loopingworld.com

As the header says I'm now using loopingworld.com as the main site.

This means that the site here won't (usually) be updated and I'll eventually copy all of book-related posts over there. The rest of the stuff will stay here for as long the site stays up (not planning of pulling it down for the foreseeable future).

UPDATE: There's a possibility I'll reopen the blog, but it will be for writing about roguelike development, tracking my own (lack of) progress.

Saturday 5, April

Guild Wars 2: ten years in denial

If I had an ego problem I'd say that some dev from Guild Wars 2 finally read my blog and received enlightenment. But I don't have that, so I simply believe that they are very slowly dragging themselves where I always stood, because my ideas have been flawless from day 1. You may think this is still way too arrogant, but the fact is that ten years later my model is finally getting adopted.

Simple story: in 2012 I ranted against Guild Wars 2 server structure saying it was fucked up (I'm linking the forum and not the blog because it has the hard dates). The reason: a good server model wants persistent/home servers for PvP, while it needs instanced PvE, in order to load balance and avoid players' fragmentation.

So I ranted because I was realizing GW2 was going to implement a fucked up INVERSE model: PvE was server-based/persistent, PvP was instanced. Aka: how to design a system ass-backwards.

But the model of server structure I suggested is way older than that rant, and it was described in 2004. See the date of that forum post. Basically this new GW2 patch goes live in the 10 years birthday of that forum post. In 2004 the problem was that the technology maybe wasn't ready to support that structure, but in 2012 Guild Wars 2 employed all the systems I used in my own proposed structure, but ordered them incorrectly. The forthcoming patch rectifies some of those mistakes and brings the structure closer to the one I originally proposed.

Arenanet in 2014:

It means that maps will have more players adventuring in them to provide you with the best possible PvE experience.

Me in 2012:

The solution I suggested was thought to fix both player density in PvP, and PvE feeling always "alive" with other players. Design goals are the same.

What does it all mean? Simply that my ideas, once again, get validated by being adopted. It's like witnessing an epic long detour that eventually has to pass through HERE.

They'll eventually get PvP too, even if maybe it will take another ten years for that. Let's be patient?

Friday 4, April

World of Warcraft Draenor expansion resets the game to vanilla 1.0

This is what I've been saying for a few years: WoW was an absolutely great game with almost flawless design, that then got progressively broken by game designers that upset the original fine balance.

Lots of changes with the new expansion: http://us.battle.net/wow/en/blog/13423478/

What a pathetic display of mudlation applied to game design. It all amounts to "with each expansion and patch we broke our fine design, so now we are rolling everything back to how it was originally, so that we can start breaking stuff again."

So Draenor = WoW v1.0

as healers and their allies acquire better and better gear, the percentage of a player’s health that any given heal restores increases significantly. As a result, healers are able to refill health bars so fast that we have to make damage more and more “bursty” in order to challenge them.

To that end, we’re buffing heals less than we’re increasing player health.

Or:

Over the years, we've added significantly more new spells and abilities to the game than we've removed. This has led to the complexity of the game increasing steadily over time, to the point we're at now, where players feel like they need dozens of keybinds.

That means making some abilities restricted to certain specs that really need them instead of being class-wide, and outright removing some other abilities.

Or:

Another big takeaway from Mists of Pandaria is that there was simply too much crowd control (CC) in the game.

To solve that, we knew that we needed an across-the-board disarmament.

It took them quite a while to realize this. Now they basically invented "Infinity, the game design": things start great, then slowly get broken by designers who enjoy fiddling with what works, until it all goes back to the starting point for a new loop.

First they hype stuff being added: people go YAY!
Then they announce they are removing the stuff they added previously: people go YAY!

The ultimate achievement: make what's old feel as if it's new. It already happened with Diablo 3: they design new broken systems so that everyone rejoices when they finally remove them.

And game designers are getting paid to remove what they just added. It's like modern economy: the illusion of wealth by moving virtual money around.

Friday 21, February

True Detective and roguelikes

Over to the other blog I explain the connection between rogulikes games and the HBO's TV show "True Detective":

Wednesday 12, February

System Shock (1)

I finally completed System Shock. I'm so relieved, it was like a burden.

(this is long but you can go read the last paragraph, where I explain the big deal)

(the game is available here. I've played it just fine on W7 64bits.)

I bough this game back then when it was released, and since it was released in 1994, that's almost 20 years to finally kill the Shodan bitch. That was also my 1st PC 486 2DX 66 (well, my first computer was a Commodore 64, but I went right form that to a PC), bleeding edge, and my very first game was Ultima Underword (that I also never completed, but was close, down to level 6-7, the game taught me English). Actually it's more like 19 years, since I remember I bought the CD-ROM version. That was back when the CD-ROM was a very new technology and no game really used it. I think I went to buy something else, probably Doom 2 (I got that one later and things were never the same), but I only found System Shock. The problem was that I already played all of the 1st level, which was included in the demo, so I had already seen a good chunk of the game and I didn't even like it so much. But Doom 2 wasn't there, so I bought System Shock. It was a good choice because the CD version of the game had lots of good things added. Full voices for the logs and e-mails, more games from the cyberspace, and I think more variety in the textures because I remember that between the floppy demo and the full version there was more "damage" shown on the panels of the level. The only problem was that it took me quite a bit of work with autoexec.bat and system.sys to be able to make everything work along with the sound. Oh, and I also managed to "hack" the game to see the ending, by mixing some demo files with the full game, so by completing the level 1 demo it played the final CG scene instead. I don't think I've made past level 2 at the time. In these 19 years I restarted the game many times, but I never managed to complete it. I remember only one good attempt, many years ago, I even wrote down my own log with all the mails ordered by time, and I remember I reached the flight deck (level 5), but no further than that. System Shock 2 instead never appealed me, it looked like crap and it seemed just like a crappy remake of the ambitious first with lots of features cut.

