The Last of Us; An Exemplary Example of Narrative and Game Design Harmony

In the lull of the summer months; whilst waiting for the Phantom Pain to release, I took the time to revisit a few games (whether for the first time, or for a second look). One of these games was The Last of Us (Remastered edition for PS4), which I didn't manage to finish till after I was done with The Phantom Pain. As I'm sure you're aware, The Last of Us is a game set in a post apocalyptic setting; 20 years after an outbreak of Cordyceps, a disease known to the player as "the Infection". It's an Action/ Adventure / Survival Horror game, with a primary focus on Narrative progression between our two protagonists, Joel and Ellie. As this is a narrative appreciation and reflective gameplay comprehension, most game plot points will be discussed. And so it goes without saying; spoilers ahead.

This was not my first playthrough of The Last of Us. In my initial playthrough of the game (roughly 2 years ago); I was slightly underwhelmed by the game; after reading so much of its glowing appraisal. I did play it later on, after the heat had died down. And couldn't help be a bit surprised by the faults I could see, particularly with the AI of both Allies and Enemies, which even on re-release had not improved. As such, my view was slightly soured and whilst I enjoyed the game, I didn't think it was deserving of all the praise it got; particularly in the gameplay department. As somewhat of connoisseur (debatable) of Stealth Games, I was incredibly frustrated with the enemy's inability to detect Ellie, despite her frequent crossing their paths. Obviously, for the player, this would have been incredibly frustrating regardless; but for a game that prided itself so much on its realism and harsh world; these moments sucked me straight out. That was until I played the second time around, just a month or so ago. On this playthrough, I put the difficulty up to max. This time I wanted to experience everything the game could throw at me. I was going to stealth around and pick up every consumable and rely on stealth as opposed to combat. I really wanted to try and gauge what was so incredible and revolutionary about the game. Luckily, the PS4 Remastered edition has been released now, complete with the DLC chapter Left Behind, which I'd never played before. And what I discovered was a game that, through every aspect of its design, had created a synergy between everything in its narrative to everything in the game's ambiance. A Harmony.

The Harmony of a game is something that is clearly overlooked in a lot of games that feel inconsistent. And it's important to revert back to the game's original Harmony, to make sure that any and all future design decisions are congruous with it. In his lecture "Listen", Brian Moriarty explained the importance of Harmony in games:

"Games with harmony emerge from a fundamental note of clear intention. From design decisions based on an ineffable sense of proportion and rightness. Its presense produces an emotional resonance with its audience. A sense of inner unity that has nothing to do with what or how you did something, it has something to do with why. Myst and Gemstone both have harmony. They have it, because their makers had a vision of the experience they were trying to achieve and the confidence to attain it. They laid down a solid, ambient groove that player and their respective markets can relate to emotionally. They resisted the urge to overbuild. They didn't pile on a lot of gratuitous features just so they could boast about them. And they resisted the temptation to employ inappropriate emotional effects. Effects like shock violence, bad language, inside humour."

Now, the last section of that paragraph doesn't necessarily apply to The Last of Us, mainly because the harmony of the Last of Us allows the game to incorporate the bad language and violence, because it is conforming to the world the game creates. It's believable. But this paragraph reiterates what I was saying previously, the world and its inhabitants, the way the player moves are consistent with the themes set in the game. And surely not by luck or accident; Neil Druckmann and Bruce Straley; directors at Naughty Dog; had intended and designed these features. Consequently, Brian goes on to say:


"You know, the suspension of disbelief is fragile. It's hard to achieve it, and hard to maintain. One bit of unnecessary gore, one hip colloquialism, one reference to anything outside of the imaginary world you've created is enough to destroy that world. These cheap effects are the most common indictators of a lack of vision or confidence. People who put this stuff into their games are not working hard enough."

This is something I've been guilty of in the past. Tacking on something that I thought was "innovative or interesting", without thinking of the Harmony that it might compromise. Hopefuly, I won't be doing it again, and thankfully, Naughty Dog; as well as limitations could allow, didn't compromise the narrative they tried to deliver by breaking this Harmony either. The Last of Us, delivers this consistent Harmony through every aspect of the game. And the player can feel it all directly through the eyes of Joel and Ellie.

So to start, let's begin exactly there; with our main characters, Joel and Ellie. Joel is a man, through the loss of his daughter, is worn and withered. He's a survivalist as are most in the world now, and he is a smuggler in, a long since thriving, Boston. As Joel, the player learns of a doublecross in which the items he has risked his life for, are now gone. But he can retrieve them, on successful delivery of a girl called Ellie. Ellie is a 14 year old girl who has only known the world she lives in now. As such, much of her mannerisms and dialogue, are that of someone carefree and somewhat aggressive towards Joel, this man who she suddenly must obey in absolute. This initial setup is met with trepidation from both Joel and Ellie. Joel doesn't want to be babysitting and Ellie doesn't want to be tied to someone she doesn't trust. This is reflected brilliantly in the opening sequences, as the gameplay features a lot of handholding of Ellie and the player (as Joel) relying on themselves to do a lot of the work. Over the course of the game, this dynamic relationship grows as the bleak but also uplifting moments help them to bond, this is also reflected brilliantly in the games design; as many of the puzzles and combat utilize Ellie; as a means to progress or distract enemies. This dynamic eventually culminates in the final chapter where they are finally a team. Something that was lost on me in my initial playthrough was that, in this late section of the game; Joel refers to Ellie as "Kiddo"; which was his nickname for his daughter, Sarah.

