One Goal, Two Executions: Mario Odyssey and Breath of the Wild

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I liked Breath of the Wild quite a bit. I had somewhere in the realm of 45 hours played when I finally reached the peak of Hyrule Castle and destroyed Ganon, and I’d be lying if I said that I didn’t have some moments where I had a lot of fun. But, that whole time, I couldn’t help shake the feeling like, in this beautiful, wonderful game, there were some things that just weren’t working.

Then, the day after I beat Zelda, I strolled over to my mailbox and grabbed my copy of Super Mario Odyssey, and I was blown away, for a variety of reasons. But, maybe one of the most surprising things for me was how similar the core design ethos of The Legend of Zelda: Breath of the Wild and the ethos of Super Mario Odyssey are, and how, in my opinion, Odyssey got it so much more right in a way Breath of the Wild did not.

For starters, let’s talk about that shared design philosophy, because I do not think that I’m stretching by saying that both of these games attempt to achieve the same design goals. Those goals, in my opinion, are as follows:

  • Grant the player a constant stream of rewards as they explore
  • Create interesting puzzles by configuring known mechanics in interesting ways
  • Encourage players to pay attention to the world around them

Let’s talk about that first goal: granting players a constant stream of rewards. Both Breath of the Wild and Odyssey are jam packed with rewards, from Odyssey‘s 880+ Moons, to Breath of the Wild‘s litany of Shrines, Korok Seeds, and weapons. For both games, if you notice something that looks like it should lead to something, 99.99% of the time it does.

The difference is that Zelda has these rewards scattered across one massive world, while Mario opts to instead cluster them into small, but dense levels. Ultimately, neither of these approaches is right or wrong, but in the end I dislike Zelda‘s approach because it fails to capture that travel time well, in my opinion. This time spent moving between shiny things is ripe for exploitation and enjoyment, either by using enjoyable movement mechanics (a la Just Cause, or the Batman: Arkham games), excellent radiant story morsels to find (as Bethesda’s games like to use), or just by having the journey punctuated by the engaging, challenging combat (like a Souls game).

Zelda does none of these things, unfortunately. The movement in Zelda doesn’t feel terribly great, unfortunately. The limited stamina means you can only run paltry distances, especially in the early game, and horseback riding and climbing are both not terribly interesting. If you find any story tidbits on your journey, they won’t amount to much more than a meaningless side quest or the same Yiga Clan ambush that happens a hundred times. The combat, unfortunately, is also fairly cut and dry, and the game’s limited pool of enemies ensures that these fights get stale fast. Combine all of this, and getting from reward to reward is ultimately a chore. Your “steady stream of rewards” is cut up with these long sequences of boredom.

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Some might accuse me of simply being of short attention span, preferring the immediate, constant stream of rewards that Odyssey presents, which is true to an extent, but I also don’t think that I’m out of line by saying that if a game wants me to enjoy the journey, there should be something about the journey to enjoy.

Moving on to that second philosophical point, the idea that puzzles are to be created by configuring known elements in new ways. So, you’ve traveled that long distance and gotten to the shrine or the Korok seed or the Divine Beast, so what do you do to solve it? Well, while I haven’t completed every shrine in the game (I’m sitting at about 40 out of 120 right now), that sample size is big enough that I feel fairly confident in saying that most every puzzle utilizes a subset of the following components:

  • fighting
  • traversal mechanics (running, gliding, or climbing)
  • Stasis
  • Magnesis
  • Cryonis
  • bombs
  • electricity
  • fire
  • water
  • wind

There’s certainly plenty of clever puzzles one can construct out of these building blocks (especially the Shiekah Slate powers), but there’s a fairly simple problem: with few exceptions, each of these mechanics are introduced to you in the tutorial, with no expansion of their ability throughout the game. I understand why this is the case: since the game is open-ended and players can encounter any shrine at any time, they wanted the player to be able to tackle any of the puzzles contained therein.

Now, this is again a result of Zelda‘s open world design. Since Odyssey has a constrained set of levels, to be taken in a largely premeditated path, it can introduce puzzle mechanics (largely in the form of capture targets) right before you’re going to need that knowledge. Zelda does not have a predetermined player path, and thus does not have this luxury.

However, the trade-off is this: the puzzle variety gets extremely stale over time. Once you become fluent in the language of Breath of the Wild‘s puzzles, they become extremely rote and repetetive. There’s a metal thing, use Magnesis on it. There’s some water, use Cryonis on it. Since you’re introduced to all of the puzzle mechanics immediately, that gives you maximal time to get bored of each of them, instead of drip-feeding you new mechanics over time.

