UNCHARTED 3 BETA MULTIPLAYER NOTES

The Uncharted 3 BETA ended yesterday, and I played it nearly every day it was available, reaching level 33 by the end. Being an avid fan of Uncharted 2 multiplayer, I felt right at home as soon as I booted up the beta. Uncharted multiplayer is definitely one of my favorite multiplayer games of all time thanks to the interesting vertical maps, solid gunplay, on the dime controls, and intimate nature of the game.

Uncharted 3 borrows some familiar elements from the Call of Duty series, notably the weapon loadouts and perk system, but brings more than enough additions on its own.

Think of it as a more polished Uncharted 2 multiplayer experience, with the best Call of Duty elements injected into it, all topped off with some new design ideas never seen before.

Below, I'll give some thoughts regarding the BETA:

LIKED:

- Loadout Selection. Suiting every player, the starting loadout is broken into 4 weapons - the AK-47 for the head on assault player, G-Mal for the cautious optimistic, the Sniper Rifle for the lone wolf, and the M9 for erm... a more in your face player. This means that no matter what style you prefer, you'll be sure to find it, which is nice because right off the bat, you can enjoy the game, playing using your own style.



- Health Ratio. The amount of health that players have felt just right. In Uncharted 2, Naughty Dog was a bit notorious for curbing the player health really low in a patch, changing the way how the game played. Now, players have more health meaning that you can actually survive if someone got the drop on you, and ultimately bounce back and win the firefight. In a game that focuses so much on traversal and navigation of the map, this is a good change. This is not to say that flanking lost its effectiveness - if you flank someone and engage them in combat, you definitely have the advantage, which I feel is how it should be.

- Dynamic Level Events. These are back from UC2, and better than ever. The Airfield stage has 2 dynamic events - planes that occasionally strafe the ground and gun down anyone unlucky enough to be outside, and an explosion of a room at the top of a map.

I'm hoping that these get expanded on, and there will be maps with a dynamic events that unleash enemy AI onto the field, targeting both teams. That should make up for some interesting gameplay. UC2 did this with a tank that showed up midway through a game that attacked any player nearby, but I hope there will be something more deadly in Uncharted 3.

- New Game Modes. The 3-team deathmatch mode, or as I like to call it the 2v2v2 is the most fun I've had with a buddy in any multiplayer, period. This mode promotes teamwork, and intense co-operation as there are 3 teams battling against each other.

Free For All is also a nice addition that was sorely missing from UC2. It's a shame that you can't start a Free For All with people in your party for fear of people abusing it to get medals and quickly level up. You can still play against your friends in private games that don't level you up however.

- Buddy System. My favorite innovation that Uncharted 3 brings, having a buddy means that you can spawn on him, and perform a super cool high five move when you both take down an enemy for a special medal. After playing with a buddy, I can't go back to not playing with one, as the experience is a bit duller. Plus, you and your buddy can always spectate each other while waiting for a respawn, commenting on anything interesting... or making fun of your skills.

- Hit Detection. Greatly improved from UC2, hitting an enemy player feels much better and you can immediately tell what body part you're hitting.

- Powerplays. A great way to balance out the score, these give the losing team a chance to bounce back by stacking the odds slightly in their favor (more points if they eliminate a specific target for example).



- Treasure Collection. Random treasure drops from a downed enemy give the player a chance at expanding their character customization collection. This is a great meta game, because as soon as this is on the field, you forget about the enemy players and make a beeline for the treasure.

Interestingly enough, this acts as anti-camping deterrent, enticing snipers to not camp in one spot all the time. For example, you just sniped an enemy on the other side of the map and they dropped a treasure. Most people would go and pick up this dangling carrot, leaving the position.

- Uncharted TV. Finally, a next gen news feature in a game. There's so many uses for this thing from highlights of the week, tutorials and tips, match breakdowns, etc. This little video box you see upon the launch of multiplayer can be amazing if used right.

DISLIKED:

- Lack of Weapon Loadout confirmation. Not having a weapon confirmation button in the loadout menu was a huge pain. During match downtimes, I like to look at everything, including boosters and guns, and because of the way gun selection currently works, I got stuck with a weapon I was only checking out.

For example, I have an AK-47 equipped, but am waiting for a match to start. I then go look at the Sniper Rifle and its modifications. When I'm done, I press [circle] to go back, and now suddenly, I have the Sniper Rifle equipped! Annoying!

There needs to be a weapon confirm button so that this situation doesn't happen.

- Spawn on Buddy during Combat. Players aren't supposed to be able to spawn on their buddies when they're in combat. However, I did this lots of times to the dismay of my enemies. The game check needs to be updated, as I just spammed the [triangle] button until one of my presses went through.

