stronger than you for scaled up experience so you’ll be on track in no time. Overleveled? You’ll earn less and less to prevent you from getting too much of an edge. The big trouble with this method is that it takes a lot of effort to balance on the part of the designers, but difficulty is always hard to balance.

Random drops are a big feature in a lot of RPGs with respawning enemies, and frequently players are required to kill the same enemy for long periods of time to farm a resource or obtain a rare weapon. In general I think systems like this are best left out, attach rare weapons to bosses, or secret locations or puzzles. Don’t waste player’s time, give them real nonrepetitive goals. Dark Souls did this by having every unique item and a lot of rare non-unique weapons be tied to a specific location instead of forcing the player to grind for them. There is no item in the game that requires players to grind in order to get it, and that is a good thing.

Level caps should probably be decreased across the board. High level caps are not inherently good nor bad, but it’s better to have fewer levels and make them count than long gradual progression, which almost seems to demand lazy filler level design and grinding to fill out (see Disgaea).

EDIT: Add Ys solution example with enemy quota.

The final thing that can be done is creating battle systems that enable players to win even when locked to level 1. Examples of games that do this are Dark Souls, Castlevania, and The World Ends With You (notable for people frequently doing level 1 runs). The primary thing that creates a game like this is the ability to avoid damage via rock paper scissors type systems. It’s possible to beat all these games without taking damage. An alternative to this is keeping lethality levels consistent throughout the game (such as in legend of zelda which almost never has an attack that knocks off more than 2 hearts). This can help deal with grinding by largely making it unnecessary. If you do not need to grind to win, then it frequently creates a more natural level progression. Dark Souls in particular is notable for penalizing high level players (200 and above roughly) by preventing them from easily invading and being invaded by other players due to how the matchmaking system works (in demon’s souls matchmaking would fail completely).

Not all of these systems are suitable for every game, but between them they can help empower games to be more capable and interesting while also being less repetitive. Grind based games have always had the particular flaw that the player is not really asked to improve nearly so much as their character improves for them and the game actively conspires to force the player to sit through the same content rather than allowing them to keep moving onto new content. It means making battle systems that are themselves engaging rather than the (dying) trend of trying to sell an RPG on story alone.

Relationships and Dimensionality

The basis of depth in a game isn’t how complex it is, it is the means by which those complexities interact. The interplay between elements.

This is highly related to our concepts of dimensions. Spatial dimensions overlap and envelope each over and creates depth between them. Even our language mirrors this thought process, such as saying a character is two dimensional, flat or a narrative is deep. Depth as a narrative term comes from the literal meaning of the word depth.

Depth in games should be about adding new layers to games, new means by which the player must interpret them to succeed.

The most basic demonstration possible is to imagine a 1d game, a game where you are on a line. In a game such as this, if you encounter an obstacle. You have no real way to go around it, only through it. Collisions occur when your position is the same as another object.

Now imagine that there are two of these lines, one vertical and one horizontal, and they both operate independently on this principle. This is an added complexity, but it is not really depth. Now imagine that collisions only occur when your position is the same as objects on both axises. Beyond that, that whenever you shift on one axis, the other changes. In accordance with the shift, the prior object is no longer in your way. This is now effectively a 2d game, it has another dimension added to it. It is now possible to go around objects instead of going through them. This could be represented as a flat picture now instead of just 2 lines. But then, how do you get around objects which do not have an opening somewhere for you to go through?

Imagine there being a third line, and objects on that line can only be collided with if you are in the same position as them. Then, you can tie that into the prior two lines, and bind them all together, creating three dimensional space.

Beyond this, imagine that there were another dimension, and that analogous to the prior ones, as you moved through this dimension, objects in the other dimensions seem to shift around you. One such dimension already exists, and it’s time. The difference between time and other dimensions is that it cannot be seen, as our methods of seeing are themselves subject to time, and that collisions cannot occur with time, time passes whether we want it to or not.

Imagine another such dimension, it’s a bit hard to think about, because we don’t actually have another spatial dimension. Imagine that as you travel through this dimension, space and objects around you warp and change. One obvious metaphor for this could be color or temperature. Imagine that you could only see objects if they were the same temperature or color as you, and that you could only collide with them if you were the same color or temperature as them.

Perhaps this idea could itself be used as the basis of a game?