I'm so glad I finally finished it because there's a sort of contradiction I feel. From one side it's really one of the greatest games ever made, still absolutely playable and with an excellent design. It's still excellent today. But on the other hand it's one of the playing experiences I hated the most. I'm GLAD it's over. Playing this game gives me a sense of dread and of almost obsession. It's so good that I find basically impossible to play feeling detached, and even if the game is actually really easy. When I go to sleep and close my eyes I immediately see the station, the cameras, I hear the blips and beeps. You are completely alone in this space station. The whole place is crammed and claustrophobic, you only see the pixely space from small windows, very rarely. You crawl through vents all the times, while hearing robot noises, doors opening and closing, and jammed elevators. The robots that try to kill you can respawn in certain locations, so you can never totally clear a level and feel safe. Even if most of the time you play basically in god-mode (every level has a lever that when pulled will bring you back to life when killed) and of the 703 monsters I killed the great majority of them was done with them stuck in a place while I shoot leaning from a wall. Zero risk.

In fact one of the peculiar things of this game is that it has a custom like difficulty. From 0 to 3 you can set individually the difficulty of puzzles, the combat, the "story", and cyberspace. I set everything to max minus the "story", because at max difficulty it gives you seven hours to finish the game and it plays like a speedrun. What they used to say is that if you set combat to 3 and everything else to 0 you'd basically get a game like Doom 2, but that's far from true and the reason why either you play at max difficulty or you just have a crippled game. The engine here is the problem. Doom 2 is based on performance and execution. Big levels that turn into mean arenas. System Shock instead is "true" 3D, but it feels like a crammed Minecraft, in some ways. It uses for the most part these cubes as basic building blocks and has plenty of irregular rooms with small niches and ledges and slopes, hidden places and whatnot. You need to examine every inch. It's full of buttons, screens and devices and stuff to get, like munitions, access cards, mails and so on. So where in Doom you'd enter a room running in (or sidestepping), kill all the monsters, and be done with it, in System Shock it's a step by step approach. Every inch is slowly conquered. It's as if you have to physically touch every square inch. As a shooter it would suck, the levels are too complex and clunky designed for the monsters to navigate them competently. They are deadly, but they barely move. This is a game that went overboard with the virtual reality kind of goal. Your head can move up and down through three discrete levels, then with a slider you move the eyes, from all the way up to all the way down. Posture controls are as crazy: you can stand, crouch or lay down, and in all three cases you can lean left or right through a couple of degrees. You can also run and jump, and the game uses a sort of physical simulation, so when you shoot you are pushed back, for example, you cannot suddenly stop if you have already some acceleration, and so on. But overall the navigation is clunky and fiddly, so combat doesn't rely AT ALL on dynamism. It relies on finding the right angle so you can shoot while the monsters can't.

Thankfully, now one can play the game in some ways much better than how it was possible at the time. True high resolution doesn't work, but 640x480 works well even in full-screen mode (and I've still got a CRT monitor, since it runs on Dosbox I guess you can use a scaler too, if you want). At the time even on my decent PC I could only really play at 320x200 with the viewscreen in a window. That added a whole new level of burden on top of the claustrophobic feel. Plus now there are patches that redefine keys and add mouselook, so controls are infinitely more responsive. Originally playing this game could feel exactly like playing Octodad nowadays, or control an actual human being through a gamepad.

Of course this isn't Doom 2, but a true RPG. That's what the gameplay is like. Right at the start you are in a small room. The engine shows you it can do slopes and animated walls, and if you click on those walls you get a label that says what they are, you can even try to "use" them. On the right you have laying around some tiny health patches to pick up, something you'll do often through the whole game, inspecting dead bodies, or looking behind 3D objects to find if something is there. There are two doors, both locked, but one has a switch near it. You press the switch and one door opens. Within the small niche you find more tiny stuff to loot, and e-mail reader, a pipe to use as a melee weapon. Using the e-mail reader you get for the first time an idea of the context, and with the access card you find there you can open the other door, right near a device that if clicked restores your health. Again and again. Then some innocuous robots come to you and you destroy them by swinging the pipe. Since you have a mouse-like cursor, you can aim at stuff, like shooting at some robot that is in the corner of your view, instead of shooting only in the center. The door to get out of this room is locked, and this teaches you to use number pads, and retrieve access codes from the audio logs you get in the e-mail reader.