This is particularly the worst in 3-team deathmatch, with the person you just killed spawning behind their buddy 5 seconds later, and breaking the flow of the match.

- Overpowered AK-47 Hipfire. During the beta, Naughty Dog put out a patch that weakened the Micro SMG damage as players were abusing it by running around in circles around enemies instead of relying on melee. The AK-47 however remains really overpowered when used in hipfire. A common strategy is to charge an enemy while hipfiring your AK and then melee them once for the kill.

- M9 is too Weak. Unlocked at level 17, the M9 is really no better than the AK when upgraded with the firing rate. It's supposed to be a more advanced weapon, but it sure doesn't seem like it.

- Pistol is too Weak. In UC2, the starting pistol sidearm is a viable strategy. In Uncharted 3, it's too weak to pose a threat to enemies. I like having options and not just relying on the pistol when my main gun ammo runs out, so I hope it gets a nice boost in either firing speed or damage per bullet.



Other thoughts:

- Medals for doing everything now makes you feel empowered, similar to Call of Duty and more so than in UC2.

- Kickbacks are fun, and seem to be balanced pretty well. These shouldn't stack.

- Emblems are a neat and cool idea to highlight a player.

DESIGN REVIEW: Sly Cooper and the Thievius Raccoonus

I heard good things about the Sly Cooper series, but never got around to playing any of the games. However, with the PS3 HD collection being released, I decided to see how good the games were and whether they stood up to the test of time. I always like to start at the beginning, so I jumped into the first Sly Cooper game without hesitation. After I completed the game, I was pleasantly surprised and came away impressed with the game - it's a beautiful, stylish 3d platformer that I had a lot of fun playing.

LIKED:
- Level Progression. The game is divided into 5 episodes - with each episode having a set of levels before the player is finally able to take on the boss. Each episode contains a completely different environment that suits the boss - for example, a wet island that is a frog's hideout, or a stronghold in the mountains of China for a panda bear. As the player starts each episode, he must gather keys by completing levels, which he can then use to open up more levels, and ultimately take on the boss.

The cool thing is that each level is one big picture, and all the levels complement each other very well by seamlessly blending into this bigger picture, both artistically and function-wise. A dirty, desert casino town in Utah is broken down into a level navigating the cliffside, a casino stage, rooftops and a back alley. All the levels have the same color palette and contain a few of the same art assets, but each bring something new that isn't seen in any other level.

What this means is that I really felt like I was on a continuous journey the whole time I was playing the game, and even though the game is clearly broken down into levels, which is a very popular thing to do when making platformers, I was working towards a clear goal. Reinforcing that are the groups of locks which Sly must come up to and unlock them, one by one with his collected keys. Completing each level and getting a key became a meta-game of its own, all leading to an epic confrontation with the boss of the lair.

To keep offering variety, there were a couple mini-game levels sprinkled into the game - like turret shooting and racing. The last episode contained many more of these mini-games, which is kind of a bummer, because I wanted to fully explore the levels with Sly. I suspect Sucker Punch ran out of time, but it worked out pretty well overall.



- Level Design. The individual levels in the game are overall pretty small, but they're very well built, often utilizing verticality, with gameplay areas stacked on top of each other. Most levels use a common zig-zag pattern that has the player playing all over the level instead of just progressing in a straight line.

You begin to appreciate and respect the level design when doing the master thief sprint runs, which are timed runs through levels. Shortcuts become fun to discover, and sometimes involve doing things that the level designers didn't intend you to do (bouncing off a wall to skip half the level).

The point is in a game that's all about swift, sneaky movement and precise controls, the levels and environments are the real stars of the show.

- Art Style. Did I mention the game is a marvel to look at? Sure, you can tell that the models are all low-poly, but the textures are clean and the colors are all done so well, that you instantly forget about the models and focus on the entire picture.

The environments were definitely the highlight of the game - each episode has a specific color palette, and they're all very different from each other. My favorite one was the panda king's China stronghold because of the calm, yet mysterious atmosphere it implied. Thick snow covered temples and trees, and colorful lamps hung throughout. These levels were just fun to play, containing many dynamic objects like fireworks and elevators.

Even though I enjoyed every episode, the swamp lair was by far my least favorite because everything was dark and things just blended into each other.

Another art aspect that I enjoyed were the cutesy, stylized 2d maps of every lair that showed a small picture of each stage when you entered it. They were fun to just sit and look at, identifying every detail. It solidifies the Sly universe and shows how much care was put into it.