What we learn as the story develops is that Ellie has been infected, but not mutated. It is possible that her lack of transformation means that her genes could very well be a cure for the mutation. This leads Marlene, head of an underground rebel operation called the fireflies; to enlist the help of Joel in order to deliver her to a secret laboratory base across the country. This inner resistance to the mutation is special in a number of ways, not just through the story but also the art direction as well. The game features many cities that are overgrown with plantation, due to the lack of populous. But this is also much like what the mutation causes to the infected themselves, like the people as well as the cities are returning to the earth. But the level design in these cities, depite being urban, is surprisingly quite natural and organic like the world that grows on it. Most set pieces create obstacles through this torn down environment, quite literally. Many of the game's navigational puzzles focus on the player's inability to simply climb the stairs (usually by blocked paths or simply crumbled away). As such, the player will look for ladders which can be placed anywhere against a wall. The sections with water limit the player's ability to progress with Ellie as she can't swim. Thus require the player to find an object that can float, and carry Ellie across the body of water. Most secrets are hidden behind locked doors which require the player to use a shiv; a valuable weapon used to dispatch most enemies in a single hit. These limitations (and maybe even irritations for Joel), are an exact opposite to the hope that Ellie brings to a hopeful conclusion.

Over the course of the game, the player will primarily play as Joel. As Joel, the player can almost feel the enormous weight that has been placed on his shoulders; all of his movement is very slow and heavy. It reflects his aging body, but also the world around him; that feels inches from giving up. Throughout the early section of the game, it feels like this heaviness; is a reflection that Joel could quite easily give up and turn around. As many in the world no doubt have already. But once certain moments are reached, you get the sense that Joel is really thinking "Well, it can't be for naught", these moments also work quite well as the difficulty of the task begins to ramp up. And as the difficulty escalates, so to does Joel's interpretation of the situation; he's now doing this for Ellie. Despite this weight of movement on Joel only really changing when the danger appears to have lifted; the combat keeps a consistency to this heavy nature of the world. Every encounter feels even more dramatic than the last; as the stakes rise with it. The combat itself is brutal and emotional for both characters. Joel utilizes many blunt objects throughout their journey. Once an enemy takes a few hits, the player will be able to finish them a breathtaking blow; which rarely doesn't feel impactful. What is satisfying, is that the game (unlike so many others), doesn't take the time to slow it down as you bask in the brutality. It takes a quick zoom, so you know exactly what you did. And it is horrific. Almost like the game is saying "You're doing this, but at what cost?". This is something that I'll revisit later on.

Throughout the game, the player might receive a lot of damage. Thankfully, as Joel is a survivor he can craft first aid kits from the items he finds in the world. This is a stark contrast to Naughty Dogs previous work, as in Uncharted, the player's health will revive gradually over time. In this game, the player is expected to feel the panic of trying to heal themselves in the midst of battle, to once again mirror the harsh world around them. It comes as no surprise then; that the moment when Joel finally shows some vulnerability; is upon incapacitation via a stray piece of rebar to the abdomen. Up until this point, Joel has taken hits, and through the suspension of disbelief, we've learned to accept that he'll be ok, as long as he patches himself up afterwards. But in the moment he falls, we as the player also fall and there's a definite realization that this time; it's probably not going to be ok. This moment is preceded with a QTE, where the player thinks they've a choice in what happens next. Even knowing what happens, I still smashed that button desperately in vain to save him. Falling off the balcony; the camera falls with him and in this dramatic moment; we see what lies in wait, but are powerless to stop it. Suddenly, the game quickly cuts to a shot of Joel getting impaled.

It occurs to me, that this moment, is so the player can get to play as Ellie. This might seem obvious, but the intention is not to just change the scenario. But is once again to reflect the harsh reality of the world around them. It is also a reflection of the opening moments, when the player plays as Sarah, and suddenly the unknown of what's going to happen next, is seen through a child's eyes. From this moment on; the game is ultimately raising the emotional stakes for the final act. But in playing as Ellie, we get to experience a different play style. As she is young and small in stature; many obstacles that might have restricted Joel are no longer present. She has an attitude of determination and thus feels a little more lightfooted. Nearly all of the combat in this section is fought with guns; as Ellie doesn't carry the large blunt weapons Joel does. She does however carry a knife, which is vital to dispatching unaware enemies without making noises and not using valuable ammo. Despite these obvious advantages, it once again seems like the stakes are raised; due to the player playing as the character they've been protecting the entire game. Not to mention that she is alone. It's no surprise that in this section of the game, it is Winter. In congruence with the narrative, the seasons also change over the course of the Journey. This cold chapter for a lone Ellie, is reflected not just in the storyline, but the very weather around her. It breathes the desperation that the entire game has conveyed, as she now has to trust a man she doesn't know. Which once again is a mirror of that she was so unwilling to do earlier for Joel, but now must in order to save him.

