Many games will use a narrative event to break pre-establishing rules in order to accentuate the moment. However, the way in which this is done can dramatically affect the relationship between the player holding the controller and the character going through the narrative event. This is particularly noticeable in RPG boss fights when the protagonist is so determined to win that they become invincible through sheer determination, which ruins the player’s sense of urgency. Azure Striker Gunvolt circumvents this problem by giving the player a generous super-mode called Anthem, but also presenting new challenges which specifically target the nature of Anthem’s abilities.
WARNING: Major spoilers for Azure Striker Gunvolt and Undertale, and a scattering of other games.read more
The War of the Chosen expansion for XCOM 2 introduces three factions that hate each other, and it’s up to the player to unite them to defeat the aliens. This social tension is represented in gameplay through the “Lost and Abandoned” mission, which introduces the player not only to the factions themselves, but also to the new threats that make the factions necessary. Although the factions are strong, they also have weaknesses, and the player learns firsthand why they need to work together.read more
In many ways, Dishonored 2’s narrative setup is exactly the same way it was in the original Dishonored. There are only so many ways that someone can be dishonored. But after the titular inciting incident, the two games diverge in how they handle temporal morality: the way that characters (including the player) develop their sense of morals as the game progresses. The first Dishonored focuses on moving forwards into the future, whereas Dishonored 2 focuses on unraveling events that happened in the past. These two directions cause their stories to be different in subtle but important ways.
WARNING: Massive spoilers for both Dishonored 2 and Dishonored.read more
The nature of procedural level generation makes it hard for designers to implement a smooth difficulty curve. Instead, each level is treated as a static plateau of difficulty, with large jumps from level to level. With old-fashioned hand-placed levels, designers can create scenarios that have a much smoother flow of difficulty, even within the same level. But Dead Cells manages to get the best of both worlds: randomly generated levels with self-contained difficulty curves.
WARNING: Spoilers for late-game enemy types.read more
Rakan and Xayah have brought a new level of synergy to the League: their abilities explicitly reference each other by name for an additional effect. This has never happened to the same degree, and it raises a lot of questions about balance. But before those, we have to address some definitions: what exactly is synergy? How can we categorize it? What makes Rakan/Xayah’s synergy different from any other pair, and how can this distinction help us understand League’s design?read more
Many triple-A JRPGs rely heavily on suspension of disbelief to carry their narratives. Titles like Nier: Automata overload the player with so much immediate emotion that they’re not given any time to think about the massive inconsistencies. These plot holes are explained if the player spends a long time searching for collectibles like notebooks or diaries that explain what is happening, but this process tells a story through text rather than showing it through play. What if this didn’t have to be the case?
WARNING: Massive spoilers for Nier: Automata.read more
Nier: Automata has the unenviable job of merging open-world RPG design with hack-and-slash combat. These two directions don’t have to be mutually exclusive, but sometimes the designers need to take a side. Platinum Games is practically the face of the spectacle fighter genre, so it’s no surprise that they lean towards their comfort zone when the option is available. This divide can be noticed in one of the most mundane details: how the characters jump.
WARNING: Mild spoilers for Nier: Automata, footage from a boss battle is used to illustrate a point.read more
In my previous essay on Deus Ex: Mankind Divided, I talked about how the reboot series will rarely force players to go through a combat area that they had previously completed, in order to maintain the illusion of having many choices. The latest DLC, A Criminal Past, goes against this hypothesis. You start in block A of a prison complex and must make your way to block B, which is nearly identical. Why would they break their previously established pattern?read more
Now that every single game has parkour, it’s hard to appreciate how innovative the original Mirror’s Edge was. The designers had to break the ingrained assumption that enemies are meant to be defeated, and instead incentivize players to run away while somehow making them feel badass and powerful for doing so. When you encounter hostile cops for the first time, the level uses several creative tricks that nudge players to play the game differently than they would play any other game.read more
Fire Emblem Heroes isn’t the first maliciously monetized mobile game to have rerolling, and it certainly won’t be the last. Like other “gacha” games, you spend in-game currency to get a random character for your team. Some characters are objectively better than others, and when you start the game for the first time you get a large chunk of these currencies. This results in the phenomenon of rerolling, where people will uninstall the game and constantly retry their first time until they get a very powerful hero. Why would a game designer ever want such a thing?read more