Characters were also done well, using a standard comic book cell-shaded, inky filter surrounding their silhouettes.

- Collection Elements. Platforming games are notorious for being huge collectathons, tasking players with collecting a variety of things. Sucker Punch did collecting right by having only 2 types of things - coins and bottles.

Coins, being the unimportant carrots which are scattered everywhere throughout the level to lead the player forward, and the more secret bottles that the player collects, hoping to get all of them in each level, and open up a safe to get a new special move.

The problem with many games is that they don't help the player at all with these harder collection objects. Things like secret packages in Grand Theft Auto games or flags in Assassin's Creed - it's all up to the player to go find them, without even a sense of direction.

90% of the bottles in Sly Cooper can be found on the main path, and the rest can easily be acquired if the player chooses to explore the level a bit or just rotate the camera here and there. The levels are small enough to warrant full inspection from the player. Plus, if the player is near a bottle, it emits a sound letting the player know that they're close. Not once did I ever have to resort to using a guide to find these during my playthrough.

It's great to see Sucker Punch get collecting right so early and continue implementing it in their future games: in Infamous, the players can find scattered blast shards by using a radar ability, and in Infamous 2, the player can actually earn a power that will direct them to each blast shard on the map until they're all collected.



Sucker Punch understands that finding secret objects in the game shouldn't be a chore, and instead an interesting diversion that can help you unlock cool things.

- Story. It's great to see an actual fun story in the game which involves the main character's ancestors and the Thievius Raccoonus, a family book being stolen by a group of villains. The game revolves around Sly getting the book back, page by page. It's simple, cute, and better than "hey, I'm out to kill all the bad guys" plot.

DISLIKED:
- One Hit Kills. I understand that Sly Cooper is supposed to be a sneaking platformer, with the emphasis on being stealthy, but one hit kills feel ridiculously lame. That's right - get spotted by an enemy or fall off the level and you have to restart. It's particularly the worst in the beginning of the game when you don't have the special moves that make you invulnerable to falling off levels and the sparsely placed checkpoints don't help.

There's a mechanic that allows the player to take extra hits by obtaining "lucky charms", horseshoes that can be earned by collecting 100 coins throughout the level. When a horseshoe is earned, the player can take 1 or 2 hits without dying (there's a silver and gold horseshoe).

I feel that this doesn't work the way it's intended because you usually have trouble in the beginning of the levels, not later on when you have near 100 coins. The coins stay even if you die, so I suppose that's nice.

However, it's not the same clever "Sonic rings" gameplay mechanic, and makes some levels tougher than they need to be, particularly in the swamp area.



- Useless Special Moves. As you collect all the bottles on each level and unlock vaults, you gain special moves that you can use. They range from passive buffs that are always on like not losing a life when you fall into water, to active ones that you have to manually use. The problem is that most of the active ones are useless.

There's a move that allows you to slow down time, but it slows down time for everyone, not just you. Automatically, it loses all sorts of cool possibilities like you activating it to slow down laser beams so you can navigate around them easier, or you slowing down patrolling enemies. Instead, the only useful feature it has is allowing you to carefully make dangerous jumps, which there aren't any in the game.

Opposite of slow, there's fast, which speeds up everything in the level. The only use is when you have to wait for a spotlight to move away, but they move at a good pace anyways. You'll likely do more bad than good when you use this move, accidentally tripping alarms.

The roll move allows you to navigate faster on the ground, but it's only useful during the master thief sprint times, where timing is everything. Why would you want to use it to rush through a level that you first encounter that you know nothing about?

There's a mine that can be activated, but it also doesn't have any use as Sly can't throw it particularly far. Why throw and activate a mine, when you can take 2 more steps and hit an enemy to defeat them? Worst of all, the explosive radius of the mine can hurt you too, which in a 1-hit kill game is a bad idea.

In your arsenal is a decoy, where Sly throws a cardboard cutout of himself onto the field, distracting enemies. I never used this move, as it would be faster to just walk around the enemy and hit them from behind with your trusty cane.

All the above while sound cool have little use in the game, no matter what kind of a player you are, which is a shame.

- Level-specific Objects. One cool gameplay alteration that was used during the main levels was a wooden barrel that Sly could jump into and use it to protect himself from some level defenses. It reminded me or Snake's box from the Metal Gear Solid series. The animation of Sly tiptoeing in the barrel is really funny and well done, and I wished that more unique objects like the barrel were used throughout the game.



There's a couple levels where Sly mans a turret or drives a hoverboat, but those are more minigames than main gameplay alterations.

I just think that there could have been more comical objects that Sly could have used like waterguns or balloons that expanded on the gameplay and added variety.

