Left4Dead’s contextual storytelling and JRPGs

A few days ago, I read through Elan Ruskin’s excellent 2012 GDC presentation on how Valve handled character dialogue in Left4Dead and I felt like I understood about two thirds of it, which is pretty good.  (I read it instead of watching it because GDC doesn’t seem to have any videos on YouTube from that long ago, nor do they seem to upload videos that get this explicitly technical, but Ruskin put his slides and script online, which is a very awesome thing to do.)  Left4Dead’s dialogue system is a marvel and it’s my opinion that anyone interested in making character-driven games should make themselves familiar with how it works.

(Because Left4Dead and Left4Dead2 are basically the same game, I’ll be mostly referring to them as if they were just one title.)

In particular, I’ve been interested in how systems like this could apply to JRPGs, which are my main area of interest but have been developmentally stagnant since at least the PlayStation 1 era.  Other genres have thoroughly pilfered what were once considered to be RPG mechanics—variable statistics, unlockable abilities and so on—but RPGs haven’t done the same in return, and its most critical flaw, the strict segregation of storytelling and gameplay, going almost entirely unaddressed.   For a genre that sells itself on the strength of its writing, it’s not a great thing for plot and character development to come to a halt the moment a player starts navigating a dungeon or fighting trash mobs.

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Heat Signature is real good, so here’s some thoughts

To get the review portion out of the way: Heat Signature is a really, really god damn good game from Suspicious Developments (who previously made the also really good Gunpoint).  It’s basically Hotline Miami restructured as a mission based roguelike with a randomized unlock tree.  If that sounds like a solid game idea, it is, and the game does it extremely well.  It’s less than a month old and it’s 15 bucks.

Nothing is perfect though, and having just completed a 20 hour run of the game (which slaughtered most of my free time during the last week and a half), I have some thoughts on the parts that could have used a bit more attention.

Some pretty big end game spoilers are at the end of this post.

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Resolutions, three months too early

It’s three months and a week before 2018, but it’s not too early to think about goals.  Once upon a time, I used to strongly poo poo New Years resolutions, seeing them as a wonderful way to hex your own self growth.  Looking back, my ability to manage my own self growth didn’t really put me in any position to dismiss how anybody else does things, but I still think the word “resolution” encourages lofty dreams with no plans to encourage real follow through.  (There’s probably a clever line to be had here about Thoreau’s castles in the air crashing helplessly to the ground.)

So, “resolutions” are still bad.  Let’s call them goals.

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Hobbies include digging on Spotify

Hobbies include digging on Spotify for obscure bands that nobody knows about, finding something amazing every couple of months, getting really angry that nobody knows about them because they deserve exposure, and doing nothing to rectify the situation because I’m really insecure about my musical tastes.

I don’t jealously horde music, I’m just anxious as hell about sharing anything.

I’m the guy with the car

A couple of months ago, I was thinking about those guys (they’re usually guys) who love old cars and stumble upon a great deal for a classic car that they love, but is in awful condition, and so they buy it, excited at the prospect of fixing it up and restoring it into the beautiful machine it’s supposed to be.  But then they don’t.  The car sits in their driveway or garage, hopefully covered by a tarp or cloth.  It’s in the way.  His family, when they notice it, just find it annoying and in the way.  When he remember it’s there, he feels a guilt that he isn’t working on his worthy project, if he ever even started it.  If he spent significant money acquiring the car in the first place, the guilt is doubled.  The dream becomes a weight around his neck.

It turns out restoring a car by yourself, learning as you go, is really, really, really hard.  The concept of the project is simple and exciting, and the fantasy of the final product even more so.  Step beyond the concept and the fantasy, and you discover a staggering amount of work ahead of you, demanding incredible time and commitment.  The more beautiful the dream, the more you have to sacrifice.  Give up your weekends.  You’re tired from work, but you don’t get to goof off tonight.  That’s a really weird problem you just ran into–time to hit the books.  Or you can wait and put it off, and in twenty years you can look back on this as the thing you never did.

A couple of months ago, I had the horrifying realization that I was the guy with the car.

For the last few years, I’ve been slowly working on a GameMaker project, and by “working on”, I mostly mean “feeling guilty about not working on”.  I could use the partial excuse of having been really sick for four years, but who am I trying to supplicate?  The only thing that matters is the dream.  In some respects, that dream began with this project.  In others, it date backs to concepts I’ve been slowly developing over the course of a decade.  All I have to show for that decade is a few design documents I drew up over the years, all of which are now very obsolete.

There’s good news, though!  I’m no longer okay with it.  For the last six weeks, I’ve been hustling like crazy on my project, and my progress has been incredible.  By the end of the weekend, I’ll have completed the guts of a module that six months ago I couldn’t imagine ever being finished.  At my current clip, I might have something worth showing as a work in progress as soon as the end of the year.

My project is a JRPG called Behemoth, which is shaping up to be a strange marriage between MegaTen/Persona and Puzzle and Dragons.  I’m building the whole thing from scratch in GameMaker because RPG Maker is terrible and can’t possibly do half of the weird garbage I’m planning.  I’m about to start working on the battle engine–hopefully next weekend or sooner–and I’m very excited.

It feels really good to move towards your dream.  This will be a beautiful machine.