Contrast this with what we might call “traditional” Zelda design. While not open-world, it seemed like older Zelda games, especially A Link Between Worlds, had tried an alternate solution with great success. The world was littered with puzzles that, while featuring a common language, had solutions requiring components that the player might not have had at that time. As the player accrued items over the game, they eventually collected the abilities they needed to solve the puzzles they found. It certainly seems like having puzzles scattered about Breath of the Wild‘s world with solutions you didn’t have yet would both increase the sense of mystery and wonder the game tries so hard to cultivate, and offered another set of rewards to add to the other types: puzzle-solving abilities.

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Let’s move on to that third point: paying attention to the world in order to find puzzles and rewards. Before I get accused of jumping onto the bandwagon of just bashing the year’s popular games, I want to close with how Breath of the Wild does this particular component better than Odyssey.

Super Mario Odyssey is interested in having its players pay attention to the world, but not in a sense of mastering it, like something like a Prey, but instead with an analytical mind. I see these two walls are close together, so I can wall-jump up them. There’s a lady Goomba, so I’m going to go find a male Goomba to woo her. There’s no need to really master your environment, nor cleverness that can be performed with that knowledge.

Breath of the Wild, meanwhile, is a game all about learning about your environment and using that knowledge. Learning environments allows you to know what natural resources grow where, allowing you to craft the dishes you need. Learning your environments gives you new vectors to attack enemies from, as you glide down from cliffs or launch enemies into the briny depths. It gives you vantage points from which to shoot arrows from afar, or alternate routes to avoid enemies that are too tough. This is all compared to Mario, where mastery of a level just tells you where the stuff is.

Mario Odyssey and Breath of the Wild both are interested in very similar player experiences, but thanks to fundamental differences in style of game, diverge upon their execution. With this in mind, I hope not to bash one game or another, but to emphasize a point that I emphasize frequently on this blog: game design is not mathematics. A problem does not possess only a single solution (I know this metaphor doesn’t map one-to-one for math, but go with me). You can pursue a single goal, and depending on the environment constructed by the other basic elements of your design, you can come up with answers to that same question as different as, well, Super Mario Odyssey and The Legend of Zelda: Breath of the Wild.

 

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Super Mario Odyssey And Clever Puzzle Design

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I only realized that I had accidentally played Super Mario Odyssey for five straight hours yesterday when I collected a moon and realized that the date stamp which appears when you do so had incremented by one. The game is truly charming and fun, but one thing it does amazingly is the way it handles puzzles.

You see, the thing Odyssey does that I love is that it takes time very early on to set up a consistent language of puzzles, one which the player quickly learns fluency in. For all of its amazingly unique enemies, levels, and mechanics, the game uses surprisingly few actual puzzle mechanics. Generally speaking, most of them can be batched into the following types of puzzles:

  • some sort of acrobatic or platforming challenge
  • getting to a specific place within a predetermined amount of time
  • collecting a set of things
  • bring a thing to a person who wants it

These are hardly revolutionary puzzle designs, but the variety comes from these base modes being mixed and matched. Some puzzles are just one of these elements, such as those where you have to collect 5 Moon badges in order to unlock the real Moon, which is thoroughly a puzzle of the third kind. Others are a blend, like the musical notes where you have to collect every note in a certain amount of time, which is a blend of the second and third puzzle types.

Then in comes the captures. In case you missed the memo, Mario Odyssey‘s hallmark mechanic is ability of Mario to throw his hat onto enemies (so long as they don’t have a hat on their own) in order to possess them, like some sort of couture ghost. When you capture a character in this sense, you gain access to a new set of moves. Bullet Bills can fly through the air. Chargin’ Chucks can charge forward, smashing obstacles. Hammer Bros can toss hammers.

The thing that makes these captures really jive well with the puzzle structure is that, while captures are definitely necessary to solve certain puzzles, the extent of the puzzle is very rarely “just be thing X and you win”. Instead, when you perform a capture, you’ll still be performing those same core puzzle types, just with a different bend.

Take the Gushens, for example. These fish-like enemies are surrounded by a ball of water, and can use jets of water to hurl themselves forward or upwards, but only have a limited supply of water to do this with. They need to touch a body of water to replenish themselves, or they’ll run out. The obvious puzzle to build with these guys is “hit this thing with water to unlock it”, but that’s not the norm. Instead, Gushens are usually at the center of challenges that are extremely reminiscent of regular platforming challenges. The difference is, instead of the challenge coming from the timing of moves, it instead moves to conserving water and ensuring you can make it from one body of water to the next. Same puzzle type, different focus.