- Weak Sound Effects. Both music and sound effects are lacking. The music while isn't bad is decent sneaking music, but not anything memorable, as I can't even remember one song off the top of my head.

Sound effects sound muffled and the game could have used some new sound effects in certain situations. One example is when the player grinds down vines - there's no sound effect to accompany the grinding which feels awkward. I know vines are not the same as rails, but grinding things in video games is supposed to be fun - here, it felt really lackluster. Games like Ratchet & Clank do this really well, offering fun sound effects to accompany the action on the screen.

DESIGN REVIEW: Nier

I'm not really a huge fan of Japanese developed RPGs, so it was with curiosity that I approached Nier, an action RPG that contains many elements from other genres, particularly bullet hell shooters. Nier really reminds me of a solo Monster Hunter. For me, Nier was a pretty tedious experience containing strokes of genius gameplay and presentation that are both severely underused.



If I had to recommend Nier, I would definitely say play the game twice without doing any of the sidequests - you'll get the full experience and the variety that the game has.

LIKED:
- Perspective Shifts. Nier is a 3d game with a player-controlled rotating camera. However, when the player walks into certain areas, the camera perspective seamlessly switches to a set angle. Most of the time, it's a switch to a 2d view, reminiscent of old school 2d platformers like Mario or Sonic, but with 3d models. Exactly like Super Smash Brothers Brawl.







There's one specific area in the game where the camera switches to an old-school over the top camera, and the main character becomes really small as he's surrounded by lots of enemies, which was really fun to play.

The problem is that these camera shifts are not used to their full potential. The 2d view is hardly used for anything action related - there were no set platforming sections, no cool 2d boss battles, nothing physics related. Instead we get the hero walking into a bar, talking with a person to get a quest, and then walking out. Huge wasted potential right here in my opinion.

Visually, these 2d sections look really nice with 3d models and are just cleverly thought out. For example - the hero's house has 2 stories, and as you walk in on the bottom and continue going through the house, past the right edge of the screen, the camera shifts up and he emerges on the 2nd story on the left side. Like I said, very clever.

- Combat. Nier's combat is divided into 2 parts - ranged and melee attacks. The ranged attacks are done by shooting bullets out of a flying book companion (don't ask!) and this is where the game takes a cue from bullet hell shooters - blending 3rd person action with large streams of bullets - without a question, an innovation that no other game has tried before.

You can charge up other more powerful ranged attacks, but the steady stream of bullets from your trusty book companion is your go-to weapon.

Enemies in the game exhibit some cool bullet hell shooter patterns, particularly bosses who spew energy balls in a radius, and then specific line patterns. Nothing too crazy like Ikaruga, but you can jump and dodge these attacks. Oddly, you can choose to simply block them without taking any damage which wasn't really thought out well.



The main melee combat felt really nice and responsive. There's multiple types of weapons such as one handed swords, spears, and more massive two-handed weapons. Furthermore, there's a weight differentiation with some weapons being light and quick in combat, and others doing tons of damage, but being swung around incredibly slow by the hero.

The difference is immediately felt too - it's very apparent when the hero has what weapon equipped, which you can change on the fly in the middle of combat. This is a good thing, as I found myself switching between a light weapon for smaller enemies and a giant two-handed sword for the bigger foes.



The dodge button is quick and immediate as it should be, rolling the hero out of danger and there's even a counter maneuver that the hero can pull off if you're quick enough.

For an action game, combat is what the player will be doing most of the time, and I feel that the combat in Nier is satisfying, fun and one of the highlights of the game.

- Variety. Nier offers a lot of surprising variety in small doses. Some of this variety can be huge surprises like "choose your own adventure" quests done entirely via text, including riddles (!!!), limiting player actions in certain rooms (no dodge for you!), and having 4 different endings.

It's true that some of this variety is something you've seen before like fishing mini-games or upgrading weapons, but it's variety none the less. Video games are meant to entertain, and variety goes a long way when it comes to breaking the pace and keeping people playing and excited to discover what comes next.

DISLIKED:
- Side Quests. The side quests in Nier are tedious, boring and serve only to be there as content filler. All the side quests give money as a reward, and one very long one gives you a new weapon. All of the them require you to go from place to place, fetch something or obtain more materials by farming enemies.

Because there's only so many locations in the game, and they're all revealed pretty early on, you're just going back and forth between these same locations, without encountering anything new. Further adding to the injury is that at a half-way point in the game's main storyline, any uncompleted side quests become locked on for the duration of the game. And although there is a new game+, you still can't do them because the game picks off after the half-way point. None of this is told to you either, aside from a tab that contains all the uncompletable quests - if you happen to look through it.