Randomized Horror

Horror games are a genre infamous for almost no one doing it right. Creeping horror is in uncertainty. It’s in tension. It’s in that horrible dread that tightens up your chest and slows your pace to anxious steps. A big trouble with too many mainstream horror games is you can metagame them. A while back I streamed some early areas of penumbra. I did some unfunny joking about the night vision and the various bits and bobs around the environment, and upon review of the footage, the only times I was really scared was generally when something was uncertain or acted in a way I didn’t really expect. The trouble with a lot of horror games is that a player can easily extricate themselves from the situation. They know their surroundings are not going to hurt them generally, so a reasonable player feels totally safe in an area they’ve already explored or know has no enemies. What a horror game must do to terrify a player is threaten them personally through deception and subtlety.

I think in a way that horror movies have a power stronger than games because in a horror movie, that shadow on the window isn’t a scripted sequence that your can run around or ignore, it could very well be a real threat. They don’t have to obey the limitations of the game engine, in the movie’s world, that black tome with blood running out of it is scary for being what it is, whereas in a game’s world, you know it’s just another trigger for an event flag.

Playing penumbra, the moments that scared me the most were when you entered the work area past the first dog, opening the gate into the next area after the power generator puzzle, and the spider cave.

When I entered the work area the first time, I had to pass through a wooden door. I assumed at that moment that the dog couldn’t open it. In most games an enemy like that couldn’t. Then I got a little pop-up telling me I should block the door. I thought it was rather clever of them to plan like that. So I stuck a barrel in front of the door and stood back to watch it as the dog approached. Then the door opened as the dog nudged it and I gasped really hard. I hadn’t blocked it terribly well, but I had no idea the physics would work like that. Afterwards the dog immediately discovered me and I ran away only to die. At that point I commented nonchalantly on how I was gonna die and all the tension was really gone. The true tension wasn’t the thing itself, it was the horror of uncertainty.

The second time I entered the work area I was certain to place a barrel in front of the door, the another, then one in front of the two to stack further weight onto the door. This time I was sure the hound wasn’t getting through. Again I watched the door. The dog approached and I thought it left. Then the barrels exploded as the dog crashed through the door. I shouted and was chomped down by the demon dog soon after. They managed to catch me with the same trick twice. The third time I wasn’t fooled and left immediately onto the next area. I even ended up running around the dog a bit to lead it out of the way and grab things I needed around it.

The gate opening and spider cave were both freaky for similar reasons. I had the enemy right in front of me and had to brush up close to them to get past. Before opening the gate, I ran around the surrounding area a lot. I was sure there weren’t any enemies except the dog behind the gate I was unlocking. When unlocking the gate itself, I had to run up to the button, lead the dog up to a catwalk, then hop down the catwalk, and with the time I bought, get away. It was tense and in the process I was even bit once. The spider cave was worse.

In the spider cave, I soon discovered that the giant eggs hatched and I needed to run away, warding off new swarms of spiders as I went. It was very claustrophobic and I died a few times. I always hated approaching it again because of how harrowing it was. At one point I got autosaved in a section where I had to bust down a wall and of course the hammer’s controls are very awkward. The auto save however was not far along enough in the tunnel and I replayed over and over only to discover it was impossible to break that wall with the time allotted before the spiders killed me and I had to restart from scratch.

If you’d like to see my freakouts, I have a trimmed version of the stream on youtube, mostly with me being unfunny. https://www.youtube.com/watch?v=GGnWlPEUnac

A recording of someone frantically trying to convey information only to be squelched by some unknown enemy. This is a common horror trope that, to me at least, completely fails to scare. In real life, it might make me worry about what sort of creature might have cut the informant short. In a game, it’s usually an abstract threat at best. A lot of these narrative set pieces are, and a big issue with them is how scheduled and by the book they are. The writing in blood on the wall doesn’t scare me because it’s not real blood. In a movie’s world, it’s real blood (but still the effect is dampened because it’s not real real blood). In the real world it is real real blood and jesus christ, why is someone bleeding out here. In a game’s, it’s a decal. Blood isn’t a sign of a struggle in a game’s narrative, it is wallpaper. The only place where blood is a sign of struggle is a multiplayer game and in those, the decals vanish rather quickly (for that matter, why has no one tried making a multiplayer horror game? Dead space co-op doesn’t count because it’s not a horror game.)

What games must do to scare us is make these set pieces into real threats. They must educate us about their threat worthy nature, but not drag out the fountain of blood every time they pop up, they must create uncertainty. Silent hill 2 gave the player a radio to help detect monsters and at first it was accurate, but over time it sent out false positives,warning the player of threats that weren’t there, and misdirecting the player. This would only be possible if it first gained the player’s trust.