**Major Spoilers for the finale of the game**

... But at what cost? In the final section of the game, Joel and Ellie are set to complete their journey. There's a complication in which both are put in peril at the final hurdle; once again raising the emotional stakes. In the following scene, we discover that Ellie is currently prepped for surgery. A surgery which will end her life, but potentially find a cure. And it is in this moment that the whole game has been building to. Her immunity is her death and Joel can't stand to see another daughter die. He does the unthinkable and takes on the people hes tried so hard to reach. This dramatic turn of events is possibly way the game has received such high acclaim. And it is on my lack of appreciation, that the first time around; I wasn't quite attached to Ellie to make this finale the event it needed to be. Indeed, I probably would have sacrificed her in the same situation. But on my second playthrough, for whatever reason, I'd grown more attached. As mentioned, the emotional stakes of my journey were more impactful and as Joel, it's not good enough that "they might find the cure". In Joel's desperation, just as the entire game has felt desperate; he kills so many fireflies. The player kills so many fireflies. It climaxes with the player needing to shoot the surgeon, to step away from Ellie. The game waits for the player to do so. There's no backing out now. The Moment where Joel carries Ellie away from the lab, is a mirror moment from the opening of the game where Joel carries Sarah from the Infected. This not only reinforces the father-daughter bond shared between Joel and Ellie; but also shows how much Joel has changed over (not just the course of the game) but from opening moment of the game. As in this moment, we also see Joel not even hesitate to shoot Marlene. A dark and climatic moment, which is under such similar scenarios to the opening but obviously, Joel now has not waited for an outcome but has instead created it. Stating, "You'd just come after her." Its a moment so desperate and shocking, yet completely believable from the narrative perspective; and the arc that Joel makes. It's also a very fitting conclusion to the similarly desperate and tragic acts that have taken place before it.

It's a moment which completely changes the entire narrative, the gameplay which the player has experienced and redefines the title of the game itself. As one man's jealously potentially ends the world; and asks the question: What about the Last of Us?

Metal Gear Solid V: The Phantom Pain - Sad Face

It's been a month now since I first sat down with Metal Gear Solid V: The Phantom Pain. In those subsequent weeks, I managed to finish both Chapter 1 and 2. After the review embargo dropped and the different outlets started to release their reviews; obviously I couldn't help but be consumed by the hype. As the 10 out of 10s kept coming, I knew that the game would be masterpiece for everyone and not just the die hard Metal Gear fans who have been engrossed in the series for 20 odd years (Myself included). And being one of the few also who not only bought Ground Zeroes 3 times; but also thoroughly enjoyed it; you can imagine that my expectancy of the game would be high.

I started playing the game. "The Man Who Sold the World" comes on the radio and I sat in awe that I was finally playing the game. What a great song to open with; my face immediately lit up. That was until I noticed something, it took me aback, it was something I then chose to ignore and thought "Well maybe that wasnt intentional". I forgot about it for a time. Right up till the final mission when you play the first mission again, and I realized it wasn't unintentional; because based on the previous 100 hours how could it. Whilst Snake is laying in bed, the player has control over a first person view in which they can look around the room in blurred vision. Unfortunately, during this sequence a nurse leans over exposing her rather large cleveage. I thought the industry was passed this? Clearly, Kojima didn't get the message, as one of the games main characters spends the entire game undressed, over sexualized, parading around trying to ... entice the gamer? I'm not entirely sure. But as I'm sure you're aware many critics have talked in detail about Quiet and her 'movements', and indeed the game's portrayal of women in general. And I would direct you to the jimquisition for a much better analysis than I could ever produce. http://www.thejimquisition.com/2015/09/the-jimquisition-a-quiet-conversation/

Instead, I will focus on purely the gameplay aspects. As previously stated, I was all set up to join the bandwagon and love every minute of The Phantom Pain. I was ready (as you'll note in previous posts) to place The Phantom Pain at the top of the pile for my personal Game of the Year. So, why is it that I can't help but be massively underwhelmed by the game? I'm not saying that the game is bad. In fact, the moment to moment gameplay and the controls of Snake are some of the best I've ever seen/played. It's incredibly enjoyable to play the game when infiltrating a base, taking out guards and fultoning them out. But there's just something severely lacking in the game.

For all the talk of the game's innovative approach to gameplay and the almost limitless solutions the game boasts to have on offer. The simple tactic of sneaking in, fultoning out the guards and progress with little resistance; is arguably the most logical way to progress. For me, I did this for near the entire game. I bought so many guns and equipment that I'm not even sure why. I never used hardly any of them (something I'll get back to later on). This method, is simply the best way to play the game. It's the easiest, most rewarding (theoretically and mechanically speaking) and 'correct' way to play.

• When approaching a base, the player will usually look to find a high vantage point that overlooks the base. This might be a Watch tower or tall building, but more often than not its a cliff that encompasses the target area. Most successful missions will start like this, regardless of approach.
• Once all enemies are marked, the player will sneak down to the base and take out any guards patrolling the external area. I found that in most cases, the player can make plenty of noise up to roughly 25-30 meters from enemies. This means that the player can takedown and exfiltrate any enemies without alerting anyone as long as their distance is greater than 30 meters. It should be noted, that the player can pickup downed enemies and move them (just like any MGS). So the player can move enemies out of this "30 meter" zone and fulton them from further away.
• At this external stage of the map, the player should make use of CQC (close quarters combat) to takedown enemies silently, gain additional information and most importantly, save the Suppressor on their tranquilizer gun. The CQC hold also leaves the enemy incapacitated for longer than the tranquilizer.
• Once inside the base, it becomes more difficult to manage multiple targets that might be closing in on you, so the player should make use of the tranquilizer now. But only in absolute circumstances, make sure to be patient and wait for guards to break from their patrolling pattern. 
• The player doesn't need to remove all the guards, just the ones closest to the objective. If all goes well, the player should have a fairly simple journey to and from the objective. 