After the half-way point, you get more quests that task you with doing pretty much the same things as you did earlier, going to the EXACT same locations.

I strongly recommend NOT doing the side quests and instead focusing on the main storyline and just running through that.

- Location Revisits. Like I mentioned above, the main storyline in Nier is broken into 2 parts. Exploring and looking at environments is half the fun in 3rd person action games, and that's what you do in the game for the first part. The second part? You revisit the exact same areas and the exact same rooms. Nothing kills the exploration element like knowing you have to go to an area you already visited before.

Combined with the tedious side quests, you really want to stop playing when you have to go back and forth between the same areas multiple times in the game.

- Gameplay Annoyances. The game is full of odd moments where I had to stop and say if the designers looked at this twice, they would have certainly changed it.

For example, climbing ladders in the game is an extremely slow process. You can speed it up by holding a button - but it's still not fast enough. Why even have the slow climbing animation? Why not just have the hero climb at the fast speed on default without the need of holding a button. Things like these, while small are easily noticeable by me, and irk me a lot. Plus, fixing this would have been a snap.

Another moment that I remember is when you first get to a new location - a city in the desert that uses the sand current as a method of transportation. You're made to go on a small raft and slowly taken to different parts of the city, being introduced to each shop owner - one at a time. The reason that this sequence stood out so much is because in all the other towns that you visit, there's nothing resembling this excursion. To add to the annoyance, you can only stop half-way, there's no choice to not go on it at the beginning.

Another thing that was glaringly bad were the tutorial messages. When you need to do something new, or have learned a new technique, a message pops up on the screen that says "new tutorial unlocked!". You must then pause the game, select an option, navigate to the right tab, select tutorials screen, and then wade your way through a huge list of tutorials to find one that has a "new!" marker to it. Yea, all that just to read it.

A simple fix could have been a button prompt alongside the "new tutorial unlocked!" message that would take you to the tutorial. How hard could that have been? Worst of all, there's very many tutorial messages, so if you want to learn as much as you can about them, you have to do this gruesome procedure for each one.

Additionally, some of the tutorial prompts come up way to late in the game. The dodging attacks tutorial popped up on the screen 1/3 of the way through the game for me which is simply unacceptable because I doubt I would have even gotten that far without knowing how to dodge.

Tumbleton's Fortune - everyone loves moving things

While the world in Tumbleton's Fortune is cool, playtesters have commented that it's lacking dynamic objects that allows the player to interact with them.

We listened and introduced moving objects that kick up the excitement level.

We have:

Moving Platforms: these move from point A to B either horizontally or vertically
Buttons: Can be used by the player to do anything from opening doors to exploding things.
Dynamic Boxes: Can be pushed by the player, jumped on by the player, and used to press buttons.
Rotating Objects: Anything from rotating platforms that the player has to navigate to rotating wheels that the player must snap objects to, and then scale.
Spawners: Continuously spawn new objects. We have a pipe that spits out fireballs and other dangerous blocks.

The spawner is especially very fun to watch as it spews fireballs out. We also have it shooting out dynamic blocks that fall onto a ramp and then slide down towards the player, making a nice obstacle course.



All these things are going to be gradually introduced to the player as he progresses through the game. This ensures that every new level adds something new and exciting to the game. The player should look forward to the next level, as it will bring new things.

The plan is to mix these new dynamic objects with the game's main puzzle mechanic - snapping objects to the game environment.

For example, one of the game's puzzles involves using a snapping object to create a safe platform for you to jump on as you scale a sloped incline intermittently engulfed by fire. When a wave of fire is over, the player will have to pick up the platform and move forward again, getting ready to deploy it again against the next wave of fire.

Playtesters agreed that these dynamic objects added a ton of fun, especially when mixed with the puzzle mechanic, which is great news to hear.

The History of Command & Conquer

Machinima recently did an excellent 5-part miniseries dedicated to the franchise that got me into PC gaming - Command & Conquer.

Having followed the franchise for its entirety and as someone who owns all the games, I recommend these videos to C&C fans and newcomers alike. They're informative and cover all of the C&C games, including cancelled ones like Renegade 2 and Tiberium. Details are also present on Westwood, the dev studio behind the games and what they managed to accomplish - essentially bring a new genre to the market.

Tumbleton's Fortune - incoming art

We're in the process of importing some 3d models into Tumbleton's Fortune to make the world a little less boring and more recognizable. I'm working with 2 artists from DigiPen - a Bachelor of Fine Arts (BFA) and a Bachelor of Art in Game Design (BAGD) to get the art assets that Tumbleton's Fortune needs.