This is the design. Fiddly controls for your persona. Inch by inch explorable space, where every steps requires you to look at objects to pickup, switches, monitors, doors of various shapes, force walls, force bridges, sections of levels that move to reveal more robots (monster closets). And also hidden spaces revealed by clicking on fake walls (luckily you figure these out by looking at thee map or keeping help enabled that flags interactive stuff around you). Then there are puzzles to solve to open some locked doors or elevators or whatever. I think they come in two flavors, one has wires of various colors, like blue, yellow, red and magenta, and you have some 4-5 connections on either side, with a green bar on top that shows you how close you are to the solution. It means you move the wires between the connections, trying combinations while looking at the bar, if it increases its level it means you made a right move, so you proceed with trial and error till you finally get the solution. The other type instead has a circuit with a pattern and "X" or "+" signs. You can click on each, turning the "X" into "+" and back again. It would be really easy, but the tricky part is that every time you click on one it has an implicit connection with the others, so even the nearby slots change. So to solve these you have to figure out how they are connected, and even here through trial and error you'll finally find the right combination.

"Health" comes in two flavors. Actual health and energy, both fundamental. Health is straightforward and can be restored through medikit patches you find scattered around, 1st aid kits (that are more rare and use a physical limited slot, instead of the normal patches that instead you can accumulate without limits), or a special device that you actually only have on a few levels. It's there at the start of level 1, but on level 2 it is broken, and some levels have none. Energy instead can be restored infinitely through some charge stations scattered around a level. Sometimes not immediately available though. Energy is used for energy weapons, that you can rely on to spare munitions for when you don't have a charge station nearby. But energy is also used for the "hardware devices", like the shield, the lantern (to explore very dark places), jump jets and even the radiation suit when you explore parts of level with radiation.

Before you conquer a level, Shodan owns it. This means that some doors, switches or other things may be locked, including the charge stations. You lower Shodan security by destroying cameras and blowing up CPU nodes. When the security is 0 you can go (almost) everywhere, unless the lock was cyberspace-dependent. This creates both a non-linear experience (since you can explore the convoluted levels as you want), along with a degree of control, since the designers can lock away an area until most of the level is cleared. This on top of another kind of non-linear progression: by using the elevators you can go back and forth between the levels, and you actually have to, since the story locks away parts of levels to explore much later on. This means that most of the experience feels like being trapped in some middle spot. Threatening things are ahead of you, but also behind. You never feel safe even when you are. When you save the game you always feel a sense of dread as if you saved at a point of no return, trapped within two ends, a dead-end of sort, even if the risk is (almost) never actually there. It's the game that makes you feels so. Always alone, trapped in this station, without a clear idea of where you are supposed to go, or what to do. Without knowing if you actually can do it. You don't know if you will will manage to win the game or miserably fail. The game seems to close on you, all the time. You don't know if the weapons, munitions, batteries or health patches are enough. You are always trapped in this threatening flux. Until the very end.

On the other blog I made a parallel between the flow of System Shock and Final Fantasy 13, but that flow is really clever. The audio logs you find scattered have a date, but you stumble on them in a non-linear fashion. Their dates are jumping between the last nine months, so you get to puzzle together how the things escalate up to the point where the game starts, and compose pieces of stories into one. Some logs arrive at key points through the story to guide the player onward. Initially you just gather weapons, explore the level, destroy the cameras, until you find the CPU nodes and fight back a bunch of robots Shodan sends your way. Then you are sent down to level 2. This level is more spooky and more convoluted. You don't get right away access to charge stations and health restore things, and some zones are locked away, so the situation is more muddled and confusing.

The first goal is explained through logs: you have to power up the station shields and then fire the lasers, so that the lasers hit the shield and are destroyed. This requires a few level jumps. Cyberspace on level 2 unlocks a section of the level with the CPU nodes and elevator to the Reactor level. But before going there you have to retrieve an isotope still on level 2, in a radioactive room, then go to the reactor level. This level is not very easy, a few room traps and some quirky and labyrinthine design, but it has a charge station and health restoring thing easily accessible. Then you have to input the laser override code, that can be obtained from level 2 cyberspace, I think, and the isotope needs to be placed in its place, and a switch pressed. So you have to find the room where you can type the laser override code, and then the room where the isotope goes, with robots around every corner and some respawns. This leaves an area of the reactor level unexplored because of high radiation. But then back to level 2, and a room that is now full of robots. If you press the laser button before going to reactor level and bring up the shields, the lasers are fired anyway, and Earth is destroyed. Bad end. But if instead the shields are up, the lasers blow up. Good job.

But on the way back to the elevator you get a new mail that says Shodan has a new plan, about unloading on Earth a mutation virus. This is the longer mission in the game. You go down to level 3, that has a number of highly resistant and almost invisible (and respawning) amoebas as monsters. The level is small and very dark. Big parts of it are inaccessible. There are a few devices and objects that are left unexplained. Plus, it gets even more non-linear. From level 3 you can also go to level 4, 5, 6, through two different elevators, so if you want to go 6 right away you can. In fact I think I did level 5 and then level 4. Level 5 is the flight deck. It has some rather big rooms and escape pods that are locked away. It's not a hard level but the layout isn't that simple to figure out. Level 4 is also fairly simple, but it has some tricky traps, like having a room only accessible by jumping through a kind of ramp with the movement boost activated, but when you finally land on the room two side doors open and robots attack you. There are also other tricky switches to reach and figure out how to go through certain doors. One for example is first locked by Shodan security, and then by an access code. You get the access code by finding around and listening to two audio logs, one giving you the first number of the code, the other the last. So you are left with trial and error to figure out what's the middle number. Exploring level 4 gives you an suit that protects from radiation.