Another great thing Odyssey will do is give you the same or similar puzzles with different captures as the focus, changing the way you have to approach it. For instance, one level early in the game has you racing down a roadway on a scooter, requiring you to get to the end before the timer expires and the roadway disappears. In the postgame, you’re presented with the same challenge, but with a twist: there’s no scooter, you gotta hoof it. What was once a challenge of controlling the slightly unwieldy scooter is now one of trying to maximize your on-foot movement to reach the speed you need.

The benefit of this common language of puzzles relates to the open-world design of Super Mario Odyssey. Some of these levels are big, or at least they feel really big for a Mario game. On top of that, many of the levels change over time, either with the addition of new characters, structural changes, or sometimes massive state changes (the Sand Kingdom early in the game transitions from frozen-over to a hot desert over the course of the time you spend there). These levels are all full of assorted puzzles and challenges, too, some have as many as 80 Moons to collect.

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There are two ways this could have gone hilariously wrong. Were these puzzles all just “lock and key” puzzles, where it was just a matter of bringing the right thing to a puzzle spot in order to solve it, repeating that task 999 times would have been really boring really fast. On the flip side, if each of these puzzles were hypercustomized with their own special solutions, having up to 80 of them side by side, with the components required for their selection all intermingled, would have been mentally overwhelming. Imagine 80 Myst puzzles, all within the same city block, with their solution components all spread about. Blech.

Instead, Odyssey finds this great middle ground. By teaching players the lingua franca of the game’s puzzles, the game is free to scatter all of these puzzle components around the game’s levels with reckless abandon, knowing that when a player comes across a solution component, like an enemy to capture, they’ll know the sorts of puzzles they’ll be able to solve with it, and when the player encounters a puzzle, they’ll know what they need to do or get to solve it.

Take the humble Goomba for example, throwaway enemy since Super Mario Bros. When the player encounters a Goomba, they know exactly the kinds of puzzles Goombas are good at solving. Goombas don’t slide on ice, making them ideal for getting across frozen platformers. Goombas can stack on top of each other, allowing them to either reach really high platforms or activate switches requiring a certain amount of Goombas to activate. Goombas can also be used to woo Lady Goombas, which always yields a Moon.

Thus, whenever a player encounters Goombas, they know to be on the lookout for puzzles of these nature in the vicinity. The reverse also holds true: when the player finds a high platform with nothing around it, a Goomba switch, or a Lady Goomba, they know they need to hunt down some Goombas.

As the player runs around a level of Super Mario Odyssey, they’ll be seeing and trying to remember a lot of significant details around the world. Instead of having a pile of disparate elements bouncing around in their head which the player is constantly trying to fit together in a logical way, like an old school adventure game, Odyssey makes it so the player always has some prototype in their head of how to solve a puzzle, instead of randomly trying to fit puzzle pieces together, which is a much more satisfying way to fill a world with puzzles, and to make the player feel smart for putting them together.

Dark Souls Is Not A Role-Playing Game (And Some Stuff That Isn’t Pointless Too)

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HOT TAKES! GETCHA HOT TAKES HERE! PIPIN’ HOT!

//The following article contains some general spoilers for Doki Doki Literature Club, for some reason

I know, I knowDark Souls? Arbitrary definitions of genre? Axiomatic declarations of truth? Man, I’m about to call out Pretentious Game Design Blog Bingo here. The reason I think this blog is worth writing is not that whether or not the Soulsborne games’ genre really matters, but rather, the thought put into to deciding it does. That is to say, the conclusion of the argument matters much less than understanding the argument to get there.

Allow me to make my case. Say I walk into a physical game store, and I go up to the dude behind the counter. I say “Hey man, do you have any recommendations? I’m looking for something new to play, something super different.”

After some deliberation, the guy snaps his fingers. “Oh man, I know the perfect game for you. It’s a game with a super heavy focus on its combat mechanics, to the point where you’ll feel like you’re absolutely getting your ass kicked early on, but as you progress you’ll feel amazing as you start to get used to it. You really have to learn about your enemy’s attack patterns and respond to them, instead of just mashing buttons.”

