The Hyperion mission! Having to manage one unit with a continuous stream of battling non playable characters takes away the added task of micro management and lets me enjoy a feeling of ‘distinctiveness’
How ‘cutscenes’ meld into gameplay e.g when saving Raynor, Kerrigan’s Leviathan arms smash into the prison ship which then transitions into the game level
Evolution missions really helps players understand how an evolution works and how to use it
After Kerrigan’s battle with Narud, I felt she recovered too quickly. It drew from the gravity of the fight. She should have been in an injured state for the Leviathan section where characters could comment on her fight. Then by the next mission having recovered, there would be a contextual piece of dialog about it
With lead designer Jeppe Carlson, (co-designer of the well know title Limbo) 140 was created by Carlson Games. Paraphrasing Jeppe, he describes 140 as an old school platformer, where the challenge is in syncing up your moves, and jumps to the music controlled elements.
After a short time with 140 I thought to briefly note my impressions of the game.
Disclaimer – This is not a thorough review, but notes of an impression based on approximately 20 minutes of game play. Everyone is fallible.
On launching 140, the first thing that hit me was its minimalist art style. Its distinctive color scheme made it easy to identify puzzle patterns, and game elements.
In 140, music is at the heart of its game-play with appropriately pulsating background, and game elements used with rhythm based mechanics to make interesting puzzles.
140 relies on players exploration of controls as I noticed no traditional tutorial which can be fine. Although some helpful information based on monitoring of the game state is good e.g explain to jump or move if a player hasn’t moved for a long time.
Like other titles in this area 140 suffers slightly from issues of repetitive music. This issue I believe essentially stems from player progression which is something hard to control. I felt this game handled this issue well by splitting music into short levels.
The difficulty of the game quickly ramps up, likely making it less accessible to the casual gamer. On the other hand though, this meant 140 presented more challenging puzzles, which is delight for some. It’s good that the creators of 140 realized the game difficulty, and employed frequent checkpoints through out the game.
140 bravely deviates off a more traditional pattern of game mastery by transitioning to a hail shooter from a rhythm based platformer at the first boss fight. I found the hail shooter boss encounter to be a disproportionately high increase in difficulty from the challenges before. The encounter left me frustrated (maybe I just sucked bad). Perhaps an easier encounter, or a series of checkpoints through the boss encounter would have been preferable.
Raph Koster said ‘noise is patterns we don’t understand’, and so it felt appropriate that the ‘death blocks’ were static noise. 140s creators took this concept even further during the first boss fight as static noise breaks down into music.
Like other titles in this area of game development, 140 suffers from issues of repetitive music. This issue I believe essentially stems from player progression which is something hard to control. 140 tackled this issue well by shortening levels, and splitting up music into those levels.
I liked how the levels key (item objective) was innately tied to the next level through music. When hearing the keys music was excited thinking about how it would later manifest itself as a mechanic.
All in all I enjoyed 140, being a nicely designed little gem it was a happy little surprise. Budding game designers should definitely give it a play as its a game well focused on how to meld music, and game-play.
The Bottom Left/Middle Area of Shogun 2s Campaign Map User Interface is an elegantly designed, helpful popup filled, context sensitive area that displays key information about a players Navies, Armies, Agents, Construction, Recruitment and Battles options.
The UI element as a whole is thematically suited to the time period, incorporating a Japanese battle banner, appropriate color scheme, and style to complement the rest of the UI. In addition a neat feature of this UI area is that depending on the context of a players selection this UI area will change. For example when a player clicks an empty space on the campaign map it is hidden, if an army is selected army information will appear in the form of a Tab.
All these design decision make this UI element a screen space efficient, compact, informative, aesthetically pleasing part of the campaign map that ‘fits’ well into its surroundings, and help build the experience of a general during the Sengoku Jidai..
The Army Tab displays information related to the selected army. The UI element is made up of a Dial and a Banner.
The Army Tab Dial can be broken up into the following sub-elements:
Red – Clan icon.
Teal – Army leaders name.
Dark Blue – Arrows allowing cyclical cycling through units of the same type, in this case army.
Purple – Army leaders image.
Yellow – Disband button.
Green – Chat.
Considering this element:
The layout of the dial is interesting being somewhat symmetric, and the dial art asset has a shine at the top of the dial which may attract a viewers eye.
The Purple and Teal elements are not necessary, but are welcome as a thematic elements for a player.
Functionally the Dark Blue, and Yellow elements allow a player to quickly jump from army to army, and disband them if necessary.
The other side of the campaign map, the bottom right, features a stylistically similar dial.
The Army Tab Banner is jam packed with vital information that can be broken down in the following manner:
Orange – Used for unit replenishment indicators, where a:
Green circle with a + means units are replenishing.
Green circle with a red slash means are not replenishing.
Skull which means units are suffering attrition.
Light Green – Unit experience.
Dark Red – Unit portrait with color coded background (Radious’s mod added this I believe).
Dark Green – Special Attributes e.g Accuracy, Improved Armour.
Yellow – Unit Rank.
Purple – Unit Strength. If the unit is being replenished a dark grey area will appear with a visual indicator of the new strength at the next turn.
Teal – Unit Type Icon.
Dark Blue – Recruitment Tab. This only appears when a general is present in the selected army.
Looking at the banner in totality, all the information fits neatly, and succinctly conveys a lot of information to the player with great use of clear icons in a consistent format.
Black and White is where my interest in A.I. in games started. (A little context) Black and White is a god game designed and created by Lionhead Studios under the directive of Peter Molyneaux. In Black and White you are a god born of the prayers of people, free to do whatever you please through the islands of the game.
In your journeys you are eventually given a creature. A tiny little thing, it behaves just like a child – curious yet inexperienced and frightened of the big bad world. Similar to a child you can teach it, it will then think and act based on what was taught by you. Invest enough time and your creature can become your ultimate agent. It was a fascinating example of A.I. in games.
Black and White’s Artificial Intelligence was designed and implement by Richard Evans, and in my opinion it was the creature feature in particular that elevated the experience of certain aspects of the game. Employing sophisticated A.I techniques, it gave deeper meaning to your relationship with the creature, you felt responsible for it (well at least I did) having to train and look after it while it grew up.
Notable features related to the creature included:
Leashes – Which gave the player some behavioral control of the creature.
Creature Combat – Where creatures would fight autonomously when not commanded by the player.
A battle from Black and White: Creatures Isle. The Crocodile is controlled entirely by the game.