Tumbeton, who is our hero is an explorer. The first thing an explorer needs is a sweet hat. That's why the first thing that got modeled was his hat:



Taking inspiration from Indiana Jones, the hat goes right on top of our character, who is essentially a ball:



The cool thing is that depending on where the gameplay camera is looking, the hat (and the ball - Tumbleton) turns with it. This makes it easier for the player to understand which way the main character is oriented, which ties back to our control scheme for controlling Tumbleton.

It's still work in progress, as we don't have a face on the ball yet. We're planning on using various textures that show Tumbleton's facial expressions - happiness, fear, sadness, anticipation.

Even without the face, playtesters loved the hat and all commented that they felt that the hat gave our ball character. People were just having fun looking at him, which helps connect players with Tumbleton. The hat also makes him instantly distinguishable from the rest of the environment, which the main character should always be.

The environment will also get a variety of models. Players during playtest sessions commented that they expect to see cool landmarks like pyramids and sphinxes.

This is a giant sphinx that will come in 2 flavors: a decorative one and one that you can roll in and explore for loot.



We can also easily scale the sphinx from a scyscraper-like size to something as small as Tumbleton. We're planning on scaling the sphinx down, and using it as a small person-sized decorative environment piece.

The head of the sphinx is a simple sphere, like Tumbleton himself. This is because the characters in our world are all balls that roll around the world. I wanted to do that because players will suspend their disbelief more easily if they agree that the game is taking place in a fantasy world where characters are cute spheres that roll around to get places.

Epic moments in Tumbleton's Fortune

Gamers love and have grown to expect epic "WOW!" moments in their games, something that Tumbleton's Fortune will have sprinkled throughout levels. When people think back on playing Tumbleton's Fortune, I want the players to remember these moments and say things like - "wow, that was really neat!"

Since the game is set in an Egyptian setting, we have the ability to implement a variety of cool traps like boulder chases, falling tomb columns, crushing ceilings, and mummies roaming around. A lot of these may sound stereotypical, but people expect these and if we don't deliver them, there's a chance that they could walk away disappointed.

Recently, we playtested the first of these epic moments - a giant boulder chasing the player. The feedback was a grin on the faces of players - something that made myself grin in return. After the playtest session, the consensus that these moments are exactly what a platforming and puzzle game like ours needed!



Not only do parts like these act like a good pace breaker among the standard platforming and puzzle sections, the game as a whole seems to get better.

After encountering an epic moment, people might forgive some of the earlier parts they didn't really like in the game, and start looking forward to the next epic part. In other words, players keep wanting to play your game!

So the next time you're exploring an Egyptian tomb, keep your eye out for any rogue boulders.

Level Design Issues

Playtesting always exposes level design issues. I want to share some of these issues that playtesters found in the first few levels of Tumbleton's Fortune.

These are the things that you didn't think about or simply forgot to add to your level. When a playtester gets stuck on these things, you just kind of facepalm yourself for not making the solution more obvious. Issues like these are bound to happen though, because during development you're playing your levels so much, it becomes second nature and you don't even think about it anymore. That is why playtesting is so vital for having a fun game.

Also, you can't get everything right on your first pass, but through iteration and constantly playtesting your level, you can get pretty close to being happy with your level.

Let's get right on with it.

The first puzzle of the game it a little too ambiguous for my liking. Players are tasked with attaching a giant bridge object to a block on the opposite side of them to cover a huge gap. The bridge object fits nice and snug into the gap.

However, because the game allows players to attach objects anywhere, there's a lot of incorrect ways to place an object:




A feature that would make this puzzle easier to solve would be to designate where the bridge object should be attached, especially if it's the first puzzle and the player is yet unfamiliar with the main game mechanic.



In the second puzzle of the game, the player has to position two platforms on a wall and jump on them to vertically traverse the wall. The idea is that the player would come up to a wall, try to jump over it, and realize that it was too tall. There's a path nearby that leads to the 2 powerup platforms that the player needs to traverse the wall.

The problem was that it took the players longer than I expected to realize what to do with these 2 objects and where to go next. They eventually figured it out by zooming out the camera and looking where the level would continue.



The area where the player has to climb the wall (top right). You can see the path that he needs to follow to obtain the powerup platforms to the left.



A better solution that would get rid of the guessing would be to have an arrow texture on the wall, pointing up. This would clearly convey to the players that they need to go up at that spot.

Another issue that I discovered from watching our playtesters relates to the game notifying the player what just happened. In one area, the player must push a block onto an unlock spot to unlock a door. The problem is that the unlock spot is to the side of the door, and the player can position the camera so that it's not looking at the door when he pushes the block unto the unlock spot.



