The Games of Hunger Games

Here is another book I’m reading now. It’s called “The Hunger Games”. It apparently the next big adventure/romance youth novel. Soon to be released as a major movie. Could even become a huge franchise like Twilight or Harry Potter. Have a teaser.

The story is pretty much a a Sci-Fi / Post-apocalyptic Battle Royale sans the gore, wrapped in a Distopia / rebellion story and with a cheesy love triangle at the center. It’s written in a snappy way. There is lots of action. In fact, I could hardly put the first book away.

It’s an interesting series. It was written by a female author and it’s focus on a young female audience is cannot be denied. Quite a few scenes are spent on the descriptions of amazing dresses and costumes the protagonist gets to wear. By the second book, the story spends quite a while indulging on the central love triangle.

But unlike in books like Twilight, there is a lot about The Hunger Games that would appeal to a typical male audience as well. One particular thing stuck out to me. There are a lot interesting parallels to video games to be found in the book. The protagonist finds herself at some point in the titular “Hunger Games” – at first an enclosed, forested area, where 24 contestants are released with the goal to kill each other. This already sound a lot like the Deathmatch model for many multi-player games. To spice up the battle, there are weapons and equipment at at the center of the arena. Later, some additional equipment is brought to the same spot. This is pretty much the same as the pickup spawn points in multi-player games. Interestingly, the strategies that form around the “spawn point” described in the book mirror the strategies known from multi-player, especially spawn camping. And speaking of strategies, there is a group of trained players called “Careers” that team up early to kill the weaker players first. Clearly, a strategy reminiscent of “noob bashing”.

Not all of it reminds just of multi-player games. Each of the contestants has a very different background and some very different skills. Most of them have a signature weapon or skillset they are most familiar with. This reflects the way the contestants approach the Hunger Games. Some act aggressively, embracing direct combat. Others evade and hide, counting on their stealth and survival skills. Again, this reminds a lot of the common RPG / Fighting Game stereotypes. In fact, the main character Katniss (pictured in the trailer above) is of the embodiment “Rouge / Hunter” RPG stereotype. She is quick and agile, good at survival in the wildness and she has mastered the use of a bow.

Finally, the arena is rigged with various traps and hazards. The second “series” of the games features a very elaborate arena which the contestants need to figure out like a puzzle. There are some scenes where players are instantly rewarded for performing especially dramatic acts by having a piece of equipment being parachuted directly in front of their feet. All this reminds of video games as well. Playing games, we expect hazards and obstacles always to have some sort of solution that needs to be figured out. We are used to be rewarded every time we perform well. Every time you get a save point and some additional ammunition before a big boss fight you literally feel the game designer reach out to you. Having this relationship represented in book creates a fascinating sense of familiarity for game-literate readers. It also invites to reflect upon how unreal the video game worlds are – even on a that abstract level.

I’m enjoying the series. I read just two books and I’m eagerly looking forward to sink my teeth in the third one. I’m also curious on how the movie will turn out. The books feature some dramatic actions scenes and spectacular locations. There is plenty of material for a juicy, entertaining movie blockbuster.

Flood and Ark

Recently, I finished reading two Sci-Fi books: Flood and Ark by Stephen Baxter. Ark is the sequel to Flood. They both take place in a near future where earth slowly disappears under a rapidly rising sea level.

Flood and Ark

I read some Stephen Baxter books in the past. Not that I particularly like his writing. I do enjoy his approach to Hard Sci-Fi. But he has some fundamental deficits in the descriptions of his characters. So I like to read the books to understand the problem better and to figure out how to avoid those mistakes myself.

To be fair, Baxter does covers a lot of the basics. The Flood series has a rather large set of characters and it puts them in the foreground quite prominently. The characters all are entwined in a rather complex web of relationships and dependencies. A common problem with Sci-Fi is to write about awesome geeky stuff and put in characters as an afterthought. This is not that kind of book.