To create true uncertainty, I believe that fractal or random elements must be introduced. Games by their nature are frequently replayed. Because enemies kill you, and you restart at checkpoints or save states, you may find yourself replaying the same section a few times or even ad nauseum. If everything merely repeats itself, then there is no uncertainty. What may have shocked you the first time could become mundane, dull, or worse, tedious if repeated. To ensure total horror, the game needs to mix it up. This could even be as simple as scripted events like a torch igniting on its own, a bat swooping down and shrieking, or a shadow crossing past a window, having a 1 in 10 chance of activating as you pass them.

More pertinently, the enemies of the game should have calling cards. They should have distinct recognizable sounds, marks they leave on the environment. Have them kill the player in certain ways, then leave bodies in new areas behind for the player to discover and recognize that loathsome nemesis is back. Better yet, have these calling cards be randomized, have them sometimes tell off the player and some playthroughs not be there at all.

Play with common fears, especially those which are in some way physical and can affect the way the game is experienced: fear of tight spaces, fear of insects, fear of heights. Most of all, make them intermittent. Games have this fantastic possibility to directly engage and horrify like nothing but life can, but best of all, they can do so in ways that can’t be metagamed, solved, or even remembered, unlike a movie that always pulls the same tricks and plays the same way every time. The key to this is randomness.

More than anything, prey on a player’s lack of information. Make them believe there are threats there aren’t, but also give them a legitimate reason to believe there is a legitimate threat by sometimes having it be an actual threat. Make visibility difficult and give them a hard time figuring out the positions of enemies, through darkness, obstruction, or camouflage. Have the enemy’s silhouette flit by. FEAR absolutely terrified me with the cloaking device ninjas or any hint of them where the actual scripted horror sequences I was more bemused by. I even took pictures. I know I shouted several times when dealing with the ninjas and my general strategy with them was always to crouch in a corner and desperately try to ward them off until I was sure the area was clear.

Full 3d Fighters

Are there any successful fighting games in the vein of games like Bayonetta, DMC, and God of War, ie. a 3D environment, weapon switching, styles, etc?

Most 3d fighters are either in the tekken/virtua fighter/dead or alive/soul calibur category, or they suck. Few notable and arguable exceptions include Power Stone, Ehrgeiz, and maybe like one other. I haven’t played any of these, I know next to nothing about them, so I really can’t comment, just a number of people vouch for those games, and I’ve personally tried a number of the cyberconnect2 games and they’re complete trash.

I tried working out a game design to basically port the DMC style of gameplay into a versus setting once. Most of the big design issues are that DMC (and Bayonetta, and so on) has combos that do a ton of damage and are really easy to lock someone into. They need infinite prevention measures, damage scaling, an undizzy system, and probably some type of directional influence and air/ground tech system to really work without becoming completely degenerate to long unending high damage combos. This also probably means hitstun rules will have to be rethought.

The other significant issue is that these games don’t tend to have very varied defense systems. They’re kinda one-note stopping at dodge and parry. There’s no way to block for a sustained period of time, and the block that is in DMC is omnidirectional. You’d need to either adopt a smash bros paradigm where blocks can be concentrated in a direction and get weaker over time, so they can be stabbed through and aren’t a perfect aegis, go back to the classic paradigm of high/low blocks, or figure out a completely new blocking system. Blocking should generally be a reliable, easy, low skill defense, with obvious safeguards like chip damage, guard breaks, or guards getting weaker over time to prevent turtling, and ways to get around it, change the opponent’s block zone so it isn’t perfectly consistent all the time. Action games typically have a number of high skill defensive systems, but in a fighting game context you aren’t going up against enemies that telegraph their attacks far in advance, attacks will rightfully be timed so they cannot be reacted to, and must be at least partially predicted. The alternative is extremely easy defense, making commitment extremely dangerous, shifting the game in the direction where people are afraid to attack. Also throw type options are relatively scarce in action games, and Nero’s throws are perhaps a bit overpowered. The ease of mobility might make getting close to opponents easy, so having close range nearly instant throws would maybe break a lot of the dynamic, maybe not.

The final issue is that most moves in these games aren’t really designed to fit together or work around the other moves that player characters have. In fighting games you have a lot of different types of counterplay. Moves tend to work against each other in a number of different ways based on how they move you through space, the areas they control, and how they leave you open to other attacks. To really make that thing work, you’d have to rework a lot of moves probably.

 Are there any concepts of ideas that you think would make a really cool game or that you feel haven’t been properly implemented in a game yet? Like I’d love to see a Godzilla/kaiju game, but everything up till now has been some awful, mindless brawler. Omegalodon had an interesting idea, but it was

I think that the control schemes we have currently aren’t really suited to games of that scale. That or we’d need to make a lot more advancements in animation and physics engines like euphoria. Like a critical thing about large monsters is their massive size, and more particularly the articulation on each of their limbs. Like in shadow of the colossus, there’s a massive amount of specific articulation that allows the colossi to be interacted with directly, have very accurate moving collisions. A computer system can handle interactions of that nature rather easily, because it can control each limb individually, but when you hand that over to a human, it’s completely impossible to really control each limb with only a dual analog controller.

