Best Way to Present Game Tutorials

What do you think is the best way to present a tutorial in videogames?

Anyone can tell you that the best approach is generally structuring a level so that it suggests what you need to do and creates a barrier that you can only pass by demonstrating the skill you’re supposed to be learning. Much like Mario 1-1, or many Megaman levels.

Not everyone can read, not everyone wants to read. Sometimes reading is necessary to explain what the controls do, and it’s nice in those cases to present something that users can call up, and which can be called up again once dismissed, much like the soapstone messages in the dark souls tutorial. The downside of these is, they are not automatically activated, some are easy to miss, and many of the challenges in the tutorial can be bypassed without actually learning what the soap stone messages are trying to teach you. This is a good thing for repeat players, because it’s faster and less annoying, but a bad thing for new players.

Mirror’s Edge has a tutorial that holds your hand much more. I don’t really approve of its tutorial design, where you are constantly stopped for cutscenes or tutorial messages that take time to skip or cannot be skipped. It is programmed so you must do every step of its tutorial the way it wants you to do it, ensuring you actually learn the skill they want you to learn, consequently, it’s really easy to break the tutorial, making progression not impossible, but requiring you to go back to the last step. The Mirror’s edge tutorial can be skipped in the menu, which is very nice. The Dark Souls one cannot, which is kind of a pain.

The ideal is to have no tutorial, you want to get to the meat of the game as soon as possible, and the game itself is kind of a tutorial in a way, offering lessons and punishing you for messing up. Most level design literature focuses on the nature of level design as a form of teaching, which is what makes shovel knight, which listened to ALL of that literature, kind of a slog to play, even if it does teach you every level’s gimmick then iterate on it slightly really well, it means that late into the game, you have to endure that type of slow progression until the final couple levels actually try to challenge you. If you need to use a video, consider letting the player control the video, with a mouse and a play bar, much like youtube. Hell, consider this for all cutscenes maybe.

Even if having a wordless cutscene-less tutorial is ideal, sometimes there are concepts that players just won’t get unless explained to them, and even if it’s bad User Experience, you just gotta shove a video or a block of text in their face. This means you have to play test and find out whether players are actually understanding the concepts you’re trying to teach them. Making a good tutorial is a balance between allowing players that understand to pass through as quickly as possible, and making sure players that don’t get it will come to understand it quickly, and not get by without learning it. This is going to be different per-game.

How important do you think tutorials or instruction manuals are? I guess it would really depend on the genre/game. Case by case basis and all.

Nobody reads instruction manuals anymore, and instruction manuals suck these days. The MGS3 instruction manual had a goddamn comic book in it, how cool is that?

Anyway. They’re really important, come on. The more you have to teach people, the more important they become. If you don’t teach people anything and your game requires them to know things to play it, then what the fuck are they gonna do?
Yeah, it does scale by genre/game, because some have more obvious characteristics and less complicated/more intuitive controls, so you don’t have to teach as much directly, but if something isn’t reasonable to intuit, then you gotta teach it.
Fighting games are in a big way brought down because they don’t have good tutorials/single player modes.

Smash Bros has a better single player mode than 99% of other fighting games. The Skullgirls tutorials are kind of fun in their own way because they set up some mildly tricky tasks and have clear completion markers for all of them. Combo trials in other games end up being way too difficult/invariant to represent a solid single player mode for most people. Guilty Gear Xrd has some interesting trials that are similar, and a good grading system on them too, grading for consistency, and their missions mode was cool in AC+R.

Give that a bit more structure, maybe some branching paths between mission unlocks, a bit of story perhaps, and you approach something like the Soul Calibur campaigns in terms of polish. Figure out how AI can be geared to teach players specific fighting game fundamentals (like the blockstring bot in skullgirls), and it will help introduce players to the multiplayer mode, and give them a framework for understanding how the fuck things work.

What would you consider to be the absolute greatest aspects of melee’s gameplay?

Note: Not one of the best asks, but keeping it on file for later

I dunno. There’s a lot of individual things it succeeds at.