On the other hand, the characters are sadly not what is driving the plot. Usually, in a well-crafted story, it’s the individual character’s goals that motivate their action. Usually, the characters have contradicting goals or values which creates tension and causes the plot to move along. I noticed that this is rarely what happens in Baxter’s stories. Yes, there is a complex web of inter-dependent characters. But all of them have usually a very common goals. So in case of Flood and Ark, pretty much all characters just want to find a way to survive. Well, duh! But the similarities go even deeper. They also have very similar values. They are all very respectful of science, they are weary of Governments and they are usually non-militant. Most disaster movies have characters with similar goals, yet manage to add some variations. At some point I realized it was difficult for me to tell some of the male characters apart from each other. They are essentially the same person.

The more defined characters are the female ones. For example, one is a scientist nerd. Another one is the mother of a baby that was kidnapped. But then the mother is so overly focused on the baby that it completely overshadows any other aspects. I couldn’t tell you anything else about her. The scientist nerd on the other hand seems to be little more than a vessel to info-drop the science content of the book. I mean, take Jeff Goldblum’s character from Jurassic Park. There are ways to make scientists interesting and distinct.

So even though there is a huge staff of characters and a lot of talk about them, the plot still just drops them almost randomly in spectacular but emotionally irrelevant set-piece situations. You can forget about it in scenes like the flooding of London, which is described quite vividly. But as the books drag on, the world becomes more and more alien and less engaging. The characters aren’t able to pick up the slack.

It was around that time when I was reminded of the text medium being very weak at describing spaces. For example, the author spends quite some time describing how coastlines change over time. Not having a map at hand, this is completely incomprehensible unless you are some sort of geographic genius. A visual medium like a game, a movie or even a comic would be able to handle such task with ease.

The second book, Ark is somewhat better. The characters have slightly more profile, but only just. Most importantly, they go to space. That’s almost always enough to keep me reading. But then, the entire premise is quite far-fetched. They use an Orion propulsion system (a space ship propelled by nuclear detonations) to launch a huge vehicle off the ground, go to Juptier to harvest anti-matter and use it to create an Alcubierre Warp Bubble to go to an Exosolar Planet. That’s a pretty hardcore way to escape from some water. That’s a lot of unproven, even completely theoretical technology too! And then 40 people or so survive over 50 years in what is supposed to be a ship the size of a Space Shuttle External Tank? You need a whole warp bubble to stretch my suspension of disbelief this far.

But Baxter makes an interesting argument which I encountered myself at some point. Other planets in our Solar System are so hostile to life, that it’s difficult to come up with a scenario where going to space would be easier than staying on Earth. Even an Earth entirely flooded with water should be more hospitable than the Moon, Mars or Titan. I just doubt that researching warp drive and harvesting Jupiter is the next logical solution.

So it’s hard to recommend the books to anyone else than a complete Hard Sci-Fi geek. The detailed description of the Flood and the low-fi space flight to a different star have some memorable highlights. But then again, even the geeks will find plenty of holes to nit-pick at. Perhaps that’s good. I guess those are good books to start thinking for yourself. They certainly made me think.

The Difficulty of Catherine

I have been playing Catherine some more. It’s a game that is considered by many to be particularly difficult. I had my share of struggles even on “Easy” difficulty. On my second play trough, I decided to crank it up to “Normal”. But it didn’t actually get a lot more difficult. Different, but not difficult. Which made me consider difficulty in games once more.

Love is Over

This is what you see most often playing Catherine. You think the game is trying to tell something?

As Jesper Juul already suggested, what is perceived as “difficulty” is in actually probably a very complex mixture of different qualities. Some of them don’t necessarily have to do with the game per se but with how it relates to the expectations of the players. Considering this, here are some observations on how Catherine generates difficulty.

  • Time constraint – is perhaps the most apparent gameplay feature to be considered unfair. It’s also probably the most subjective one. Catherine is a puzzle game where players are punished if they are too slow. This happens in two ways. In a more obvious fashion, you are climbing a tower that is collapsing at the bottom. If you don’t climb fast enough, you die and need to replay the level. In a less obvious fashion, the game also has a combo system that needs to be kept alive by climbing in at a steady pace.