“There’s not really a heavy focus on dialogue or traditional narrative,” he continues. “And all the characters that are there are kind of bizarre. You have inventory management, both in the form of items and consumables, and have some stats that you can upgrade over time. Ultimately, though, none of that matters, because of you’re good enough you can go through the whole game with trash weapons and no stat increases. There’s a bunch of secrets to find, and also, it has a bunch of crazy boss battles and this insane Gothic aesthetic that’s just dripping from every room.”

“Dope!” I respond. “I’ll take that.”

With that, the clerk goes over to the shelf and grabs me a copy of Bayonetta.

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I know, I can hear your arguments screaming through the computer. Bayonetta doesn’t really have that many skills to upgrade, just Health and Witch Time. Dark Souls has a veritable Excel spreadsheet of stats to manage, and tons of items to collect and equip and use. Bayonetta just has melee weapons, that’s all. And Dark Souls has this rich, immersive lore-filled world full of deep characters and interesting motives, and you get to make choices! Bayonetta just has a linear story about punching God into the sun or something.

Herein lies my critical point: while Dark Souls has a bunch of gameplay features that we traditionally associate with role-playing games, what it actually does with them puts it much closer to the character action games that Platinum puts out, like Bayonetta, than an actual role-playing game.

I think the biggest point at which to start here is the stats, that omnipresent table of numbers that define who you are in a role-playing game. Dark Souls‘s stat screen is certainly intimidating.

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Here’s the thing, though. Literally none of the numbers on this screen affect who your character is, and they provide no wider a suite of options to the player as a selection of gun in a first-person shooter. To compare, let’s look at the “stats screen” of a true-blue role-playing game, Dungeons and Dragons.

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There are numbers on this sheet that describe how well a D&D character hits things, of course, but these numbers have a much greater sweeping effect on your character than that. The column of attributes down the left side inform the specifics of how your character behaves, what kind of person they are. Are they funny? Are they smart? How’s their critical thinking ability? Are they kinda shifty? Or big and brutish?

Go back and look at the Dark Souls stat screen. How faithful is a Dark Souls character? How much does that change when you increase your Faith stat? Turns out, you have no idea, and not much at all, respectively. Similarly, it’s not like your character has such better ideas when you increase Intelligence, merely the weapons that arbitrarily do more damage based on Intelligence will…do even more damage.

This is because of one simple truth: a mechanic does not make a game what it is, it’s what you do with that mechanic that matters. Dungeons and Dragons (and Planescape Torment and Pillars of Eternity and what have you) have numerical stats and use them as a way to precisely describe the distinct characteristics of a character in quantifiable terms. Mechanics are a way to represent what makes characters unique, what makes them, y’know, people. They are there to reinforce the idea that you are now this character, by giving you a better idea of who that character is.

Mechanics in Dark Souls do absolutely none of that. The numbers on a stat screen do not exist to help you get a better idea of who your character is, but rather they are variables to fit into the game’s mechanical calculus, elements to introduce to your strategies and tactics. They’re used as a way to fine-tune your combat strategy, to shore up parts of the combat where you’re weak, and make your preferred tactics more viable. In this way, they actual bear more resemblance to a scope in Call of Duty than they do D&D’s Intelligence stat. While a role-playing game’s stats push you closer to the character you’re inhabiting, stats in Dark Souls are merely modifiers to your combat aptitude.

I could go on with other aspects of the game, but I feel as though my argument is the same. The use of equipment and items in Dark Souls is merely used to modify and enhance combat strategies, and in no way is a reflection of the character’s identity (weapons as a reflection of identity in D&D can be seen in class restrictions in usable weapons. Since only certain classes can use certain weapons, using a weapon is an expression of that class).

The amount of story and narrative in Dark Souls also doesn’t make it a role-playing game, obviously. Plenty of games that aren’t role-playing games have deep stories. Metal Gear has a deep story. Touhou games have a deep story.

Now, some of you might be asking, what is my definition of a role-playing game? And my answer is that it doesn’t really matter. I’m just using this genre discussion as a vehicle, a sort of Trojan Horse of clickbait through which I want to make my real point: when it comes to identifying the soul of a game, intent shines through much greater than the actual mechanical building blocks themselves. It’s how Dark Souls takes all of the mechanics of role-playing games to build a solid action game, how Thomas Was Alone uses the mechanics of a platformer to build a character drama, how Doki Doki Literature Club builds a horror game out of a visual novel.