Our controllers are good for moving around solid objects. Most video game characters are solid boxes, cylinders, or pills as represented in the environmental collisions. They’re essentially a big solid object that gets moved around as a continuous whole, then the character’s animations are rigged onto that, and the character’s more specific hitboxes are attached to their skeleton. Smash Bros characters for example are actually this diamond shaped collision object far as the stage and movement are concerned.

In Mirror’s edge you have a ton of more specific environmental animations made that correspond to character height in a lot of circumstances to kind of cheat being a more versatile hitbox, but Faith is a cylinder specifically.

I think that to really sell that genre, we’ll need a character AI that can naturally overlap the control inputs, much like the euphoria engine already does. I dunno how well euphoria works for characters that aren’t humanoid though, or on diverse terrain.

Concept I’m looking for is a true 3d fighting game or multiplayer 3d brawler. Nobody has quite gotten it right yet, most have stupid lockons or weak counterplay.

How can full 3D fighters like those terrible Naruto games become better designed so that the mechanics presents more complexity and ingenuity; getting rid of the shallow, repetitive nature plaguing these types of games?

I spoke about this in a previous ask a lot with my schema for a multiplayer DMC type game. The biggest trouble with full 3d fighters is making the game 2 dimensional, then 3 dimensional. Imagine a 2d top down game, like Zelda or Ys, in these games you have 2 dimensional relationships with the enemies. You move around their attacks and try to hit their sides (especially in older Ys games). In 2d or current 3D fighters, you have jumping, double jumping, hopping, air dashing, or other forms of up down movement that create a 2D relationship between the fighters. If you’re exclusively fighting on the ground then the relationship is closer to 1D, but not completely, because you can crouch to go under hits, and limbs extend out at different heights and can hit or miss each other. In current 3D fighters there’s also side stepping and tracking moves. Side stepping adds a shallow type of 3D into the mix, tracking moves home in on someone side stepping, some of them home exclusively to the left, some exclusively to the right, some both ways, some not at all. This creates a type of counterplay.

In the naruto games, gundam vs games, dark souls, anarchy reigns, and so on, there’s a very one dimensional relationship between the player and the enemy they’re locked onto. The lockon system makes it so both of them face each other. Players can’t crouch under some attacks (and it would look weird from a representation perspective probably, hard to judge that type of space), Attacks rarely can be whiff punished (attacking the opponent’s outstretched limb after they attack), mostly because the sense of scale and pace of movement makes that type of thing impractical over attacking their body directly, and also because these games rarely model the collisions with that much detail. Melee attacks in these games typically home in, further reducing the space component. These factors together collapse a lot of that sense of space down into one dimension, the only factor that matters is how far you are from your opponent and how far your attack reaches.

Dark Souls actually combats this a bit to give more a sense of space, when you attack, just as the swing starts, you’re not allowed to turn any longer, so the attack is forced to go in the direction you were facing. So this means the opponent can strafe around your attack and you don’t face towards them while you do. This means that dark souls players, especially those using heavier weapons, need to turn their lock-on off when they attack and manually aim where they swing. This means that during that phase, they’re not playing dark souls as a 1D game, but as a 2D one (dark souls still doesn’t have significant differentiation of the height of attacks because people are standing all the time and there’s no jumping in combat really).

The key to making a good full 3d fighter is really making a good 2d topdown fighter first, then adding things like jumping, crouching, and moves that hit at different heights (think of god hand).

Examples of stupid lockons in 3D FGs/brawlers? Were you referring to games like VF/Tekken/DoA or stuff like Anarchy Reigns and other MOBAs?

Actually referring more to things like the DBZ/Naruto games or Rise of Incarnate/. Normal 3d fighters have a camera that is kind of complicit in how they work, and that’s alright for that style of game. I’d just like to see a branch out into “true” 3d fighting, which I don’t think anyone’s quite managed to make interesting yet.

The thing is, if you have a perfect lock-on, then it kills a lot of the spatial dynamic. Suddenly it doesn’t matter as much where your sword swings or what area of space it occupies, only distance to the target matters, so what might be a 2d or even a 3d type of interaction becomes a 1d one. In Dark Souls and Chivalry for example, there are a lot of reasons to remove your lockon or aim in another direction than straight at your opponent. In Chivalry, I’ve seen people duck under or jump above slashes, and people frequently spin to change the way their sword slashes or its hit area.