    Having a time constraint punishes players for just stopping and thinking. It forces them to desperately muddle their way trough the puzzles. Interestingly, that’s doesn’t have to be a design mistake. It’s just a somewhat different kind of play experience from what we are normally used to. In fact, plenty of puzzle games have some sorts of time constraints. Catherine is just more dramatic about it. But it’s deliberately designed to be like that. Even on Normal difficulty, I quickly collected over 99 lives without even trying. The game just expects you to memorize the solution to a given puzzle and repeat it until you can execute it quickly enough. In that regard, it reminds more of a racing game than a puzzle. That isn’t wrong or unfair per se. It just seems unfair if you are expecting a slow-paced mind bender.

  • Abundance of Choice – is a less obvious difficulty and a less subjective one. It’s a common issue often seemingly overlooked by game designers. Puzzle games, that offer a lot of choices are more difficult than puzzle games with more restrains. This sounds counter-intuitive. We usually associate having more freedom with ease. We think that more choices means having more ways to solve a given problem. In reality, the opposite is true. In a puzzle, having less choices is easy because it takes less time to eliminate wrong choices. Catherine is a good example. It’s a game whee you can climb, hang, push and pull blocks, where there are different blocks and power ups and where blocks can fall. To add insult to injury, everything is 3D. The amount of choice at any given point is often paralyzing. The solutions are difficult to see because there is so much you can do. Even trying different solutions takes more time. It’s no wonder that the game actually shows you videos to teach you “techniques” on a regular basis – it demonstrates certain patterns and strategies that can be applied in many cases, boiling the wide range of options down to a bearable selection.

  • Delayed feedback – … but even the techniques are not as effective as they could be. Another feature of the gameplay that I found to be particularly frustrating is the fact that the game never tells you if you are on the right track. The way the levels are designed, it’s entirely possible to pull out some blocks at the bottom to make the entire level on top collapse down. The results are difficult to predict. I remember one very early level where you are introduced to the a puzzle where you can hang off a block and shimmy across an obstacle. Only I haven’t realized that that’s what I had to do. I started pulling some blocks. Soon enough I had the most wicked, chaotic landscape of blocks in front of me. I kinda slowly made my way up, but it was disturbingly complex compared to the previous puzzles and the subsequent ones. I went to watch a YouTube tutorial afterwards and realized that this part was supposed to be a breeze when you didn’t mess with it.

    And this is why the game is actually easier on “harder” difficulties. It also gets easier in the latter levels. The puzzles get less forgiving. There is less room to mess around with them. Some of the latter levels are very rigid “tests” that require you to use a certain technique in order to proceed. Sure, you probably fail more often. But at least you know when you failed instead of burning yourself out while desperately trying to salvage a FUBAR situation.

  • Punishment of Negligence – and then there are some typical Japanese game design features that can drive you up the wall. A lot of the mechanics in the game don’t actually increase the complexity, but the punish players for slips of attention. The ice block, the vortex block and especially the trap block aren’t used as actual puzzle elements. Their function most of the time is to kill players, who accidentally press the wrong button or press the right button too late. Combined with the finicky controls, prone to trigger unwanted commands, this turns out to be a major source of frustration. I’m guessing the idea was to create the sense of a hazardous environment. The game developers certainly succeeded, but not in a good way.

  • Random Punishment – and finally, nothing breaks the designer / player relationship as much as random punishments. Of which the game has plenty. In the latter levels, the game introduces blocks that turn into a random block upon stepping on it. This often makes the puzzles unsolvable or just kills the player on the spot. There are also blocks that move around randomly, often breaking the puzzles in the process. Some “bosses” trigger effects that can kill the player without any warning. Perhaps the most annoyingly – there is even an escort level. You climb the tower with an NPC. Surprisingly, this has almost no effect on the gameplay. It just introduces another, frequent random punishment. The “boss” in that level triggers attacks that the player can dodge by carefully watching certain cues. However, the NPC ignores the warnings and happily walks into their death, forcing the player to restart the whole level.

Catherine is not a difficult game. It’s a game where the difficulty is out of control. The game’s designers had a good grasp of the mechanics but haven’t seem to understand how apply this knowledge to guide the experience. It’s easy when it should be hard. It’s hard when it should be easy. This wouldn’t be unusual. It’s a difficult thing to pull off and many puzzle games suffer from similar problems. But every now and then, it’s just controller-crushing frustrating.