When that happens and the doors opens, there's no visual cue to it, making it hard to figure out what just occurred unless you were looking at the door. A solution on top of an audio cue would be to write on the screen something like "Door Opened!"

Main Mechanic and Level Layout

I talked about the general impressions from playtesters for Tumbleton's Fortune here, but now I want to discuss 2 specific issues that I received good feedback on - introducing the main game mechanic to the player and level layout.

Right at the start when the player is introduced to the main gameplay mechanic of attaching powerup objects to anything in the level, the first puzzle doesn't communicate the full scope of that well.

The problem is that one puzzle is not enough to explain to the player how the mechanic works. While the mechanic seems simple, there's some small quirks to explain to the player. Things like

a) You can't attach the powerup objects to the player ball
b) Once you attach an object to the environment, you can click on it again to reposition it
c) When the puzzle is complete, the object is rendered useless and the player is unable to pick it back up
d) The objects can be attached anywhere in the environment - floors, walls, ceilings, etc.

Communicating all of these in one puzzle would be really intimidating for the player. Instead, having a level composed of small puzzle that focus on each of these bulletpoints would make the experience simple and intuitive.

A couple playtesters also mentioned that the space where the ball (the main character, Tumbleton) rolls is a little too big. More interestingly, one playtester mentioned that it's not the large space that's the problem, but that there's no carrot dangling in front of the player to lead him along! I thought it was a very curious observation, and I'm inclined to agree.

Each level is made up of what I call pieces - things like platforming sections, puzzles, enemy encounters are all pieces. It's my job as a level designer to match and position these pieces throughout levels to give the player an enjoyable and fun experience.

What the playtester is suggesting is some visual way to link these pieces. Instead of rolling down a long ramp from piece to piece, a better solution would be to guide him. Since Tumbleton's Fortune is all about finding treasure, the treasure itself will play a large role in this. Players will be led by the thought of finding more treasure.

Another way to lead the players could be by making more interesting scenery pieces that the players traverse. If a player just completes a piece and is moving towards the next one, there should be something cool up ahead that catches his attention - something like a huge pyramid, or a light in the distance.

I don't want to completely get rid of these parts, because I don't want to constantly throw challenges at the player. After a player solves a puzzle, there should be a short platforming section where they get to experience the joy of rolling and jumping around.

Tumbleton's Fortune playtest session #1 feedback

Last Wednesday marked my senior's game first official playtesting session. Sure, people tested Tumbleton's Fortune earlier while it was in development, but it was mostly me asking them specific questions like how movement felt, were the levels too big or small, and what did they think of game mechanic A, B, C, etc.

This time was different - I set the game up at our 2 designated stations and started inviting people to come check it out. Overall, the feedback was mostly positive which to my delight was better than I expected.

Our main game mechanic involves players picking up powerup objects, and then attaching them anywhere in the level. Getting players to understand how to use this mechanic and what they can do with it is a hugely important task. If players can't understand it, they won't enjoy the game, and won't be able to get past some of the later levels, no matter how good they are at platforming sections.

For our first official playtesting session, I chose to take a more freeform approach of not explaining everything to the player. I wanted to see if the mechanic was easy enough for players to figure out by themselves. I believe that the simplicity of a gameplay mechanic is closely tied with how "sticky" it is - how fun and intuitive it is to use. If a game revolves around a mechanic, it better be sticky, otherwise players will put down your game.

Once the players pick up a large, green and spinny powerup object (it will have particle effects emanating from it eventually so it will be impossible to miss), a message pops up on the screen: "You have picked up an object! Click on it and use it to help you cross the gap".

And that was it. It was up to the players to figure out that you can click the object icon in the player's inventory on the bottom right, position it on the screen, and place it.



Most players quickly figured it out after trying a couple things. A joyful "Aha!" moment followed their success which made me smile. Interestingly enough, after rolling across the bridge object that they just placed, none of the playtesters attempted to pick up the bridge object and reposition it or place it somewhere else. It's true that I never mentioned that you can do that, but in player's minds, once they used up an object to come up with a solution, they forgot about it.

Obviously, the directions won't be so ambiguous in the final version of the game, but it was a nice experiment into the psyche of new players.

A couple playtesters weren't sure that the object attachment worked anywhere on the environment, some thought objects could only snap to the ground. The 2nd puzzle where you have to attach platforms to a wall to vertically scale it aims to teach them that, and putting some text explaining that you can attach objects to a wall would solidify it.

Because of this however, I'm leaning more towards locking the object down after a puzzle that requires it is complete.