It has a unique ground and air footsie type of game that resembles something between Street Fighter’s (poke, whiff punish, go deep/throw) King of Fighter’s (shorthops beating lows, beating high jabs, beating shorthops) with less blocking, and faster, harder to control, ground movement, with a grab option that’s used more similarly to a whiff punish, and dash attacks used in the place of a throw typically. The characters all have different dash dance lengths and the dash state locks out other options, which is cool. It has shield pressure that’s based primarily on scare tactics and frametraps with few true blockstrings, and no way to get + on block, so no true tick throws. This probably resembles 3d fighters based on what I’ve heard about them, but I don’t have enough experience to say. Like using the threat of a frametrap to continue spamming the unsafe setup for a frametrap so you can paralyze them long enough to let you just grab them. It has combos that vary by how much damage has already been taken, with new options opening up and old ones closing by %, Combo trees that vary depending on your opponent’s DI which you need to react to at each step and the possibility of hitting your opponent opposite the way they expect to trap them in bad DI for a longer punish. It has the dynamic of DIing to escape a combo versus survive the next hit, which can lead into DI traps, as rather than going for a linker attack, you can go for a kill move, where their attempt to escape kills them. In that way, there is also the mechanical skill of DIing as perfectly as possible to attempt to aim yourself at the corners of the screen, so you can sometimes survive longer at higher %s. Then there’s recovery, which is different per-character and usually involves mixups in whether you go high or low at each stage of the recovery, and hang onto your character’s air stall options to either avoid their offstage edgeguards, or bait them into letting go of the ledge, since you can only occupy it with invincibility for a certain amount of time.

I posted this to 8/v/ in the past, and I’ll repost it here:

Melee vs fighters

Pokemon Overview

What do you think of pokemon games? I imagine you don’t enjoy them but I’d like to hear your thoughts

I’ve played, Red, Yellow, Gold, Silver, Crystal, Ruby, Emerald, Diamond, Platinum, Soul Silver, and White. I beat all of them except for White, where on victory road I realized I was so tired of playing Pokemon, and quit.

Pokemon Red was the first game I ever owned, though not the first one I ever played.
Of all the RPGs I’ve played, Pokemon is perhaps one of if not the most complex. You’re given a huge number of different characters you can capture, they all have different types, they all have different moves that themselves are of different types. Some of these moves are strong or weak against other types of pokemon, the moves get a boost if they’re of the same type as the pokemon using them. The Pokemon have 6 different stats that affect their moves, which are increased both through their level and EVs which are distributed by the pokemon they beat. Pokemon all have different abilities that occasionally affect combat. Pokemon can hold items that affect combat.

Downside, none of that shit matters for clearing the game. You don’t need to know the intricacies of the system, at best you need to memorize the elemental table. Most of beating the game is just grinding and picking pokemon that are super effective against enemies without letting enemies have anything super effective on them. Most enemies, especially in the newer games which are easier than the old ones, don’t carry 6 pokemon and tend to pick entirely the same type for their team. They also quit doing the end-game content like battle frontier or battle subway with tougher challenges that play to the competitive meta.

On the upshot, the multiplayer can tend to be rather complex, with team composition being rather tricky with all the crazy variables you gotta keep in mind. Down-side, EV training used to be bullshit (I heard it got better), and a lot of the battle system comes down to dumb luck. Chances of missing, chances of inflicting status conditions, chances of critical hit. Even though you can use a simulator these days to skip all the tedious pokemon training, competitive play is still pretty much a wash. I’m sure there’s more to it that I’m skimming over because honestly I never got involved in it, but it sounds like a pain to me. There is probably a fair amount of depth to it, but I don’t want to get involved enough in it to find out. In that regard it is probably the most successful RPG in the multiplayer department, and in comparison to most other JRPGs, it also succeeds in pure complexity/differentiation between game states, because even ones like Shin Megami Tensei have a ton of redundant spells that are just stronger elemental damage, where Pokemon made almost all of its moves unique from one another and a massive amount have additional effects. Shin Megami Tensei games succeed on the single-player level because they stress the strategic parts of their system a lot more and aren’t afraid of stacking the deck against the player, though I think they would fail if they ever had a multiplayer component.