With the suit you go to level 6, that is actually rather big and with lots of mean robots. More dark rooms, more traps. A tricky session of cyberspace. From level 6 you get access to four sub levels, the Groves, Beta, Alfa, Gamma and Delta. One of them is already gone, so they are actually three. These are smaller levels filled with (respawning) mutants. It's not all that simple to figure out what to do here. The story says that Shodan is experimenting his mutation virus in one of the Groves, so you must eject it from the space station. But it's not so easy either because the switches are overridden. You have to go in each Grove, find the switch, flip it, and then finally pull the master switch back on level 6. On top of this, one of these Groves is filled of radiation. Even with the suit the radiation still gets to you, so you have to explore to find the switch, fight an insane amounts of (quickly respawning) mutants, and do it as quickly as possible to spare health as the radiation gets to you. I hate this part.

But even when all this is done you still have quite a way to go. The master switch won't work (where there's also Edward Diego to fight, who's like a secondary big baddie in the game, and whose room has a teleportation pad that if you enter you are permanently stuck. It's supposed to be a shortcut to the center of the level, but I think I must have skipped it in cyberspace, but I don't want to go there again) and it will tell you have to repair a relay. I actually read a walkthrough, here and there, not because I really needed it, but because it helped feeling I could do it and verify I was doing everything correctly, but I'm guessing this part could be the most tricky to figure out without any guide. You have to go back to level 3, now the sections of the level are open. There's a room that has always been accessible that now delivers a new log, the log says a certain relay needs to be repaired. To do so you have to go to another room, input the number of the relay reported on the log, and the thing then says you have to insert a demodulator on the same relay, that can be found on the same level. So the tricky part is not only to realize you are supposed to go back to level 3, but also use these weird objects and devices you found long before in the game without figuring out how to use them, or even if they had a real purpose. Level 4 also had plastic explosive that is only used later in the game, so this is a rather complex structure of fiddly bits and back and forth. Once you explore the rest of level 3, find the relay and replace the interface, you can then go back to level 6 and flip the switch... and it's still not done.

You go back all the way to the Grove you need to eject, where there's another switch, and there Shodan releases more mutants at you. Finally you flip this other switch and the Grove is ejected. After doing this the elevator between level 6-7 works again. You get more messages saying Shodan's new plan is downloading itself on Earth through some antennas. So you have to blow up the four antennas on level 7. That's why you need the explosives, and to get them you have to go back to level 4. Fortunately the respawned mutants and robots on that level are an easy thing, mostly out of the way. Aaand you are on level 7. Another tricky level with some doors blocked or locked, plus other traps and triggers in the vein of monster closets. Three of the antennas can be blown up relatively easily. But one of them is another trap. You install the explosive and Shodan traps you in the room, so you blow up with the antenna. To escape you have to go to the door/force field and solve a puzzle. It's actually not a puzzle, you just have to press a bunch of "x", but you can't do this fast enough. So you either cheat your way out by flipping the cyborg conversion that makes you respawn there every time you die, or you use the "reflex" patch that slows down time. So you have time enough to solve the puzzle and disable the door lock.

Huff, are we done yet? Nope. You can get to level 8, but the room there is locked. Before you can access the level you have to blow up the reactor. To do this you have to go ALL THE WAY UP to the reactor level. I don't know why but this pained me so much. Not because it's boring backtracking, but because it feels like you never get anything behind you, never get out. You escape from the nest of bees, and now the game asks you to jump BACK into all that. This game is all about this tension, trying to finally escape, find the safe spot. And then the game wants and FORCES you to leave the safe spot and jump again into the fray. Not only but you are supposed to go through ALL levels, because in every CPU node room there's a monitor with a number, and you need that number on each level to input the code on the reactor level. This is actually fairly simplistic and quick, but for me it's too much emotional stress. You can't get a code from a walkthrough since this code is different for every game, but fortunately you only need the code, so I mustered the courage by just loading a savegame and quickly go retrieving the code, without the constant (and self-imposed since not actually needed) hassle of sparing munitions and health patches. With the code and radiation suit you load the game where you left it previously, and go all the way to reactor level, and into the zone left behind during the first go because of radioactivity. Lots of robots but the procedure isn't complex.

More complex is instead the return since Shodan fills the level(s) with mutants and robots. Plus from this point till near the end of the game there's a frequent screen shake and rumble because the station is supposed to blow up soon. The goal now is to go down to level 5 where the escape pods are and use them. Level 3 was filled with robots and since I knew I was done with those levels I simply put up the shield and ran right to the next elevator. Then level 5 is quiet, but near the escape pods there are a bunch of new robots and there's Edward Diego to fight. The first time I actually bypassed him by just pulling him back in the room, and then run right to the escape pods, but then I decided to do it properly. I mined the area where he was supposed to come out, used a reflex patch to slow time, and then finished him with the lightsaber. The escape pods are obviously blocked by Shodan, so you are told instead to go down to level 8 and find a different way out of this mess. This level has a very huge central room and weird layout, but it is not too hard. There's a section of cyberspace almost impossible to find, and it's necessary to open a part of the level, but that zone is completely useless, so it can be skipped. Once the level is explored fully you can access a central section through a force bridge, that has some radiation. Past this point doors lock behind you, so it's a point of no return. As you reach the elevator to level 9 Edward Diego appears again for the last time, and when you finally kill him more mutants arrive too. On the body of Diego you find the access key to use the elevator, and so reach level 9.