This can also be seen in less homogeneous mixtures. Borderlands points role-playing game mechanics in the same direction as FPS mechanics, creating a single harmonious thing. The same thing happens when Brutal Legend points open-world action-adventure mechanics to run parallel with a strategy game.

Of course, saying that mechanics “belong” to a genre at all is stupid. Mechanics are just mechanics, and a good designer can make any mechanic feed into the central philosophy of any game, with proper tweaking. A stat block can be used to enhance combat, a gun can be used to solve puzzles (Portal), a player’s movement can be used to cast judgement upon them (The Stanley Parable), and so much more. So unshackle mechanics from their context and really run wild with them, and see what you can make.

 

10 Good Ideas: The Darkness and … Darkness

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Starbreeze’s The Darkness remains one of my favorite games no one’s ever heard of. The game puts players in the shoes of Jackie Estacado, a mafia hitman who also happens to be the human host of the titular Darkness, a timeless, immortal god-being which basically lives to kill everything it sees. Jackie is on a quest for vengeance against the mob which betrayed him, a quest which is much easier when you can harness the power of a hateful god.

On your quest to murder every mobster in New York City, as well as potentially a couple dozen innocent passersby, the game hinges on this idea of darkness, lowercase d. You see, as one might expect, the Darkness, uppercase d, doesn’t really care for light, so whenever you’re in light, your powers are unavailable to you, making you just a regular dude, and regular dudes are pretty easy to kill.

When you get in the cover of shadow, however, things change. You become much more resistant to damage and can heal damage you take, you can summon imp-like minions, or you can just have your Darkness tentacles rip someone in half and eat their heart. You go from Jackie Estacado, regular dude with a gun, to Jackie Estacado, Death Incarnate.

This mechanic is complemented by a relatively simple addition to the game: you can shoot out most lights.

The reason I think this mechanic is great is turns fights into microcosms of player progression. When you play a normal FPS, sure there’s usually some sort of player power progression over the course of the game, but within a single encounter the player usually remains at a constant power level. The Darkness goes against this trend with an extremely engaging loop. The player enters an area filled with bad guys, and that area is usually pretty well lit, meaning odds begin against the player, since it’s gonna be harder for them to use their powers. As a conflict goes on, the player will shoot out more and more lights in the arena, turning the fight into a sort of horror movie when you’re the encroaching monster. The symbolism alone is fantastic, as the lights above your enemies fizzle out, and you approach them, literally covered in monstrous, dark tentacles.

A series that operates on a very similar loop are Rocksteady’s Batman games. In those, players will be tossed into arenas full of armed goons where, initially, their odds are pretty bad. However, as time goes on and they take out more and more goons, player confidence builds and enemy confidence shrinks. Survivors start freaking out and getting audibly paranoid, as you all of a sudden have an easier and easier time picking the leftovers off.

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That loop is present in The Darkness as well: enter an area facing overwhelming odds and, through good play, turn the tides until you end up feeling like an unstoppable monster. On its face, this doesn’t seem too revolutionary. Your odds get easier the more enemies you beat, so what? Mathematically speaking, every video game that puts you against groups of enemies does that.

The thing that The Darkness and Batman do so well is that, on top of good play just naturally making encounters easier, good play also makes the player feel cool. Imagine a gunfight in a Call of Duty campaign. The tone of that gunfight doesn’t really vary over the fight, you’re just sort of shooting dudes until you’re not. The last enemy puts up the same amount of a fight as the first, and you probably feel like as much of a cool soldier person at the end of the fight as the beginning, if not a little more accomplished.

In The Darkness, a fight brings about an environmental change in the player’s favor in the form of encroaching darkness. It responds to the player’s success in the form of enemies freaking out and screaming. Success isn’t just good, but it feels good, it compounds the feeling of being this monster of darkness. I’d actually say it’s the same kind of feeling evoked when the lyrics kick in during a boss fight of Metal Gear Rising: Revengeance. You’re using non-mechanical tools to make players feel badass. And that’s a Good Idea.

10 Good Ideas: You Don’t Know Jack and Screws

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You Don’t Know Jack is a long-running but somewhat obscure series of party trivia games, sort of like if the trivia questions that play on the TVs at a Buffalo Wild Wings were written by an asshole. The name of the game is simple questions, phrased in such a way to maximize confusion. This includes special types of questions like Who’s The Dummy, where the host delivers the question through a ventriloquist’s dummy and, due to the voice he puts on, can’t pronounce the letters B, P, or M.