Yeah I’ve always felt that they could really bring pokemon to the next level by adding a higher difficulty campaign that stresses the strategic part of the game. I was honestly expecting you to bash the game.

Hahaha, I love how they were asked about adding a hard mode by a fan at one interview, and the guy was just like, “What? But then nobody would be able to finish the game.”

You know I’m harsh on RPGs and kind of a hard-ass and cynic in general, but you also know I’m gonna tell the truth as I see it, and try my best to tell the whole story without distorting anything.

What did you mean by “Pokemon (lots of configurable parts, every monster you encounter is made from commonly accessible parts)”? From: https://critpoints.wordpress.com/2016/08/10/games-for-learning-about-depth

Every Pokemon has 6 stats, HP, Attack, Defense, Special Attack, Special Defense. They have a level. They have EVs and IVs. A Nature. They have 1 or 2 elemental types. They have 1 of 1 to 3 abilities. They have a gender. They have a happiness level. They have 4 moves, each of which has an attack power, an accuracy level, a certain number of PP, an attack type, an elemental type, and sometimes an additional effect. These moves can be one of a pool of moves that they either learn at specific levels or can learn from a TM or HM.

These are all the things that can possibly affect the outcome of a battle in even the smallest way.

Beyond that, and unlike most other RPGs, every single enemy you will encounter for the rest of the game follows the above rules. There is no enemy in the entire game that you cannot possess and make an identical copy of.

In Shin Megami Tensei, a lot of wandering encounters follow those rules, but then the bosses don’t, and of course there aren’t nearly as many configurable attributes as above. In Final Fantasy, you can forget it.

Beyond having so many different attributes, isn’t Pokemon shallow because encounters are just about optimization, it’s just that there’s a lot of knowledge involved in it due to so many parts? I think you’ve said this yourself? so is it a good depth example in that it shows how *not* to do it?

I’ve covered pokemon before. Yes, the direct act of interaction during a battle is kind of shallow. It’s mostly about deckbuilding. The standard campaign doesn’t force you to get good. However it’s still an example you can learn from, because few other RPGs do the same thing pokemon does. Few other RPGs have characters that are that complicated.

MGSV

Is MGS5 any good?

I’m enjoying it so far. Seems to have a ton of stealth tools to fuck around with. Missing maybe a couple that were in MGS3, like you can’t keep animals in your inventory anymore, or food. Doesn’t seem to have the porno mag anymore. The controls feel really nice, but the Dive move sucks when it could be awesome. I wish that you could press or hold space to make the dive into a roll back up into standing or crouching position, and that the dive could go over obstacles. In MGS3 you could roll over low bearing obstacles, like a railing, or through a window. The jump command is also a bit weird, working like a zelda jump, except there’s also a button press too. It seems like the complete product, tons of missions, tons of people to kidnap, you can analyze their skill rank before you kidnap them, you can shuffle people around in mother base to open up different upgrades. They recycle some buildings within the same area though, I’ve run into the same prison building in Afghanistan like 3 times. They have a really clear differentiation between the benefits of lethal and nonlethal play. If you play lethal, then the guy will never come back to haunt you, but he’s dead, which is a waste of resources. Nonlethal tends to be quieter up front, so you’re not calling in an alert, but you have to deal with enemies waking up later on, and your resources are more limited, so you need to aim well. You can run super fast and never get tired, which rocks. If there’s a sandstorm going on, or rain, then you can even do it really close to enemies. The cardboard box was expanded excellently, and rain will destroy your box. A lot of the technology doesn’t match up with the time period, and seems really inconsistent with the later games, but I’m honestly happy they did this, because its given us one of the most expansive toolkits in any stealth game. And HOLY CRAP my first encounter with the new metal gear was crazy.

I once hit a guy with a tranq in his chest, causing him and a buddy to come after me on the rooftop, as they were climbing up the ladder, the guy I hit passed out, and fell, knocking out the guy below him, so they were both unconscious. There’s some stylish stealth potential possible, and a ton of ground to do it across.