As you are in level 9 you receive a video of the level detaching itself from the main station, and then another with the main station blowing up. Level 9 is Shodan's headquarter. So now you can't go back anymore. You just have this last level. Actually it's probably the easiest. It packs you with munitions of every kind, health packs everywhere, recharge stations. The only tricky part is there's no cyborg conversion, so if you are killed you are killed. But as I said you are filled with stuff. There's a very tricky chunk of level where you go through tiny tunnels filled with respawning bombs. You have to find a circuit and solve the puzzle there. It's a rather mean area since: there's some radiation, so your health and energy go slowly down (energy because of the suits that protects you, health because the suit doesn't protect you fully), plus bombs continue spawning and come to you. So you have to find the puzzle and solve it as quickly as possible while also be ready to shoot the bombs when they come. Shooting things WHILE figuring out the puzzle. I used the shield too, but the shield uses power, and power is needed for the radiation suit. Or I could have used a "Logic Probe", a device that solves puzzles automatically. Instead I simply first found the solution, wrote it down, then reloaded and tried to do the whole thing in the best way possible (lots of the game for me was doing things, then loading a savegame and do them better). After two other, more easily accessible puzzles are solved, you get access to a room, where you need to install a chipset (easily found elsewhere). That's where I got momentarily stuck. I couldn't find any cyber node to connect and go fight Shodan. It took a while to figure out that now there was a small passage to a big central section. This room is filled with mean cyborgs AND radiation. But at this point of the game I was so packed with stuff that I could have gone through another two games from beginning to end (you can see some numbers in the image here below). The cyborgs are easily destroyed, so what's left is only cyberspace and Shodan. Even this last part is fairly trivial, so thankfully if you made so far the devs decided you deserve to finish the game instead of frustrating you further. The cyberspace here is fairly complex and can take a while to solve, but you could simply go right up to Shodan. All you need is keep shooting, really simple. While you fight with Shodan the screen fills up, navigation in cyberspace is also extremely hard, so this could have turned into a NIGHTMARE, but instead Shodan's image stays right in the center of the screen, so you are only required to shoot. The end is abrupt. The second before you are shooting, the second after you are seeing the CG ending.

But the point of all this is that it's a rather awful experience. Just too tense and stressful. You never feel "safe", with all the back and forth and constantly moving goals. It's also the most direct experience in a game. Nothing is "faked". All the fiddly, interactive bits make for a game that is extremely hard to predict. When you play a game like Doom you know what can happen. You know the tools that a designer has and the ways monsters and level design can work. Outside of those possibilities nothing exists. In System Shock instead everything is modeled. There are so many devices and variations, you never know what to expect. Every room a potential death trap. The fact that it's so non-linear, that you can go back and forth, that you are always in flux within this environment, all this means you never know EXACTLY where you stand. You can't "clear" a level. You can't be absolutely certain you haven't missed something important along the way, missed some important step of the mission. You never know if you have stored in your inventory enough stuff to finish the game or if you wasted too much. You don't know if you left behind some important object that you risk not finding again. It's a game of constant anxiety, and full simulation. You are alone with this sense of claustrophobia, walls closing on you, trapped with this mad and evil AI, respawing robots and (apparently) dwindling resources. You want to escape as fast as possible, but the game always push you back deep into the ugly places you just came out from. You came out from hell, but you realize you have to go through once more. It's so mean, so unsettling. Now I've finished the game, but thinking about loading even a saved game fills me with irrational dread. The fact I completed the game didn't purge it of horror. This is an achievement of the game I can't explain.

I'm done with this. And it's one of the greatest games ever made, and most unique experience. It can be clunky, but its design has so many different aspects they they build together one of the most, if not the most, complex games ever made.

Monday 10, February

Who we were, who we are.

On some forum the same bullshit we used to have is being used now with The Elder Scrolls Online. That the game is still in beta, or that you couldn't see enough of the game to properly know how it's going to be. All bullshit.

My first impression of WoW was appreciated/acknowledged by WoW's Lead Designer (Tigole), linked through several forums, and it was several pages long and written when my first character reached *level 8*. It took me much longer to write it than the time I played that character (this was in March, the game was out in November).

*Today*, or NINE YEARS later, I still stand behind everything I wrote in that review, and it's still quite accurate describing the game. Actually, the more time passes, the more revelatory it becomes because nowadays we give that stuff for granted, and it wasn't until Blizzard revealed it (and I complain about player collision there too).

Read it today, and you learn where MMOs come from, and what Blizzard achieved. And why TESO isn't doing remotely ANYTHING of that sort. Really, read it even if it looks way too long.

I'm adding here some quotes:

You can also forget about the lack of "feeling" of a game like SWG. In SWG you cannot even jump, you can only hover phantom-like where the game allows you and everything feels so faked. You can see a rock but you cannot climb on it, you see a bench and you cannot climb on it and so on. You can go only where you are expected to go. In WoW you can do whatever you like, the world feels real. Jump around, climb rocks, jump on fallen trees, over tables and other objects and reaching points where you aren't supposed to climb. It's hell of fun and gives you a lot of freedom. You don't feel simply *nailed* on the ground. Try for example to climb on a high flight of steps in SWG and then jump down in a second. You cannot. In WoW this is possible, you go wherever you'd like. Jumping and running like crazy. It seems something stupid but it's another of those elements adding a lot to the game. It "feels" good. The tech guys at SWG probably never realized how much is important for a game to "feel good".