Our secret blackberry patch is gone

I have no sympathy for people who accidentally cause incredible destruction. Humans are fundamentally, across the entire planet, an invasive species. Our ability to dramatically evolve within a single generation has taken us outside the world governed by ecosystems. We do not play ball with the world. We control it, outcompeting everything around us. Like all invasive species, we will live high until we have consumed the entirety of our environment. And when there’s nothing left, we too shall die. 

If we manage to survive what Carl Sagan called our adolescence, our descendents will look back on us with scorn. We triggered one of the planet’s great extinction events, all because people needed something to do, because we decided that people having something to do was a precondition for participating in society. We even realized what we were doing, and then we did it anyway. 

That 15 year old kid who threw the firecracker that destroyed the Columbia Gorge: I hope deep guilt and shame haunt him for the rest of his life. His is the great human sin writ small. Forgiving him means forgiving ourselves for what we’re doing to the world. We don’t deserve it.

Comedy in Tragedy 

From the Wikipedia article on Atalanta:

​When Artemis was forgotten at a sacrifice by King Oineus, she was angered and sent the Calydonian Boar, a wild boar that ravaged the land, men, and cattle and prevented crops from being sown. Atalanta joined Meleager and many other famous heroes on a hunt for the boar. […] Several of the men were killed before Atalanta became the first to hit the boar and draw blood. After Meleager finally killed the boar with his spear, he awarded the hide to Atalanta. Meleager’s uncles, Plexippus and Toxeus, were angry and tried to take the skin from her. In revenge, Meleager killed his uncles. Wild with grief, Meleager’s mother Althaea threw a charmed log on the fire, which consumed Meleager’s life as it burned. Then she died when a new boar came out of the woods and killed her.


Xenogears is a Tragedy

Sorry, buddy.

(I wrote this a few days ago when the site was offline so it’s going up now.)

Having just watched what was probably the conclusion of A Raving Loon’s stream series of Xenogears—which ended very badly—I’ve been reflecting on how a game that was genuinely my favorite Playstation 1 game at the time is now just so…bad.  What ultimately killed the stream series was the infamous train wreck that was disc 2, where the game essentially retires from being a game and becomes hours of characters sitting in a chair in front of a still image in otherwise empty space, talking about all the amazing things that would have happened if there had actually been a game here.  The longstanding problem of the game’s verbosity stretches beyond a breaking point and the person formerly known as the player drowns in information dumps of trivia and references to a garbled understanding Kabbalistic and Gnostic mysticism, punctuated with the (in retrospect totally busted) pop science of multiple personalities that was popular in 1997.  There are a few dungeons and other spots of gameplay thrown in, but they only highlight how awful the rest of the time is.  After 10 or 12 (or more) hours of this, you’re eventually dumped back into a world map that has probably five interesting locations on it, one of which is the final dungeon.

What’s strange is that none of this bothered me at the time.  The awfulness of disc 2 was generally regarded as being a tragic result of insufficient time and/or money, rather than being an unmitigated title destroying disaster.  In an era where AAA games are routinely released in an incomplete state with the rest of the content (and most QA work) being developed after the fact, possibly as DLC, the way Xenogears handled its second half would render the game unsellable today and probably damage the reputation of its publisher.  The game’s director apparently went on the record recently to say that it was the result of mostly leaving the game to new, inexperienced employees and interns.  If that’s true, it only happened because of major negligence on the part of the people who should have been building the game.  More to the point, I have trouble believing it.  The fact that most of the team eventually left Square to form their own company in order to make Xenosaga, the game they apparently wish they could have made, suggests a passion for the project that would make it extremely unlikely that they’d have left it in the hands of others.

Xenosaga was itself a production disaster:  It was intended to be six games, each representing one of the six episodes Xenogears promised in its ending, but the first game was itself so incomplete that it represented only the first third of the story they wanted to tell.  It ultimately took them three whole games to accomplish what they’d planned to do in one, and the series was then terminated due to poor sales, in no small part due to the fact that, yes, in this case you actually do have to play the first two games to understand the third.  What all of this tells me is that the team behind Xenogears and Xenosaga have terrible project management skills.  If they’d had the time and money that its fans in 1997 wished they’d had, they’d have made a game that was twice as big and still only 50% complete.  The explanation that they’d left the game to interns either speaks to that managerial incompetence, or is just a petty attempt to shift blame to others.

That said, the game itself has much to recommend it (even though I wouldn’t):  it has an amazing if too short soundtrack by Yasunori Mitsuda, excellent sprite work, a few extremely good mech designs, and a number of enthralling subplots that could have easily carried their own games.  Despite everything I’ve said, it really is tragic that the game ended up in its sorry state.  What the game desperately needed wasn’t time and money, it was an editor that had the authority to cut out the unnecessary exposition, plot arcs that don’t go anywhere and all the mythology that just doesn’t need to be communicated.  Call it Donnie Darko syndrome.

Oh my god, Xenogears is Donnie Darko.  Oh my god.

 

Don’t that beat all?

After some weird technical stuff, it turns out I don’t have to start my blog over from scratch. (It had disappeared into an abyss and was replaced with a “rootstew.com coming soon!” landing page, which is not a good look.) I’m not sure how concerned I should be that my reaction to losing the old writing was…almost total indifference? The nice thing about words is that you can always make more, but I don’t really seem to have a use for them once I’m done with them…not that I made great use of this blog before.

Anyway, it looks like everything is back online and I get to remember that, as surely as night turns to day, I once had a Brita filter go moldy.