In another part I had two guards really close to one another in a tiny room, I knew that if I tried to take them out, at least one would see me, and no matter how many magazines I threw, they wouldn’t budge. So I threw a smoke grenade at the door to cover myself, then tossed a stun grenade inside the room, stunning them so I could knock them out, and it totally worked.

Other major criticism is that many things require real time to build, like base platforms which can take 1-2 hours to complete, and later upgrades start taking 18 minutes, maybe longer as I get further in. There isn’t a way to pay to make it go faster, I don’t know why this feature is there. Also the timer only counts ingame time, so you can’t quit and come back later.

Is MGS5 have as many options gameplay wise as the thief series? Are the levels as wide open?

It has way more, it’s from the series that had MGS3 after all. Thief 2 has like, Blackjack, Sword, Broadhead Arrow, Water Arrow, Fire Arrow, Moss arrow, Gas Arrow, Noisemaker Arrow, Rope Arrow, Vine Arrow, scouting orb, Flash Bomb, Explosive Mine, Flash Mine, Gas Mine, Explosive Charge, Frogbeast Egg. You can also jump to make a loud noise, or throw environmental items.

The Phantom Pain has, just to focus on stealth oriented items, The tranq gun (which will vary how long it takes to knock someone out based on where you hit), tranq sniper rifle, the cardboard box (which you can now pop out of to toss items or shoot, also stand up or crawl in), unlimited supply of bullet magazines for tossing as a distraction, C4 which can be remote detonated as a distraction, smoke, which gives visual cover and stuns people, stun grenades which actually stun people, sleeping gas grenades/mines, decoys that are remote activated (enemies will start to use these themselves), the stun arm which allows you to electrically shock targets, your various choices of camouflage as usual, stealth action camo, you can do melee attacks to take people down, knock your bionic arm to make noise drawing people, or grab them and drag them around before interrogating them, then knocking them out, you can hold enemies up much like in older games, even CQC them to take their weapon and hold them up, and of course the fulton recovery system for cleaning up bodies. There’s even a squirt gun you can unlock, which is uniquely useful for silently shorting out electronics equipment and putting out fire based lights.

There’s a lot of options and a lot of ways to use them. Missing a few of the older options like the porno mag, but it’s whatever. Also cool is that if you overuse certain types of approaches, the enemy will begin to deploy countermeasures, like putting helmets on the soldiers you headshot, gas masks if you use smoke, higher grade body armor, deploy decoys in their base, night vision goggles and flashlights if you attack at night a lot, and of course more powerful lethal weapons.

The levels are all part of a huge interconnected world, so for many areas you can infiltrate from a lot of angles. There are cliffs and walls and other terrain features limiting you in some ways, and the areas used for story related missions are frequently on the edges of the map where they can make it more linear using the cliff faces, they’re still a lot larger and more open than prior MGS games, with more enemies. Pretty sure more so than Thief games too.

The Incompetence of Western Boss Fights

Why are western dev’s incapable of making good boss fights?

Lemme make a list of western and cross check their various traits. I’ve looked up various “Best Boss” lists on the internet to source these. I’m going to try not to cherrypick bad bosses on purpose so I can pick on them, though I will include bad ones I find on multiple lists.

On analysis, I find the primary problem with the bosses I found was that there’s no risk and reward. Everything is defined in clear cycles You’ll notice that in most of these, there’s no movement while attacking, there’s no movement between attacks then stopping to pop one off at a risk to yourself. Generally the players do not damage the bosses while the bosses are attacking them. A lot of it is, “Do this simple skill challenge to avoid taking damage, then do this simple skill challenge to deal damage” A lot of western bosses throw in enemies, because their enemies are better designed than the boss is, but this leads to bosses feeling homogenous with enemy encounters. Bosses frequently get stunned after specific actions, prompting you to wail on them. In Eastern games, you frequently have to work to stun them as a bonus for efficiency and preying on difficult to abuse weaknesses.