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- Character Creation -

PROs: The first pro is a design choice I *always* criticized. In games like DAoC or EQ you need to know the game quite well to be able to create the character. This because you need to know what's better in race/class combination, but, in particular, you need to place points in your statistics. If you mess this phase now, you'll have a gimped character. Or you know already how to build a good character because someone told you (or because you know already the game), or your character is going to be wasted when you'll realize you made errors at min/maxing it (and min/maxing isn't an roleplay choice, we are in a mmorpg). You'll discover that you've wasted some points and there's absolutely no way to gain them back. This is *stupid*. As a newbie I want to know how to make a good character. I don't want to be able to mess it, since at the end those are always obligated choices. Well, in WoW you won't have to choose anything aside the appearance. Yes, you choose the race and the class. But what you *need* is there. There's a description you can read to have an idea of a race or a class, then you are done. No more mistakes. No ways to ruin your character permanently.

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You don't need hours to learn the interface. It's absolutely newbie friendly but it also shows what you need and more. It isn't simple because the game is childish or not deep. It's simple because there's "good design" behind it. It's one of the less intrusive interfaces you can see in the market of mmorpgs. Try to load Shadowbane, EQ or SWG to have your game window completely cluttered. And you cannot disable something because you have there something you need. In WoW the interface is minimal and still easy/fast to use and with everything you need there for you. It's more a combo of keyboard/mouse controls along with the interface and the result is great.

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The game is a "work of art", as a masterpiece. The first consequence of this, is that it doesn't depend on the tech level. This looks awesome now and will look awesome in 100 years. It's like a painting, it has its own soul and its quality isn't due to just a up-to-date graphic engine. This brings also to the opposite side. It's so near to a form of art that some players could really not like it. WoW isn't realistic but it's filled with style. If you want to have a more precise idea about how the game "feels" I can explain it as a mix between Joe Madrueira's style and Tim Burton's "Nightmare before Christmas". It's not childish style, it's absolutely inspired and epical. Nothing, not even a pixel, feels generic.

Remember that this is for *everyone*. We aren't talking of an awesome techdemo run at an incredible resolution with professional graphic cards. This isn't SWG that runs at six frame per second with the whole world popping before your face as you move. This is a completely new experience.

One of the feelings it produced on me and I never experienced in another game to date (I began playing on the Commodore 64) is the "sense of wonder". Compared to WoW other games feel like toys for kids. From the size of the trees and buildings, the amazing clip plane (both for the world and PCs/NPCs), the hills, the critters, the organic world design... Everything gives you a *new* feeling compared to what I played till now. It's not that the 'zone' is bigger. It's how things are put together that it makes you feel like in a world of *giants*.

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In WoW the setting and the gameworld have an active role in the game itself. They aren't simply the background, they are part of something more concrete, "coordinate" with the rest. When you play the game you live in it and with the same setting. It's the opposite concept of "alienating". And this is one of the core elements of the whole game. While other mmorgs tend to alienate and frustrate the casual player, WoW makes you involved, immersed in a dream. Where you don't care about parting "the rules". Like considering the graphic aside the gameplay. Everything here exists as a "whole".

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This game doesn't tell you where you have to be and what you have to do. It doesn't oblige you to enter risky fights because it's the only way to gain your tiny, stupid experience (just to die and loose an hour of *work*). It doesn't "laugh" at you because it relies completely on grind/risk based gameplay and here I think there's another revolution.

With current mmorpgs you have the whole matter about risk/reward. It means that if you want to accomplish something, even stupid, you need to risk something. This brings to catasses to rule the game with powerful and organized guilds, while the casual player, with his crappy equipment due to the grind with low level mobs, just can keep getting frustrated because he sees around himself those guilds packed with buffbots and special equipment and succeeding at taking advantage of a particular system (like making experience faster, sometimes by "powelevelling"). So you basically have to die, die and die, while other organized players have the possibility to reach all the nifty features. They can go right into the risk/reward matter. They have the tools to cheat the game (like buffbots) and have an advantage over you.

So the whole risk/reward game is based on the frustration. If something is easy it *must* be tweaked. If you are killing a monster easily they'll put a way so that, after a bit, you'll die. Like a periodical patrol of an higher level mob. Devs (stupid devs) have based completely the game on the concept of "pissing you off". In any way possible. They think that by making things frustrating the game will give you more satisfaction when you'll finally accomplish something. And this is the *soul of the stupidity*. It's one of the biggest plague of the mmorpg genre.

Risk/reward is an optimal mechanic applied in some situations, but mmorpg designers simply didn't get it right. Risk/reward is good when you die (you are defeated) because you did an error. So you can *learn* from your actions and improve. In a mmorpg, usually, you die just because you are forced to play on the borderline. When you have just a few styles to choose it's not that the game asks you some kind of ability. You sit there and hope it will go well. If it doesn't, you *cannot learn a damn*, because you cannot change what you do. This means that you can just lower your aim, till you finish to kill critters that give you an amount of stupid exp making you realize that if you keep killing those you'll need like two weeks of real gameplay to pass a level. And here some smart players just cancel their account and laugh at who thought a stupid system like that. Then tell me: How damn can you blame peoples selling and buying accounts on E-Bay when the game is that bad?