This method as stated is the easiest, most rewarding and correct way to play. It's a fairly straight forward way to play the game. Some might argue that their is no "correct" way to play. But this is the best way to achieving an "S" Rank at the end of the mission via No Alarms, Zero casualties etc. And it's the most rewarding because its the best way to increase Mother Base and probably the most satisfying to play. Before I continue, I should point out that this method of play was enjoyable and very satisfying to play. I would add however, that this was my method for the entire game. And only when I upgraded gear, did my method only slightly change E.g. Fultoning out even more soldiers. This whilst enjoyable, wasn't satisfying long term.

Outside of this Base infiltration gameplay, we have some very, very strange decisions. When you enter one of the 2 large open spaces, you have many missions to carry out inside. Usually, you'll drop in via helicopter at the location closest to the mission your about to undertake. You then do the mission, like above. But once you're done you're left with 2 options. Either get a helicopter to pick you up from the location you dropped in. Or run (usually across the entire map (up to 20 minutes)) to your next destination. It's in these moments I encountered my first great frustration with the game. The Level Design is completely all over the place. Most of the well designed areas are self contained buildings in the middle of nowhere, surrounded by abandoned buildings. Nearly all the buildings are shacks that have been copy and pasted. I loved the previous games in huge part for their level designs. I can remember nearly every location from the games, inside and out. In this open world; I can only remember a few locations at best, and that's not because they're well designed / thought out. But in most cases they're the only one of it's kind in the game, for instance, the Oil Plant. These areas are fun to play inside, but they never feel entirely together. Most buildings you can enter are bare bones. The buildings that actually look interesting can't be accessed.

I believe this is because the whole game is based around this open world mechanic, the stealth scenarios are setup for an open world; and would be completely negated within walls. Unfortunately this leads to large open sections of the player just running, and running, and running. For me, this open world just negates the value of stealth in general, especially when it was arguably highly refined by GOTP. What I mean by this is, in previous games if you had to hide you couldn't simply run out of the area, you had to find a hiding spot, be it in a locker, behind a barrel etc. It seems strange to me that the open world setup is quite prominent in games today; that's not to say I don't enjoy them; but I found myself longing for some linearity and limitations to what I can do. Leaving me to find the solution under pressure like previous games. The difference between an open world game like the Witcher 3 and this, is that; in the Witcher, there's a necessity for the open world. There's people to meet to expand your knowledge of the game, characters who not only interact with you but may give you missions great and small. There's environmental storytelling, which tells a story which is completely seperate from the game, one that the player will never be a part of; making the world feel alive. There's secrets to find within these locations, new loot like a shiny new sword, books which tell a story about the location your in, and indeed more quests to find treasures and such. In the Phantom Pain, there's none of this, making the open world feel dead. The most the player can do is walk into huts and press pickup on incidental resources. This leaves me very confused. What's the point of an open world if there's nothing to explore?

This conveniently leads me onto my next point which is about Mother Base. In the open world, there's little reason to explore. In previous games, the player was rewarded by exploring; finding new items and weapons. "Procure all weapons on site" is the information often told to Snake in the previous games. That moment, when you hop in the back of the truck in MGS1 and find the SOCOM Pistol, was a magical moment. It's a standout moment from my childhood. Now, in The Phantom Pain, I'm told requirements that need to met. I pickup vague Blueprints for 010111WHOCARES, only to find out that my R&D Team is too low a level. And even then, I have to wait an hour or so for them to make it. And then, I have to spend more resources for them to drop it in to me. What the fuck is this? This isn't Metal Gear. I bought many of these weapons and tools but hardly ever used any of them. Not only because my method of play was clearly the best, but also I had no attachment to them. No backstory of the hundreds of men I had to kill in order to acquire them. No wonder of  "how will this weapon change gameplay?" I already knew what they were like. Instead of developing new weapons, these "valuable" resources can also be used to develop Mother Base; something I imagine even the diehard Phantom Pain fans couldn't say they liked. It's so lifeless, there's so little to explore. It might as well not be in the game, there's no reason to ever go to Mother Base other than forced Cutscenes. The entire game, I was waiting for it to get attacked and when it finally does, the game plays a cutscene. Each of the struts (very reminiscent of the Big Shell from MGS2) are so far apart its ludacris, it takes minutes in some cases to reach other struts via a car! This time can be shortened by using the delivery fast travel. But if the designers knew the distance was so far that it required a fast travel; why not just move the struts closer? It would have looked more epic and at least; I might have had the desire to explore them.

The Foward Operating Bases, serve as another way to spend these in-game resources. These feature a base infiltration mission but on another player, which is closer to what I wanted from the game. But even they appear to be locked behind a pay wall of microtransactions yet setup exactly the same as Mother Base and indeed the development of Weapons and Tools. It leads me to suspect, that the microtransactions were at one stage a larger part of the entire game. With the final section of the game cut and Kojima being fired and brought back as contractor, I believe this to be the cause; the microtransactions that had flooded his idea for the game. It seems odd that their are so many options for microtransactions that arent there. Ability to buy the weapons and tools ahead of R&D for example. I'm not say that I wanted it, but feels like the game was setup to use such a system. Especially when the game is full of management and micro economy systems.