Bob Barbas (DmC)

The one is extremely lame. Lasers rotate, you dodge them. Pound sign on ground, beat up stunned boss, fight some mooks w/ alternate camera.

Lady Comstock (bioshock infinite)

It’s an encounter with a mob of regular-ass enemies who revive, and a bullet sponge in the center of them. Boss moves around on cycles after taking enough damage, but it’s mostly to make you move through the other enemies, it’s not really a push and pull type of thing.

Alduin (skyrim)

The boss sits around doing nothing most of the time, there’s no hitstun, so who cares about tanking all the boss’s hits?

Baal (Diablo 2)

Standing still the entire fight just attacking, then moving when the boss teleports.

Vaas (Far Cry 3)

Shooting at a lot of targets rushing in, then a cutscene plays.

Solomon Grundy (Arkham City)

Dodge some attacks, lay explosives when over the 3 environmental points that deal damage and the boss isn’t attacking. Also attack the boss directly when stunned. Every cycle there is something very clearly expected of the player, it is the one right answer.

Hive Mind (Dead Space)

This one, you get a chance to shoot, then you gotta dodge something, very clear cycles here. Then you get to shoot with different controls that are harder to aim. Spawn some enemies, give them time to deal with them, back to the pattern, slam tentacles twice now before showing weak spot.

Poseidon (God Of War 3)

This one is a bit better. It doesn’t always have entirely clear phases, and it lets you damage during the attack phase, though it still has stun phases. Lots of scripted sequences and quick time events.

Raam (Gears of War)

This one actually has some risk. You have to pop out to shoot. Take too long and you get shot. Don’t pop out when he’s shooting. Move away when he’s too close.

Ceraph Warship (Crysis)

Massively shitty boss. Most of the alien encounters sucked because they didn’t utilize stealth in combination with the fighting/suit powers. Duck behind cover. Shoot at a largely stationary target.

Humanoid Reaper (Mass Effect 2)

It’s a cover shooter. Of course the boss is peekaboo. Peek out, shoot until you start getting shot at. Bonus mook included free!

And that’s all I care to go through. Why are they designed this way? Who knows. Lack of creativity? None seem to be pursuing an idea of depth, which in enemy design tends to mean shutting down options the player has in ways that make the enemy vulnerable too, so the player needs to respond to what tactics the enemy is taking, reacting accordingly. The player shouldn’t just get a punish for a dodged attack, they should need to be in position to punish it. If you don’t require the player to make the correct decisions to beat the boss, versus simply following patterns, then winning is a matter of time.

60FPS, Necessary for Action Platformers?

Do you think 60fps is necessary for action or platformer games?

No. It’s nice, but it’s not totally necessary. It’s not something I’d mark a game down for, but I’d leave a demerit. The faster the pace, the worse low FPS is. If it’s something like Marvel versus Capcom or Smash Bros, then less than 60 FPS is actively hazardous. For RTS games, it can run at 24 FPS and work fine. Brood War ran at that. DMC4 is fast enough that 30 fps is a detriment too.

FPS is more important than resolution, neither are be-all and end-all. Both are more important than graphical fidelity, which I feel is the common tradeoff. We don’t need so many elements making draw calls. We can honestly live with less.

Having low FPS makes it harder to see what is going on when something fast happens. It hurts fast games the most. Higher FPS is always better, 60 FPS is what should ideally be the minimum, but the market does not respond to this, and developers generally do not care. Higher fidelity graphics tends to work better in marketing, because it is more clearly demonstrable. Most people claim they cannot see the difference between different framerates, and their purchase tendencies seem to reflect this.

An animator would argue that there are a lot of effects that are put into even 24 FPS animation that people cannot see, but they feel. For example this tends to be true of impacts, like punching people or crashing into things. A common trick is to have the object touch the surface of impact for a frame before the impact happens, to make it feel slightly stronger, or to have the object stretch to the point of impact the frame before it impacts to make it feel even stronger. The audience won’t notice this, but they’ll feel that there is more transition between frames, so the impact will feel stronger in a completely unrealistic way that never the less works.