The point of You Don’t Know Jack is to rile up a reaction, and being able to logically think through a question while you’re also laughing at the ridiculous premise is the primary skill required when playing. This, as one might expect, makes You Don’t Know Jack a great party game, since it’s far better to laugh at a ridiculous premise, or to try and reason why a question about Nostradamus has only video games for answers, as a group.

Of course, this only goes so far. While you might be all laughing or confused at a question together, the base rules of the game don’t actually involve direct interaction. Multiple players can select the same answer, so there’s no risk of being “locked out” of the solution to a question. At this point, You Don’t Know Jack involves as much interaction as regular bar trivia, which is, y’know, fine?

Here’s where screws come in. Players receive a single screw per game, a powerful weapon to use against their opponents. Basically, when you use your screw (or, if you prefer, when you screw), you pick one of your opponents, who then has to answer the question in five seconds, or else they take a massive score deduction. If the screwee gets the question right in five seconds, the screwer ends up taking that deduction instead.

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What separates the screw from other quiz game/show interaction mechanics is that the screw kind of has nothing to do with understanding the game, per se. Questions are largely equally confusing, meaning that “screw on the toughest question” doesn’t tend to emerge as a viable strategy for players. Furthermore, “screw the player in the lead” isn’t bulletproof either, as the player in the lead is also probably good at the game, and has the best chance of answering a question in time to make your screw backfire.

What screws do reward is knowing your friends. In my time with the game, the strategy that eventually always emerges is to screw someone when a topic comes up that they know nothing about. When I play with my friends, I am almost universally screwed on questions involving any sort of knowledge of professional sports. My friend Craig gets screwed on questions on classic literature and cinema. My friend Stephen gets screwed on celebrity culture. Since there’s such a punishment for having a screw backfire, you want to make sure that screws land on players that have no chance of answering the question right, and the best way to do that in a room full of your friends is to remember what your friends are and aren’t interested in.

Screws also serve another fantastic purpose, which is that they make you pay attention to the room. Normally, when you’re doing any sort of group trivia, reading the room is largely a useless skill. You can try and notice whenever someone’s struggling with a question, but there’s nothing you can do about it. Screws change that dynamic, and whenever I play You Don’t Know Jack, any sort of verbal admittance of confusion (usually involving the word “fuck”) is very shortly followed by that player getting screwed. In the same way that a good board game makes you pay attention to your friends, so too does You Don’t Know Jack, as you lie in wait for someone to admit any sort of weakness so that you can screw them and tear their score to ribbons.

It is thoroughly my opinion that multiplayer games, of any sort, should be designed in such a way that players can inject their own personalities, as well as the dynamic of the group as a whole, into the game, so as to make each play unique. Some games do this by simply allowing such a wide range of strategies that players can express themselves through strategy, like Civilization. Others require a degree of creativity on the players’ behalf to create part of the game, like Legacy board games or The Metagame. And some require you to know your friends’ personalities and use that knowledge against them, like Coup, poker, or You Don’t Know Jack. And for rewarding me for knowing my friends, and for reading their behavior, screws are a Good Idea.

Bleak Rains: My Foray Into The Apocalypse

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It just occurred to me that I haven’t written about my projects in a little while, so I thought I’d pop out and talk about something I’ve been working on: Bleak Rains. I’m excited about this project for a couple of reasons, but mostly because it’s my first foray into designing a Powered by the Apocalypse game, meaning it runs on the same mechanical engine as Vincent Baker’s masterpiece, Apocalypse World.

Initially a project I started to get out of a funk I was in while writing playtests for my other two major tabletop RPG projects, Bleak Rains takes place in a city called Indra. Indra is a massive, ancient city, on an island surrounded by the ocean on all sides. Indra is at a level of technology equivalent to just before the Industrial Revolution: there are some steam engines here and there, but they’re loud, clunky, and expensive. This city is ruled by a group called the High Overseers. From the top of their ivory towers (literally), they not only enforce law and order, but also the cultural norms of this society. Before the High Overseers, things were, well, bad.

The reason they were bad is because of the ocean. In classic, Lovecraftian fashion, the ocean of this world is full of unknowable things. There are monsters, relics from the barbaric civilizations of a bygone era, but on top of all of that, the water itself is just inexplicably weird. It naturally unnerves people, makes them paranoid, and maybe even causes them to hallucinate. The water is never clear, it’s always murky, hiding something. In the distant past, the people of Indra used to worship the things in the water, the High Overseers pulled them away and dragged them towards civilization.