Finally, my biggest complaint with the game is the lack of any boss battles. There are few moments where you fight "The Skulls". But theyre for the most part just normal enemies that have armour to act like bullet sponges, that you can finish off with Quick Time Events. Yes. Those. Every previous Metal Gear has had epic boss battles. The moments when you finally get to unleash the arsenal you've been carrying for 10 hours and see what it can do. It's incredibly rewarding and satisfying. Especially as you're usually fighting Metal Gear, giant walking mechanical monsters that can crush you like a fly. It's amazing. In the Phantom Pain you have 1 of those missions. And it's not at all satisfying, firstly because its not very hard and secondly because you don't feel like the odds are stacked against you. In a very bizarre approach; the game often tells the player through credits at the start of every mission; exactly who is going to appear in the mission. What's the point of this? I've no idea. It removes all suspense, especially in moments where the player will think "Oh, I've finished the mission, but didn't the credits say that the Skulls were in it? Oh. There they are. Guess I haven't finished it yet". It breaks immersion, pacing and possibly worst of all; the surprise. Those moments could have actually been good if handled better. The Credits also tell the player exactly what to prepare for, almost like it's saying "Hey you should bring that Rocket Launcher with you! You'll need it!". Instead of just letting the player develop a solution on the fly like the game appears to encourage. And as the game progressed, and those credits rolled, the boss fight I was waiting for, I realized wasn't going to come. The game has Psychic called the Third Boy who is in all probability, Psycho Mantis, one of the most interesting boss battles ever. Do you fight him? No. The Man on Fire, the embodiment of hatred against Snake, manifesting itself in the re-animated body of Volgin. Do you fight him? No. Skull Face, the big boss of the entire game. The one who blew up the base in Ground Zeroes and responsible for everything. Do you fight him? No.

 
 In my conclusion, was the game even necessary? To go off script and talk about the storyline; the game series was very well tied up in both Snake Eater and Guns of the Patriots. Both had epic moments with boss battles and very exciting and engaging gameplay. We got our resolution in GOTP, between Snake and Liquid and in Snake Eater we have our reason for why Big Boss becomes the bad guy. It didn't really need to be expanded on. Instead the story we would have liked to see; how Major Zero is actually the real bad guy; barely gets mentioned. At one moment, Liquid reveals to Big Boss that he's his son, but Big Boss doesn't seem to even care. And in the twist ending, it makes it even more bizarre that Big Boss would become the villain. Not to mention nearly all the moments of story in the game are shown in the trailers. I mean. What? The removal of discovery, an open world that is empty, the tedious missions that you have to do on repeat, the lack of a proper storyline outside of casette tapes, the lack of any boss battles. I have to ask, is this game even Metal Gear? Sad Face.

Top 5 Games of the (Half) Year

As the summer drought of games has begun I figured I should make a list of the top 5 games of the year, so far. I don't normally like lists, but if nothing else this is to help me reflect at the end of year when Fallout 4, Phantom Pain, Super Mario Maker and possibly, No Man's Sky, hasn't clouded my mind. I'm aiming to also play some games that I might have missed in the next month prior to the release of Phantom Pain. So I might do a Post Launch review for one or two of the games.

5. The Talos Principle - This is a game that was released close to Christmas last year. I know this means it might not necessarily count; but as I'm sure it didn't make it on to anyone else's list in time; I think it's ok to place it now. Because it flew under my radar and the radar of many of my friends and that's just not ok. Because it's a fantastic game that deserves all the praise it gets. I'm still playing through it but I've overcome so many puzzles that I'm confident that the later stages aren't going to flop. I'm amazed how it manages to hold up; using all of the limitations and iterations to make the game feel incredibly rewarding. As the game progresses, each puzzle completed feels like scoring the winning goal in the Champions League Final; as the boundaries of the game, line up with the player's ability to see the solution. Taking heavy inspiration of puzzle design from games such as Portal, the game builds upon the simple mechanics of basically picking up objects and knowing where to place them. All of the objects are also unlocked by solving other puzzles. Whenever the player solves a puzzle, they're given a Tetrimino (basically a Tetris piece), once the player has collected enough of these pieces they can unlock a door or a safe to progress in the game. Each of the items seem really simple both in theory and in practice. Which makes the fascinating uses of them even more amazing. So a quick checklist; we've a game that makes every puzzle rewarding to solve, with inspirations based on Portal, making use of simple mechanics and tools to create complex iterative scenarios and culminating in Tetris-like puzzles. In terms of design, it's pretty much my ideal game.

4. Rocket League - Just. One. More. Game. Who would have thought that the best Football game ever, wouldn't be Fifa? It's difficult to sum up how good it is, but by comparison to Fifa, which I'd argue is methodical, monotonous, flashy - trying so hard to replicate "the beautiful game". A game about jumping cars; putting giant mechanical balls in nets, sounds infinitely more appealing. In the end, you get a game which is impossible to predict. There's no team management, or player position. Every player plays every position and its up to each player to know when to spot the danger and to know when it's time to take the shot. It turns out, that most of the time these opportunities are every time. What this results in is a complete mess where; all the players are jumping and competing for the ball at the same time, most assists are usually failed shots, the acting goalkeeper is as likely make an amazing save as they are to score an own goal and your ability to carry the ball counts for nothing when you have to go so slow to do so. What this means is that all players have the chance to do something epic or clumsy; making each game so enjoyable. Just One More Game...