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Lately I levelled a Paladin on DAoC from 20 to 36 and I have just 2-3 pieces of equipment, and this by playing for hours and hours on the same spot, killing the same monster (and no, it's not my choice, or I go there and do that or I don't play). This simply doesn't happen in WoW. You walk around just to see what's behind an hill and you kill wandering mobs. The whole place feels very lively, packed everywhere with monsters and critters. Every little corner of the world seems to contain a "microcosm" but there's not the concept of a "spot" where you have to go and stay. It feels more like a promenade (some on the forums are complaining about this "too much" walk, which I consider absolutely compelling).

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I think that a long beta phase with no NDA is a great sign from Blizzard and a good thing for many reasons. One of these is that it doesn't matter how much information you receive from the outside, the game should remain fun. It's not a fun coming from an unknown quest, after all you could just receive the same old "bring me six pelts". But even these trivial quests are fun. Fun because you have to do them in a game where every single system is neat. The combat system is fast paced and lively, improving in many ways from DAoC, the world is amazing and you live it a lot more as an experience than as a 'game'. It's wonderful as a whole.

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In every game to date you just wait because devs promise this and that. You wait and wait. The game is never fun *now*. It will be fun in three months, or six, or a year. Till you realize that it will never happen. In WoW you can forget about the promises, it's by far the best mmorpg out there even if they pack everything and release it as it is.

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What I suggest is that it's an hint about something completely new. Something completely missing in other mmorpgs on the market (or near to be released). Perhaps only FFXI has tried to go, timidly, in this direction: "building a world". I think this is the main strenght of WoW. I also think that analysts all around the world will never succeeded at understanding what will make the game great and successful. I can already imagine how many clones it will produce, how many companies will try to copy it to jump on the bandwagon. Mmorpg will become again a green pasture and marketers will try every way possible to take advantage of Blizzard success. And they will fail.

The point is that even in a MMO, you're playing the engine. Within a few MINUTES you know how the engine handles pretty much what's fundamental. Movement, animation, collisions, world rendering, the way monsters exist and behave around you, UI, the basic structure of combat, world design. And how well it handles all of these. Then you see quest flow, itemization and progress.

That's enough to know how the game plays and if you like it. Coming from games like DAoC or Everquest it took just a minute to see how much more superior WoW was with UI, world design, quest flows, graphic engine, animations and so on. It was all right there. The first step you move, the first jump on a fallen tree, the first time you hit a monster. It qualified the game as a whole different league than the MMOs we used to play. Their clunky interfaces, horrible animations, poor rendering, glitches everywhere, stuttering mess, plus no idea of what you were supposed to do.

Saturday 8, February

The Elder Scrolls Online Vs. Guild Wars 2

What I wrote in a forum, and that should be read after general considerations here.

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Without even breaking the NDA, Guild Wars 2 is BY FAR the best MMO out there without even a hint of a doubt. It does EVERYTHING better and more. The Elder Scrolls Online isn't remotely different to qualify as a non-standard MMO, and it's shamed by a so much superior designed game like GW2. If you want evolutionary MMO then GW2 is still out there and excellent for the most part, including quite decent large-scale PvP (especially the new map released a few days ago, which is the most fun large scale PvP, even surpassing DAoC).

But for example for me GW2 has that insanely silly and stupid super high fantasy setting. It's just DUMB AND CHEESY, and ultra-juvenile, and looks like total crap despite they have a great engine and wonderful artists. It's a mishmash of random stuff without any coherence. Instead TESO has a SO MUCH more immersive and realistic kind of style, actually feels like a place instead of a scattering of assets brought together at random. That's the whole point why this game has remotely a chance: it's far away from the stupid settings and over the top, super fluorescent colored, oddball WoW, GW2, Wildstar or whatever. The world can actually look great (sometimes) and at least attempt at plausibility, and I enjoy being in it.

The real long-term problem is that I don't have any faith in what these devs are doing and they seem to have no vision about where they want to bring it. Maybe if given the chance this game could be great, but in its current state it could fail so hard at release (and already so much money was sunk in development) that I seriously doubt developers' efforts are going to INCREASE to make it truly great. We basically know nothing about dev's vision, only that in the beta there isn't trace of it.

In the meantime, GW2's new WvW map isn't getting the widespread love it deserves.

http://www.youtube.com/watch?v=iLiAe2qAkbg&

Tuesday 4, February

True Evil

Not only EA gutted Mythic in their basement as per usual.

But now they are desecrating the corpse too. First by turning the Ultima franchise, through Mythic, as a super shitty free to play of some sort. Now, again through Mythic, by destroying what was left of "Dungeon Keeper". here and here.

This is so fucking perverse that it's honestly impossible that it's not deliberate trolling by EA.

Thursday 30, January

World of Warcraft is losing subscribers, why?

In my personal opinion WoW is still today the best MMO out there. Not because it's really good, but because the genre didn't make any step forward and decent efforts like Guild Wars 2 are only that, decent, and still can't match the juggernaut. So if WoW loses subs it's not primarily because of competition.

So why is it losing subscribers? The reason is explained in a number of old blogs I wrote years ago. The main cause in technical terms is: "mudflation".