Let’s Fail Secret of Mana

I almost forgot! Here is something I did recently. Together with @mczonk and @fabric_8, we started a co-op Let’s Play of Secret of Mana. I don’t think I posted about it yet, did I?

It’s German only. We decided to call this “Let’s Fail”. As you might guess, we aren’t taking this too seriously. We are playing in the original hardware for some extra nostalgia and street cred. Sadly, this lead to some technical issues. Using the PVR, the video sometimes skips leading to a de-synchronsation of the audio track. A very annoying problem that caused some serious delay in the editing of the second episode. We are recording a 3rd episode today and we will try something different this time. I will post the new setup if it works. Fingers crossed.

Monster Hunter Podcast Episode 55

This time on the Monster Hunter Podcast: 8 Sides to a Square. We finally record a show in true HD using the new Monster Hunter Portable 3rd. We use this opportunity to undermine everything you know about geometry.

Get the mp3 of the episode here.
The RSS Feed is here.
Get us in iTunes here.
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Enjoy!

Podcasts about TRAUMA

There have been a lot of exciting TRAUMA news recently. One major bomb is coming up soon. I can’t post everything at once. But here are 3 interesting bits. TRAUMA has been mentioned on 3 recent podcasts.

First and probably most important would be an 1-hour interview on the Experience Points Podcast. I have been posting a lot about the show by Jorge Albor and Scott Juster. It’s because I’m enjoying the show a great deal. They manage to present a given topic from a lot of different perspectives while keeping the show short and to the point. And it’s certainly not humorless! It’s probably among my favorite podcasts on the web. It’s not the first time I have been on the show. I visited them in person at GDC 2010. But this time we really dig into the discussion of TRAUMA and how it came together. I think it came out really great.

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Another major appearance of TRAUMA on podcast was a recent episode of Weekend Confirmed. The show’s regular Jeff Mattas aka Indie Jeff selected TRAUMA for one of the two games to be featured and discussed on the show. They mentioned it already on a previous show when they were reporting on the IndieCade festival, but this time they talked about the actual game in great detail. It was a brief discussion but I was immensely pleased how they managed to characterize pretty much every important aspect of the game. Even down to the game to be able to be played by non-gamers. They mentioned a lot of stuff I wasn’t sure people would pick up or appreciate.

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Finally, the game has been mention on a recent episode of Interactive Distractions. I was very surprised by that. Interactive Distractions is a podcast that has usually more core-gamer topics. That’s one of the reasons I listen to it in the first place. I was curious to find out what they would say to something like TRAUMA so I sent the game to the podcast crew. I was surprised to hear that they actually played and liked the game! It just confirms that my theory of the infinitively flexible audience.

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There are probably more podcast out there. I certainly already recorded one interview. I haven’t gotten to it yet. Will post it when I do! Until then, enjoy the podcasts. They are all excellent shows. That’s why I’m so thrilled to hear them mention my game.

Excit for Android – Demo Released!

While Silent Totems is still on summer vacation, I worked hard on bringing the Excit-Experience to the Android. Now that the game is nearly done – only one menu is missing and of course bugfixes – i released the Excit for Android – Demo.

I would like everyone with an Android phone arround to download the demo from android market and give it a try.

For those of you who do not know Excit, you can read Krystians Post-Mortem – or try out the 30 levels Flash version online.

Excit for Android - Demo available now

“Only 23.1 percent to go! Excit definitely needed statistics, right?”

Mini Post-Mortem (so far) … What went right:

  • Controls: I’m quite happy that the touch controls became great. Of course you can play it with an hardware keyboard, but even I like it more with the touch controls. I had fears that this would not be as good, as the Excit version for Handelsblatt had mouse-only controls, which where sadly quite slow – so that even Krystian and me couldn’t beat our own Highscores. But i found out that the game is perfect for swipe controls on touchscreen.

  • 90 Levels are even more addictive: I always like the addictiveness of minimalistic games, where game-play is short, but tense. In the past i was fond of Excit, because i believe we where able to serve something well-cooked in regard to being addictive. But the funny thing is, that i feared having all 90 Levels of our past versions in one game, would make it over the top boring to most people. But no, as far as my early play-testing with others goes, it makes it even more addictive.