Things are fine for half of the year: the things of the sea stay in the sea and everyone, with the exception of sailors, fishermen, and daredevils, can stay safely on land and avoid all of the unpleasantness. The problem is the weather: for six months out of the year, Indra is in its rainy season. This means that the water which is the source of all of this general unpleasantness literally drenches the city, and sea levels rise, to the point where lower layers of the city flood. All of a sudden, what was normally stuck in the sea is now free to wander the streets.

The actual play of Bleak Rains takes place exclusively in this rainy season. In this period, the streets are full of mysteries and danger, people are paranoid and selfish, and things that lay dormant wake up. The playbooks, offering roles and identities to the player, are people who, for one reason or another, are forced to (or want to) be in the streets during this dark season.

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One of my goals for the playbooks was that I wanted the roles to be sort of weird. I have nothing against wizards, clerics, and paladins, but I thought that it would be much more interesting to let players define part of this weird setting through play (that is, after all, the mantra of PbtA). Thus, by providing playbooks close to the weirdest parts of this setting, it puts a spotlight to those weird parts and encourages an exploration of them, even if only to get a better understanding of what your character’s even doing.

Take, for example, The Graveswimmer, one of the playbooks a player can choose for their character. The central premise is that traditional burial doesn’t really work in Indra. On top of there not being a lot of land to bury people, the rain has this pesky tendency to bring the dead back to life. Graveswimmers are an ancient order basically responsible for finding dead bodies and giving them their rites, both putting their souls to rest in a spiritual sense and ensuring their shambling bodies don’t bother anyone in the future.

By having a Graveswimmer in your party, you’re forcing your group, or at least one person, to think about the way death is handled in this society. It brings up this conflict of treating a dead person with respect versus limiting the danger they present to society (a conflict that was very real back in the days of plague), and it makes you think of burial as a sort of functional mechanism of society, rather than just a cultural one. If I do my job right, the Graveswimmer will, as they grow as a character, explore more and more of the psychology and cultural importance of death, something that’s kind of hard to do, but might be easier if placed in such a foreign setting.

Another playbook I’m super excited about is The Anchorlugger. Anchorluggers are basically The Scarlet Letter taken to the nth degree. Since straying from cultural norms in this society leads to, you know, the veneration of sea monsters and the potential destruction of civilized society, major social transgressions are treated very harshly in this world. One of the Anchorlugger’s ancestors committed some sort of grievous sin and, as punishment, their decedents, including the player, have had to carry a physical manifestation of their family’s sin in the form of this big, unwieldy anchor.

Where Graveswimmers deal with the treatment of death, and the balance between burial as a cultural and a function construct, Anchorluggers are built to deal with the conflict between trying to fit into a society that hates you, and embracing your differences, even if it means self-imposed isolation. That’s a conflict that might hit really close to home for some people, but Anchorluggers are dealing with crimes and punishments far outside of the norms of our society, and thus maybe have some more creative freedom to explore what it’s like to integrate into, or distance oneself from, a society that hates you.

The most mechanically interesting part of Bleak Rains, in my opinion, is Weird. Weird is a tangible measurement of one’s distance from societal norms, and is represented in the form of checkboxes. Characters that are closer to the fringes of society have fewer boxes of Weird. That’s because you mark a Weird every time your character does something that’s really pushing the limits of what this society will think of as acceptable. For most characters, marking Weird is good, because you add the number of Weird you have marked to dice rolls when you use your, well, weird abilities. The closer you get to the fringe, the better you are at manipulating it. However, when you mark all of your Weird, society decides that you’ve gone too far from the norm. At that point, you’re either cast into the shadows forever, with society trying its best to completely ignore your existence, or a lynch mob comes after you.

With Bleak Rains, my goals are twofold. First, I want players to be able to explore the concept of what we in a society consider “normal”, as well as what happens when you leave normalcy, without the baggage that a familiar setting might bring with it. Secondly, I want players to be able to explore a setting where they have some control in the fundamental structures of its society, and explore what I consider to be the most interesting part of worldbuilding: figuring out what happens when the weird becomes the new normal.

I hope to share some more Bleak Rains content on this blog in the future. I think I’m pretty close to playtestable right now, but in the meanwhile, I’ll probably talk about the playbooks and the types of player experiences they’re built to encourage. Until then, be sure to stay dry…

10 Good Ideas: Dead Rising 2 and Combo Weapons

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Dead Rising 2 still burns in my heart as the pinnacle of the Dead Rising series up to this point. While there have been 4 games in the series (technically 7, counting the spin-off Off the Record and the downloadable titles Case Zero and Case West), Dead Rising 2 represents the point where the series really managed to achieve it’s goal of being a big, silly, dumb sandbox designed to fulfill power fantasies and elicit giggles from its players.