3. Splatoon - Nintendo's newest IP and first foray into the online shooter market is the most charming and rewarding game to inhabit that market in years. At it's core there are 2 teams of 4 which compete to paint as much of the map as possible within a 3 minute time period. Each player picks a different weapon which can paint the map in different ways. It has its well documented issues of course, but they are long forgotten once a game begins. Painting the map is much more than an act of art; it is a weapon to restrict your opponents, a tool to create new paths and a reflection of dominance. Each time a game starts your left to wonder how well you and your team are doing and even at the end; its often quite hard to tell who has actually won. And more often than not, the winner is decided in the final few seconds; by the team that managed to throw the most paint around. Also, the leaderboard at the end is based on the paint covered and not the amount of enemies you "splattered", encouraging the players to focus on the former; which I believe, ultimately leaves a happier post game too, leaving the players to want a rematch, in defeat.

2. Witcher 3: The Wild Hunt - As a long time Witcher fan. I was of course, incredibly excited for the final instalment of the series. Needless to say, it did not disappoint. So much so that even with its flaws of which there are a few of note; it almost doesn't matter in the scale of the adventure on offer. Rarely, do games offer such vast and enthralling storylines and characters for the player to immerse themselves in. Very quickly, the player is taught the ropes and given the choices to impact Geralt's life. This ultimately, quickly makes the player fond of Geralt; allowing them to fully absorb the world and the characters within it. This did such a good job of keeping me invested, that I played close to 150 hours; covering every inch of the world for quests and loot, and that's without ever playing Gwent (the Hearthstone-esque card game inside). My only slight gripe would be that the combat didn't feel impactful, but even then, that doesn't mean it isn't fun; because it is. It's fluid and responsive; making the player feel very much in control of Geralt. Any other year and this surely would be top of the pile in my Games of the (Half) Year.

1. Bloodborne - There's almost nothing to say. Bloodborne is so completely brilliant that I would struggle to find something to improve within it, other than simply wanting more of it. The combat is the most exciting and engaging, I've ever played in a game. The departure from Dark Souls to create something fast and heart-racing is such a huge leap that the game really doesn't deserve to be compared alongside them. It's closer to something like Castlevania; where the player relies on quick feet and exposing vulnerabilities. And it's not just in gameplay that the game is reminiscent of it, the architecture of the world is similar as well; as a giant red moon looms large over a dark Gothic City. This constantly creates some of the most striking images I've ever seen in a Video Game. Each enemy looks so utterly grotesque and horrific that they perfectly blend into the world that From Software have created. With some of the finest and most realized animations I've ever seen. The subtle storyline sitting over the game, tells the story of a University which discovers deep in the caverns below them; beasts, which have a magical cure-all blood. Ingesting this blood gives supernatural health for a time being before transforming the members of university (and later on, clergy of the churches), into the horrific beasts which make up the game's bosses. Each one more fantastic and cleverly designed than the last, making each fight a dramatic conclusion to the paths the player had just been on. Wrapping all of these mechanical marvels together, is a soundtrack; that is so memorable and haunting, that it really deserves it's own praise as a standalone piece. Hence, when played to the epic encounters with the giant beasts that inhabit Bloodborne; it creates arguably one of the finest experiences in Games of all time.

Honourable Mentions for Top 5 Games of the (Half) Year...

As we're now entering the second half of the year and the summer months which traditionally have a drought in games; I thought I'd give my personal favourite games of the year so far. I'm including games that I've only got around to playing this year also and whilst this is my thinking now; this order may ultimately change by the end of year. I figured I should start with my list of honourable mentions as there are some quality games which I would highly recommend. Also, Journey (PS4) was finally re-released on PS4 in the later half of the year. And whilst it deservedly will make a lot of people's top games of the year. Having already played it many times and not really feeling an incredible difference between the PS3 release, I've omitted from my personal list.

In no particular order:
Her Story, I've just finished playing this last week. I was bit late to the party as much of my twitter feed had already come and gone with it's praise and discussion of the game. In some ways I'm glad as I could experience it completely on my own. The non-linear narrative of the game is obviously the appeal for everyone and it has truly perplexed me. I was also incredibly satisfied to find that I had managed to digest the majority of the story without resorting to the internet for the "keywords".

Super Time Force Ultra, probably the most questionable title on the list for this year. I had long been waiting for its release on the Playstation Network as my Xbox is currently gathering dust underneath my desk. But in the end I caved and bought it during the Steam Summer sale. I was surprised to see that none of my friends on Steam own the game, which is why I placing it on here now. Especially considering the game is absolutely epic. I'm always surprised at my ability to finish a level, as their are many factors which I feel I need to consider which make the game quite daunting. When you eventually overcome a level and are able to see the entire playthrough in one sitting; it's always incredibly enjoyable to see every character running and shooting at the same time. The game makes use of some incredibly smart mechanics which really push the boundaries of iteration.

Majora's Mask 3d, this was my first play through of this game. I never owned an N64, so this was a title that had always eluded me. Despite the use of time being the main mechanic, I never found it too much of a hindrance once I discovered the song to slow time. Which I feel may have ruined the game for me. Not only that but I found all the dungeons tedious. Nevertheless, Zelda is Zelda and the Items mixed with the masks always add some exciting gameplay, and its unlike any other game in the series; which does hold some value.