I think it’s reasonable to extend this to the 60FPS phenomena, even if people cannot consciously perceive the difference, they will still have a clearer perception of what is going on over time.

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.

Classicvania Overview

Thoughts on the older castlevania games?

I’ve played Castlevania 1 and 3. I beat CV1, and I’m stuck on this river/waterfall part in CV3. What I’ve gotta say is, there is no game I’ve played that requires quite as much intense focus as CV3. The game is constantly throwing things at you as you go, and requiring you to commit extremely hard to every button press you make. You need to jump at exactly the right points, you need to jump at exactly the right angle, at the right times, or you will fall to your death. You need to whip exactly when enemies are at the right range. You need the right powerups, need to use them at the right times and absolutely not whip a candle and just grab whatever comes out, because you might replace your level 2 bottle with a level 1 cross, which sucks.

Classic Castlevania finds its depth through level arrangements that force you into enemies in ways that synergize with their movement and attack patterns, giving you slight chances to overcome them. It has enemies work together in ways that are tricky to deal with, often exposing you in the attempt to fight off one. It’s almost always throwing multiple things at you. Like in the early levels of Castlevania 3 you get medusa heads and platforms which flip if jumped on. You get stairs you need to walk down onto skeletons throwing bones up at you (stairs which lock your movement much like a ladder you cannot jump off of). Sure, you only get 3 jump paths, but the level layouts stress the difference between those 3 much more than most games with more flexible jump arcs. The distance of the jump is tuned to require you to walk partway off of blocks as you make the jump, then they’ll throw in a ghost following you around to make the jump even harder or more stressful. Many of the bosses and enemies are simple, but because you spend so long on each attack, it’s a strong commitment in order to deal damage. It’s a question of whether you can get that hit in or it’s unsafe. Because of the restrictions on movement, enemies frequently came at you from places that were difficult to hit, such as above your head or from below you, or in the case of medusa heads, both. One arrangement has an enemy on a platform one block lower than you, requiring you to find a space in its back and forth movement and sword thrusts to move down in order to attack it, but then they stick crumbling blocks at the point you need to drop down. The whole game loves to be an asshole in this way.

It is VERY MUCH like a 2d form of Dark Souls, and I don’t do the Dark Souls comparisons lightly, the games feature very similar characteristics, strong commitment to actions, aggressive level designs and enemy placements. Later games in the Castlevania series even got a nonlinear structure like Dark Souls, but unfortunately their level design had grown thin, and the concept of commitment wasn’t held with as much regard anymore. I feel like Order of Ecclesia was the game that finally got the whole newschool and old school castlevania formula together in one game

Chivalry Overview

What do you think of Chivalry: Medieval Warfare?

It’s a proof of concept. That melee combat works and can be interesting or even unique in the first person.

I first heard of it when trailers were made for the standalone version demonstrating how swords are actually tracked in the engine, and how facing direction affected where the sword was.

A few years ago I picked it up for myself in a sale and was lucky enough to get a huge group of people to play with me, including Allosaurus Rex, Ryan Perez, Devi Ever, Mark Ceb, and some other people from GYP.

At first I didn’t really get what the fundamentals were, I was just swinging and more often than not I got butchered. The sword swings are all slow. You have 3 types, one that slashes across (most area coverage and active time), one overhead (most damage, weird hit angle), and one thrust (most range, least active time and area coverage). You can cancel a swing as a feint before it becomes active. Blocking with a weapon is time specific, but the swings are so slow you can usually time it fairly well. Shields let you block as long as you want, but they block your vision. Kicking pushes people around, and deals a ton of stamina damage and no recoil on shield. Almost all actions require stamina.

The obvious things I picked up were to either swing first to catch them before they caught you, or to wait their swing out and hit them while they were recovering. Or of course block and catch them during the stun inflicted on them. Kick acts sort of as a poor man’s throw option, much like Dark Souls, as do stamina limits in general. So to succeed, I found I needed to read when they were going to swing, and do it first,

Beyond that, I found feinting would fuck up people’s attempts to guard, so I would start a swing, feint, they’d time their guard for when I’d swing, but when the guard let up, I was coming in with another attack. People in shields couldn’t see what I was doing, and they would block in similar patterns. Of course the counter to someone feinting is just to swing at them, because you get a massive time advantage.