  • Balancing: The well done addictiveness could also come from the fact, that i managed to re-order all levels and use a concept I planned when doing Princess Nuriko: As a game designer you can never order linear Levels perfectly, so instead I simply created a world-map that allows for parallel paths. So when a player gets stuck somewhere, there is always something else.

  • Medals: Excit from the start had the simple yet great idea to allow each level to be completed without collecting bonuses, but will honor players who collect up to 3 bonus pickups. In the past Krystians Highscore calculation took this into account, and with Excit for Android i changed this a little bit. Now with my world-map view, I am displaying medals for each level, showing if a player solved the level, if he collected/found one, two or even three of the pickups, and also special medals if the player solved the Excit level as good or even better than our given solution.

What went wrong:

  • Menu layout: Could be better when i had a tool for it. Having our own renderer is very nice, but not having a proper menu framework especially without any tool that can render WYSIWYG previews on PC is extremely slowing down work. It sped up a little when i implemented the ability to update game-content in realtime via network from PC, but still doing menues takes more time than implementing gameplay.

  • Polishing: Trying to have it look in the same way Krystian designed it for the flash version is really hard, when you have to manually code everything instead of quickly editing it in flash. As a result it just doesn’t look as perfect as the Flash version – additionally due to the fact that I can’t implement Anti-aliasing on Android via Java – which nevertheless would be way to slow for most phones to day.

So please: Everyone with an Android phone around: download the demo from android market and give it a try. I’m especially interested into everything that seems slow or buggy. Just reply here in the comments or send me an email via Ludocrazy.com!

Two bugs i know of currently (and wasn’t yet able to fix), and would like further feedback:

  • -It seems to crash on very low-memory smartphones. Typically those which have small screen resolutions + no hardware 3d gfx + not much ram. If you have such one, please test it and tell me what phone you did use – if it works, or not!
  • -One user using the super-duper HTC Sensation reported touch issues (wasn’t barely able to touch a level icon on the world map properly). Would be great if someone could reproduce that!

Choice in Catherine

Catherine - Decision

“Choose Life. Choose a job. Choose a career. Choose a family. Choose a fucking big television, choose washing machines, cars, compact disc players and electrical tin openers…”

Choice is perhaps the most overrated aspects of interactive storytelling. Sid Meier defined a game as a series of interesting choices after all. So in order to hammer in the idea of choice, many game developers focus a few, very prominent decisions. What inevitably happens is that little decisions are being left behind and the game becomes less interesting in the process. Catherine is a good example.

Funny enough, there are lots of choices in the game. At some times, it feels like you are filling out a fracking psycho test straight from Cosmopolitan. “Does life end with marriage?” “How would you react if you were naked in public?”. But as always, all the decisions neatly collapse into a 1-dimensional good vs. evil meter. And as always, the actual consequences of the decisions are being back-loaded so the developers don’t have to invest the extra-effort of dealing with alternate story branches.

Catherine - Meter

Good/Evil Meters – Where choices go to die.

Of course, good vs. evil is pretty shallow so in a desperate attempt to add variety and depth the developers managed to split the hairline plot into 8 endings in the very last minutes of the game. So which ending you get isn’t decided in the hours of conversations and questions during the game. The real important decisions are being settled in the very last level of the game by yet another series of questions. No reason given why they are important and the others not. They don’t seem different and they CERTAINLY don’t even closely relate to the actual ending you get.

But that’s not even the disappointing part. The disappointing part comes as you finally get to your ending. What happens when you dilute an already paper-thin plot even more? You get meaningless filler. You get a game where a character constantly struggles with the choice between two very different women for 10 hours, only to completely ignore and drop the issue altogether in the end. The ending I got was the so-called “Freedom Good” ending. It actually features neither Catherine nor Katherine. And from what I heard in the Experience Points Podcast, there are worse. I could have been hit by a car.

Over the years, games like Catherine made me weary about the concept of choice in games. For example, I rarely find alternate endings effective. The mostly end up being less interesting and they often just muddle the game’s themes. Here are some of my observations on how to treat choice in games.