Batman Arkham Knight, if you'd asked me upon completing the game I'd have said that the game was in my top 5. But having had time to dwell on it; the game hasn't really left a lasting impression which I think says it all. I would point out that I enjoyed pretty much the whole of the game (aside from the Riddler trophies which I did not acquire), and including the batmobile which I felt was well worked into the game. But I couldn't really tell you much about the game and what you do in it. Compared to Arkham Asylum which is still my favourite in the series, despite being somewhat limited to the others.

Ori and the Blind Forest. this game does very little wrong. If indeed anything at all. Which makes it difficult to leave it off the list. It has beautiful art, beautiful music, fluid and expressive gameplay and a large open area to explore and play inside. Unfortunately, I encountered a bug, right at the end of the game which meant that I could no longer continue. Thus halting my entire progress and the enjoyment I had playing the game. To be so engrossed and satisfied to then hit a break wall really upset me and that's why I've not placed it higher. Maybe a bit picky. But I intend to play it again shortly before the year is out so it may yet get on to my top Games of the Year.

Revolver - Design Concept Outline, Part 1

When starting this project, I had one aim: to keep the gameplay, the input and the aesthetics as simple as possible. If I couldn't outline every major feature and aspect in the game, upon a single page; then the game was too complicated. The reason for this, I've a great admiration for games that manage to convey a subtle yet complex mechanic through minimal input. And through an iterative process, I like the multiple ways in which a games limitations can be fully realized. Having said that, I'm not much of a Mobile gamer, but the games that don't rely on on-screen buttons and menu-layered strategy games; are, I believe, much more at home within the mobile space and something I'm more likely to play.

My original idea for Revolver, was a 2d platformer / Infinite Runner hybrid (still set on a mobile device); where the player's avatar continuously moved right, but around objects in the space. Then by pressing the screen; the player could jump from one object to the next to traverse through the environment. Each of these objects would contain their own Gravity which would hold the player to the surface, allowing them to revolve around it. Some objects would have greater gravity meaning the player would need to time their jumps more carefully, in order to leave the pull of such objects. On these revolves, there are enemies and hazards to dodge as well, to keep the player on their toes. But this also adds fresh gameplay, making each jump vital as, for example; an object might have a low gravitational pull, but many hazards along the path; requiring the player to really carefully jump so not to fall out of the orbit (which results in game-over).

This game will still be made at some point, but as you can tell in the short paragraph; I've many ideas with what to do with such a game but it is too complex. Simple is what I wanted to create and that cannot be achieved. Using the same method of revolving around an object however, I feel there is promise of a simpler game. So in the revised version of the game, which I will now refer to as Revolver; I'm using a similar gameplay loop; only the game will take place on a singular object and along a 3d space.

In Revolver, the player takes the form of a ball or a wheel, as they drive very quickly around the surface of a sphere. From the image above, you can see the curvature of the sphere giving you a rough estimate of how small it is. I believe it will take mere seconds to do a full lap of the sphere. Each time the player laps the sphere, their speed will increase. As the speed increases, a new layer will be added to the music track. There are boundaries on the sides which restrict you from lapping too easily, but at the sides, it is certainly easier to build momentum and blast through the initial laps quickly. And after a set number of laps, obstacles will start to appear on the sphere gradually, these are aimed to slow you down (this is why I'm not too worried about the player staying on the sides because the game shouldn't typically allow you to remain there). But of Course, if you hit too many of them, the music layers reduce and you'll fall off the sphere, ending the game.

As before, I wanted to make a game that made use of the limited control input with smart phones. So the player controls the game by placing their finger on the screen. The player can then steer, left and right by moving their finger left or right. Should the player release their finger from the screen, they will jump (this allows the player to leap obstacles), but does have a cool down of 1 lap, so the player cannot spam the jump.

As you can see, the game will have a strong 80s Virtual Reality Vibe, with predominantly black shapes with colourful and strong florescent lines along the edges.

In terms of additional mechanics, I've thought of collectibles, which randomly spawn and help boost score. I can see the potential for Power-Ups such as Slow Down and Invincibility, but at this moment I have no need to add any. But should I feel the need I could. I think, more likely, the player will get score multipliers if they complete laps without colliding with objects.

And that's about it really. I realize that there are a lot of infinite runners that occupy a 3d space, but I'm hoping that I can make this alone and that it has enough features that I can be proud of it. Eventually, I think I will release it for Android completely free. But this is entirely a portfolio piece at this moment and a way for me to learn the methods of getting a game to market. You'll notice that I've titled this as part 1. This is because I will make a further update when I've gameplay footage to show alongside it.

** UPDATE ** 28/06/2015
As I've now taken full development on my shoulders. I really wanted to overhaul the art a bit more. I wanted to consider what the UI would look like and settled on a speedometer. I've also thrown loads of emissivity across all the objects. The resulting game should look similar to this. (Left)

Bloodborne - Post Thoughts, Part 1 - The Blood Starved Beast

It's been a few weeks since I got a platinum trophy in Bloodborne, so needless to say; I enjoyed the game. I also feel comfortable, despite being in the industry; having achieved the highest accolade in the game; to be able to share my thoughts and ultimately my recommendation to what is my favourite game, so far this year. In this analysis, I'm going to restrict my views to the game mechanics and overall gameplay. This means that despite its fantastic music, story and visuals, they wont be factoring on my thoughts unless I find a relation to the Gameplay. I also will be comparing it to Dark Souls, Dark Souls 2 and Demon's Souls on occasion, but more so to outline how the game differs and how it encourages a fresh approach. Whilst it's hard not to draw comparisons, being that they're made by the same developer; I want to stray from the traditional media review of "It's hard like Dark Souls".