For the unaware, Dead Rising is a series of open-world sandbox games where the player fights their way through hordes of zombies using weapons and items scavenged from the environment. The first two games take place in shopping malls filled with shops selling weird and obscure nonsense, although later games take place in full towns. Crazy boss battles are sprinkled through the environment against Psychopaths (which, again, is an idea that got sunsetted as the series went on), and these complement the main story.

The core Dead Rising gameplay loop involves players entering a large space with limited resources and an objective in mind, ranging from saving a survivor to defeating a Psychopath to just simply moving from one end of the area to the other. The player must scavenge their environment for items to increase their fighting ability. As the player makes their way through the area, they expend these resources (items degrade and eventually break with use), forcing constant scavenging. Killing zombies is encouraged as a way to make the path to your objective safer and to gain XP, thus encouraging this churn of items.

This loop works perfectly well in the original Dead Rising, but it never quite, in my experience, makes the player really learn the map. Players might memorize the locations of a couple of key shops (the grocery store and the gun shop being stand-outs in my mind), but other than that, weapons and healing items can be pretty consistently found in any part of the mall.

Dead Rising 2 featured a change in protagonist, from the photojournalist Frank West to the motorcycle rider and mechanic Chuck Greene. To signal this change mechanically, Dead Rising 2 abandons the photography mechanics in the first game and instead introduces a mechanic designed to emphasize Chuck as a mechanic: combo weapons.

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Combo weapons are pretty simple, conceptually. Certain pairs of items in the game world can be taken to the workbenches scattered around the map and slapped together into new, unique weapons which are stronger, cooler, and grant more XP than normal weapons

Combo weapons are immediate a fantastic way of incorporating Chuck’s story identity into the game mechanics, but they do so much more mechanical heavy lifting than that. For starters, the existence of combo weapons forces players to take much greater care into remembering the layout and stores of the mall. Since combo weapons are so good, players are incentivized to use them, so as a result players will naturally try to remember the locations of valuable item spawns across the map so that they can build combo weapons more consistently. Sure, you can find any ol’ weapon in any ol’ store, but if I remember where the boxing gym is, I can build the Knife Gloves, and then I get to be Wolverine, and that’s awesome.

Combo weapons also encourage exploration, as quite a few of them have their combo card unlocked by saving survivors, defeating Psychopaths, or by finding posters in the environment which provide the inspiration for the weapon. This is a great way to grant tangible benefits to exploration and quest completion. Not only do you get the sort of intangible gain of ticking off quests or saving X survivors, but you also get cool new toys to play with. The same actually goes for those combo cards you get through level-up. Dead Rising has actually always been pretty good about giving exciting level-up benefits (mainly pro-wrestling moves?), but getting a big, dumb new weapon is a great, tangible benefit that’s much more exciting than a simple stat boost.

Another thing combo weapons do well is build up a sense of anticipation and mystery, weird as that sounds. You see, when you pick up an item that’s used in a combo weapon, it’s marked with a little wrench icon, like this:

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This occurs whether or not you know what the combo weapon actually is, so it means that as you’re going through the early hours of the game, you might pick up something like a construction helmet and think “Wait, what does this make?”. You might be motivated to wander around the world and try to piece together the combo weapon through trial-and-error (which you can do, more on that later), and when you finally figure out the combination, either by deducing it or by getting the combo card later, you get the resolution of figuring it out. As this builds up, you feel like you’re getting better and better at whipping together super-powered weapons out of the environment, which you are, and you gain a sense of mastery.

Back to that trial-and-error point. If combo weapons could only be used when they were unlocked, players might feel like their options were a little limited at first. However, a combo weapon can be put together at any time with the right ingredients, having the card merely grants a secondary fire and greater XP gain. So, players never feel arbitrarily blocked off from the cooler weapons, but combo cards still feel like they offer cool benefits to the player when earned. Adventurous players can “cheat” and discover weapons early, and less clever players still get a nice feed of new combo recipes even if they don’t experiment. Genius.

Dead Rising 2 is a game about exploring, about mastering your environment, and about doing dumb things, goals all advanced and made better through the genius inclusion of combo weapons. So, yeah, combo weapons in Dead Rising 2, a Good Idea.