The movement of the ball (Tumbleton) was hailed as just right by almost everybody, which made me breath a sigh of relief. I spent a lot of time tweaking things like movement speed, velocity, friction, stopping speed, jumping height, and the general feel of the ball. It felt great knowing it paid off.

More importantly, players said that controlling the ball just felt fun. They enjoyed rolling and jumping around, which is a testament to the controls being sticky.

Multiple playtesters complained about how jerky and fast the camera rotation was, an issue I suspected they would bring up. I relayed this information back to the programmers and we quickly smoothened out camera rotation.

We had a similar issue earlier in development when zooming in or out the camera. You don't want the camera to zoom via clicks - fast movements in or out. Instead, you want to smoothen it out so it has more of an analogue feel, similar to how most RTS games do it. We fixed that early on, and I suggested that we also do the same thing for camera rotation while we were at it, but we put it on hold at the time. I'm glad the problem is finally fixed.



Since the game is a mix of platforming and puzzle solving, some players said that it was kind of a bummer that after having so much fun jumping around and navigating the terrain, they had to stop and figure out how to solve a puzzle. I think they said that because this was the beginning of the game, and they quite didn't know how to play it yet. In later levels, I anticipate players going through the levels in a more quicker pace.

This reminds me of the flow in Mirror's Edge. Subsequent playthroughs of the game were always more fun than the first because you knew where to go and where to jump, which helped you keep the flow and speed of the game going.

Some playtesters also complemented our graphics technology like the bump mapping and shadows, a nod to our graphics programmer. Even though most of the textures in our game are placeholder (they look too realistic), it's still nice to know that the technology is there.



In the end, Tumbleton's Fortune playtest session #1 was a huge success, and I'm looking forward to doing more of these in the future.

Introducing Tumbleton's Fortune

Tumbleton's Fortune is a 3d platformer with puzzle elements set in sandy Egypt. Players navigate the world and solve puzzles by attaching various objects to the environment.



2011 is my senior year at DigiPen as a BSGD (Bachelor of Science in Game Design), and I wanted to challenge myself both as a level and systems designer. I proposed the game idea to my 2 programmer friends, and we quickly formed a team for game class.

In Tumbleton's Fortune, players take control of Tumbleton, an adventurer exploring the mysterious Egyptian land in search of treasure. Tumbleton is a cute rolling ball smiley face with one of those sweet Indiana Jones-like explorer hats. Currently, we're just using an orangish sphere as a placeholder, but it will soon be replaced by an actual model. As you might have guessed, the Tumbleton's Fortune game title is a play on Naughty Dog's Uncharted: Drake's Fortune, one of my favorite new game series this generation.

The game is essentially a 3d platformer - you roll around and jump on various platforms. There's moving platforms, fire that burns you, bumpers and other crazy obstacles that you must navigate around.



However, there's a twist! The puzzle mechanic kicks in when the player picks up one of the many powerup objects scattered around the level. Powerup objects come in different varieties, but the simplest one is just another platform. Players can then choose to take the platform object and stick it to anything in the environment! And by anything, I mean anything as long as it doesn't clip through Tumbleton himself.

In later levels, players will be able to carry multiple powerup objects at the same time, using them in unison to solve challenges. Objects are stored in a small inventory on the bottom right of the screen.

The first puzzle that the player encounters is a huge gap that is too big to jump across. At the front of the gap is our powerup object. The player picks up the powerup, and attaches it to the opposite end, essentially creating a bridge that he can roll across. Nice and simple for the first puzzle and it will help players get familiar with how the object powerup mechanic works.




The second puzzle is an extension of the first one. Instead of placing a bridge across a gap, players will have to place 2 smaller objects in a vertical fashion to scale a wall that is too tall to jump over.



That's how puzzles in Tumbleton's Fortune work. Me and the team are still undecided whether to take away the objects from the player once they use them to complete a challenge. There's 2 sides to this issue:

On one hand, it's cool to always have an object that you carry throughout the level with you, similar to the beloved Companion Cube in Portal - it creates attachment with the players which is a powerful emotional connection.

On the other hand, if players just pick up all the objects after solving each puzzle, they can use them to potentially break how levels work, or even skip huge portions of levels.

A solution we're considering right now is to allow players to carry certain smaller objects with them throughout the level. As long as the objects aren't huge, players won't be able to use them to cross gaps and go where they shouldn't be allowed yet.
For all other objects, once the player uses it to complete a puzzle, he will be unable to pick it up again.

So platforming and solving puzzles with powerup objects is what Tumbleton's Fortune is all about. I'll dive into the types of these powerup objects and what you can do with them in a future update.