  • Show consequences – decisions are only meaningful if you can actually witness the consequences. There are even more interesting if you can react upon the consequences. The consequences don’t have to be big. Sometimes, a single line spoken by a character can be incredibly effective.

  • Small and often – many, small decisions often work better than one, simple, big one. Big decisions are mechanically thin and often summon expectations the actual consequences can never live up to. Better to aim low and surprise than to aim high and disappoint.

  • Nuances instead of broad strokes – for some reason, game developers are obsessed with having the most diverging options in a choice: stroke the puppy or KILL IT. It seems like want to cover the widest spectrum of choices possible. But what the win with breadth, they lose in resolution. The choices and consequences end up feeling plump and cartoony. They fail to address the sophistication of the issues at hand. Plus, they make the characters seem like bi-polar sociopaths. What many don’t realize is that it’s the details that draw our attention. Having essentially the same option but with subtle differences can be much more meaningful. As a positive side-effect, it creates less headaches caused by significantly diverging plot lines.

  • Don’t ask questions you don’t want to hear the answer to – this is perhaps the most important observation. If your story doesn’t work when the main character choses not to save the world, don’t ask them about that (I look at you, Golden Sun). If you can’t write even one meaningful ending to your story, what makes you think that having 8 of them would be a good idea?

  • Catherine is guilty of having made each of those mistakes at least once. Which is a pity because it’s not that bad of a game. There are actually some very interesting side-characters. There are intriguing details to the story. And the way of interacting with characters by socializing with them in a bar or text messaging is actually innovating and promising. It just a shame it has been ruined be focusing so much on one singular choice that can’t even begin to hold it’s promise.

Monster Hunter Podcast Episode 54

This time on the Monster Hunter Podcast: Learn to Love a Crab. Our relentless hunter embark on a series of Freedom Unite quests and exchange tip on various crucial topics. Among them the art and science of crustacean romance.

Get the mp3 of the episode here.
The RSS Feed is here.
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Enjoy!

NotGames Fest 2011 Retrospective

After our first NotGames Fest 2011 it’s time to do a short retrospective. I already wrote a little about the exhibition while the fest was running. So I won’t repeat myself too much. Instead I let images speak. Katharina Tillmanns from CGL made this beautiful video:

For German-speaking readers, here is another nice Feature by the German national TV channel ZDF. It includes a TRAUMA plug which I’m quite excited about.

And if you prefer written media, I suggest this wonderful post by Tale of Tales. It’s the keynote Tale of Tales gave at the finissage. I found it a tremendously inspiring affirmation of why we organized this in the frist place.

I’m delighted to see that, despite the setbacks of the previous decade, the first glimmers of hope have started to appear on the horizon of the video-games medium. That is what is presented in this exhibition. Video-games created by passionate people intent on exploring the potential of this new medium. Unsurprisingly, most of these have been created by independent developers, individuals or small teams working on shoestring budgets. It’s hard work. And we’re going against the grain. But we all believe that this work needs to be done. We owe it to this medium. And we owe it to humanity. We will find a way.

I was especially blown away by the party at the finnissage. All the NotGames developers were there. We had also Guests from ThatGameCompany, Kokomori Collective and generally a lot if indie enthusiasts. Some of them traveled hundreds of kilometers just for this very event. We had a BBQ and you could just walk up to people and have these great, thoughtful conversations. For me it felt exactly like the kind of gathering that pays tribute to what the independent developer community stands for – a more humane and approachable way of connecting with people.

NotGames 2011 NotPhoto

As Jeroen put it so nicely: The NotPhoto

Needless to say we were all thrilled by the kind of feedback we received. I would personally like to thank everybody involved. I had the time of my life. I hope that we can repeat this next year. :)

About

The Game Design Scrapbook is a second blog of group of three game designers from Germany. On our first blog, Game Design Reviews we describe some games we played and point out various interesting details. Unfortunately, we found out that we also need some place to collect quick and dirty ideas that pop into our minds. Hence, welcome to Game Design Scrapbook. You will encounter wild, random rantings. Many of then incoherent. Some of them maybe even in German. If you don't like it, you might enjoy Game Design Reviews more.

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