At other times, I would swing deliberately early, but in a position where they couldn’t punish it, just barely missing them, so that when they did try to punish, I would be able to punish them for trying.

Another trick is turning myself so I’d hit opponents with my sword sooner, then turning the camera the opposite way the sword was going to keep it pointed at them as long as possible, making the active time effectively longer. You could even slash around people’s guards, over their head, at their feet, etc. Turning helped hit people sooner for a bigger advantage on pre-empting their swings. Turning could give thrusts a wider area of coverage, and help overhanded swings hit over people’s blocks.

The different weapons swing at different speeds, so you’d need to swing sooner to beat out a faster weapon, or could afford to swing later if yours was faster. Archers with knives could get in close and fuck your shit up by continuing to interrupt your attacks if you weren’t careful.

Overall, it’s not the most complex system, but it’s unique.

Difference in the Press of a Button

How would you approach a person who believes that games are a waste of time and that there’s no difference between a mindless ‘clickr’ game and any other game, other than different and more difficult ways of clicking?

They are a waste of time, relatively speaking. They’re things we aspire to waste our time on.

For one, different games affect us differently, put us into different mental states. Clickr games are made to create an addiction more than genuine enjoyment. http://sirlingames.squarespace.com/blog/2012/8/22/addiction-diablo-3-and-portal-2.html
We play different games and different genres of games for different reasons, obviously. This is why similar tastes congregate in similar demographics.

I mean, sure both cookie clicker and whatever other game eat up your time, but not all recreational activities are created equal.

You don’t necessarily have to approach them with the intent of convincing them that games aren’t a waste of time, but how would you explain what separates, say, Quake or Melee from Cookie Clicker?

The games operate fundamentally differently. What separates programming from essay writing? What separates playing a guitar from guitar hero? What separates weight lifting from sports? Painting from note taking? Even though something might have a similar or identical input system, they’re not the same thing. The difference is created by context.

Cookie Clicker and games like it are built specifically to prey on extrinsic rewards, which tend to grow weaker over time, which is why they keep up interest by steadily exponentiating your income, so you don’t just earn move, you earn orders of magnitude more, like the entire thing is steadily accelerating, and the amount you’re earning now dwarfs what you originally earned, so things that were troublesome to buy a second ago are now simple.

Quake or Melee are based more on intrinsic rewards, feeling good for something that you did, as opposed to something you got.

Also, do you think there is only one way to truly press a button? Do physical factors such as pressure, speed, and even position make button presses different? Or is there really one fundamental way of pressing a button, with the *pattern(s)* in which you press the button (and why)?

For a digital button, most of those physical factors don’t matter (though the PS2 and PS3 had pressure sensitive buttons, almost nothing took advantage of them). It depends on what type of game is receiving it. Most game functions don’t really care how long a button is held for or when it’s released, but they do care very much about when it’s pressed. Some games do care about these things, and they care a lot about what other buttons are currently pressed or have been pressed recently.

Melee is a game that can go up to 300 Actions Per Minute. Each of those button presses is relative to a specific situation, in conjunction with other buttons. That’s what separates a ground attack from an air attack, from a smash attack from a tilt.

Then you get different mouse movements for shooters and for strategy games, even within those categories: https://imgur.com/a/FoMNy

Have you ever dealt with a desync in an online game? If you are out of sync with your opponent, even by a single frame, the entire game is ruined and both your actions become nonsense to each other.

There’s a lot of ways to press a button or buttons in conjunction. These help add to the kinaesthetic feeling of games which differentiate their button presses.

Reminds me, I was thinking recently of how cool it would be if some of the advanced tech Snake can do in Smash Bros were possible in The Phantom Pain. Like jumping at someone and doing Snake’s back air. Or doing the DACUS. It would probably look weird and not really fit into the game, but it’s fun to think about. It’s really cool to hit people with reverse back airs in P:M, feels nice.