The problem, more concretely, is that in the last few years WoW's development has focused mainly on catering to veteran players, especially the raid crowd, while every other aspect of the game was neglected or pushed back in the priorities. So what is happening is that WoW has become extremely unwelcoming for new players. It closed itself. It nourished its own playerbase, but closing itself to the new blood that is INDISPENSABLE to keep a virtual world alive.

When you cut that source of vitality the consequence is that the game-world starts to wither. And you notice this concretely by looking at the subscribers count and its downward, slow trend. It withers.

I canceled my subscription shortly after Cataclysm and up to that point I never canceled my account since day one.

The main reason why I canceled my subscription is that post-Cataclysm the quest balance was completely destroyed.

They made lots of changes to make leveling faster. The main reason being that most players have already gone through all the content multiple times, the level caps got higher and higher, and so they needed to make everything faster. The problem is that faster leveling means that all the quest progression was completely broken. I couldn't even advance on SINGLE quest line without outleveling it. And if I dared do a dungeon run I'd have to basically skip entirely the zone I was questing in.

Racing through content may be good on paper, but it completely destroys the experience. Without even a little fun in the quests it meant that for me the game became utterly bland and more boring than ever. They redid all the zones, new quests and everything, but I couldn't enjoy any of that because there was no way to actually go through the quests normally.

Ideally the leveling should be a natural consequence of the quest progress. It was one of the biggest accomplishment of WoW at release: you'd simply go through the quests available and your character would level up accordingly and being guided through the zones. Questing was the focus, leveling up was the natural consequence. And you didn't feel any grind because the content led you. This, precisely, was WoW's secret sauce: removing the grind (or the feel of the grind).

When things break in this system is either when you reach a place where the quests are suddenly way above your level, or when your character outpaces the quests and so everything becomes trivial in both reward and challenge.

My point is: pre-Cataclysm WoW had an excellent balance with quest progression and leveling. Post-Cataclysm this balance was carelessly destroyed in the name of SPEED, NOW, MORE LEVELS. FAST FOODS.

If they knew they were going to cut so much the leveling times then they should have rebalanced the quests accordingly, to preserve the balance. Speeding them up and adjusting the experience points you earn.

Instead it seems the speed up was an afterthought and no one cared if they broke the perfectly crafted balance and one of the major features of the game. To me it feels like they handed a perfectly crafted thing to some new guy, and this new guy didn't even remotely understand why the thing worked so well in the first place.

At this point the best thing to do would be: restore the finely tuned balance there was before, offer level 90 characters for a smaller fee for those who are bored of leveling, and FLAG those characters with some icon of shame.

That way those who enjoy leveling can actually enjoy it the way it was originally designed, and those who don't can bypass it entirely. I'd probably be still subscribed if that was the case.

But instead WoW has just become a raiding game, where every other system is secondary to raiding support (and character customization sacrificed for class balance). Now leveling up a character is just the grind one has to suffer in order to start the raiding game. The faster, the better.

You aren't a raiding player? Then why again are you still subscribed?

Wednesday 15, January

Elder Scrolls Online: subscriptions

Gathering up some comments, since it's typical that discussions focus on the part of the argument that is irrelevant.

It's like those interviews where you omit the questions and have to guess them.

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You keep talking about the business model being obsolete, but this is stupid. What is obsolete is the standard MMORPG gameplay. That's why people now want it FREE, or nothing. Because IT SUCKS.

If ESO offered a kind of value that feels new and stimulating, then being on a subscription fee would be absolutely viable.

The point here is that this GAMEPLAY IS STALE. And people aren't willingly to pay for stale gameplay. Especially not premium prices considering that these days ALL PRICES are down in every gaming genre.

"People unwilling to pay" applies EQUALLY whether you have subs, or free to play. The difference is that on free to play people can actually decide you are worth exactly $0.

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This is the best example that demonstrates the opposite of what you say.

FFXVI launched once, failed, went again into development, relaunched, was marginally successful.

Result: failure/success depends on development and not on having a subscription, since this is a game that failed once, succeeded once, and in both cases has a subscription just the same. Hence, it's not the subscription itself the deciding factor.

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"Market research": what you spend money on so they tell you what you already know.

Making games, like art, means envisioning what is not already there. Even if it's an original recombination of old elements. Good games create their market, a market that didn't exist before, and that market research for sure couldn't foresee.

Like MOBA today. Suddenly it's MOBA everywhere. Yet MOBA didn't truly exist before and no one needed them. (or Dark Souls, or roguelikes etc...)

So, if you work in the industry you only need to decide if you are the idiot that blindly FOLLOWS the trends and is lead by the nose, or if you have some ambition and walk ahead and lead them.

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Oh, and I really do believe this discussion is stubbornly stupid: keep talking about sub fees all you want. It's IRRELEVANT.

It's the game that is relevant, and what you pay for it is secondary to what kind of experience the game delivers. A game could even be worth $100, just as long it delivers that kind of experience.

Market trends come after. The economy of a business is a domino. The pieces fall following the pattern they are set on. You change the pattern, they fall differently.

But it looks like you want to talk just about secondary consequences as if they are primary motivations...

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WoW isn't shedding subs because it's subs based, but because development halted completely a few years ago and development staff moved onto new projects.

MMORPGs last exactly as their dev teams.

F2P is the 2nd stage: when dev teams are moving on different projects, and the game is kept on life support as long it lasts.

Only the actual quality and type of game can carry $15 subs. The question is whether or not ESO delivers that kind of quality and novelty.