So, let's start this first Bloodborne post by getting that quickly out of the way; with my one and only time I got stuck outside of the chalice dungeons (that Abhorrent Beast is another story). Bloodborne is not an easy game. It's not an easy game because it sits in a sea of games that hold your hand, and point you in the right direction (which is fine). It's not an easy game because the player will die often, and more likely frequently, unless they're fully immersed and prepared for whatever is next. It's not an easy game because the player must learn that to die is not necessarily failure; as long as they've learnt something in the process. And probably the hardest of all is that, they need to learn not to get attached to the Blood Echoes they're carrying; because that's the moment they're likely to lose them. I do feel I had an advantage having played and finished the previous games from FromSoftware, these features in particular are consistent throughout the titles. And there are certain exploits as well, for instance, I knew how to deal with the enemies and use obstacles for easy kills. But ultimately the meat and bones of the game are quite different. Despite being extremely excited and scared at the prospect of playing it; I found that in the first 5 or so hours of the game I only died as many times. And nearly all occasions I was simply careless and had gambled on something that didn't pay off. It wasn't until I fought the Blood-Starved Beast, that things got more difficult for me personally.

I'm aware that most people struggled with both the Cleric Beast and Father Gascoigne. I personally didn't because they're quite large and have an easy tell, allowing you to read attacks and dodge fairly comfortably. The B-S Beast on the other hand, whilst having an easy tell didn't necessarily make it any easier to hit it, just to dodge. I spent roughly a day, trying to find another passage, walking into the fight knowing I was going to die and basically farming blood echoes so I could level up. I was dying within seconds or generally just spent far too long avoiding it. For anyone who fought this boss, as a Souls player, I'm near certain they ran into similar difficulties. The problem I discovered was that I was fighting the Blood-Starved Beast like I was playing Dark Souls. But I wasn't. The trouble with the boss is that not only is it large, its fast. It has a huge reach on its attacks (that it was often more viable to dodge towards it than away (this is unique to Bloodborne)). Once a third of it's health is gone, every attack it hits poisons you. And once two thirds have gone, it poisons you just by standing near it. So you're weary of using any potions just in case you die and you've wasted them. And this is while not mentioning that; should the player get caught in one of it's attack patterns; its pretty much game over.

Three things I learnt whilst fighting the boss, that I took with me throughout the rest of the game. Every fight can be made easier by learning to use the weapon transformations correctly. Extended it has a longer reach but slower attack, but attacks can be chained together to create a combo allowing the player to transform mid-battle. This is particularly useful for getting in close with the Blood-Starved Beast and then extending for a couple of extra hits before it runs away. This was also the moment I discovered my favourite aspect of Bloodborne, the health regain. Upon taking damage, if the player manages to hit their opponent back before taking another hit, they can reclaim a portion of their health. What I didn't realize is that you don't necessarily have to wait for the enemy to finish attacking before attempting this. Combined with the Hunter's sidearm, which can briefly interrupt most enemies attack patterns (as well as leaving them completely vulnerable; with a perfectly timed shot, to the visceral attack). And lastly, I discovered that the Pungent Blood Cocktail can lure the Blood-Starved Beast away from you, for some cheap heavy damage. Only it wasn't cheap because the developers made the game in such a way that it was a viable option and ultimately, how I beat the boss in the end (including of course, a few last minute heroics, as always). This lure technique is particularly interesting to me. The other games in the series; focus on being direct and defensive; whilst this seems like a side step to your problems. All of these traits are completely unique to Bloodborne.

My success came on Saturday March 28th. After a few days of completely avoiding the fight; I went in determined to beat the beast. I hurled a Pungent Blood Cocktail at it as soon as it came into view. Almost immediately applied fire damage to my Saw Cleaver and started to inflict as much damage as I could without being careless. Quickly I'd dropped it's health to about half. But it started to get weary and wouldn't let up on it's attacks. So I had to bide my time and plan out my antidote uses only when absolutely necessary. My plan had worked but I very quickly ran out of cocktails and antidotes; so I had to be even more careful. And then as I saw it's health drop to roughly a sixth, I remember the shock of unthinkable (but apparently very, very thinkable). I'd been poisoned with no antidotes and having got so close I couldn't believe I was about to leave the room in defeat. So with nothing left to lose I sprinted towards the beast and slammed him into the corner of the room. He was trapped and I just kept hitting him. As we traded blows, the health I lost was almost regained immediately in my reckless abandon. I distinctly remember it raising its arm to do the pounce attack, if it got away in this moment; I almost certainly couldn't win. And on instinct I fired my sidearm, thinking "Sit back down". My health was dropping but so was his and I killed it with just enough time to run and activate the Lamp, which would send me back to the Hunter's Dream safely. This boss battle was the most intense and frustrating thing I've felt in a video game for a long time. The day I spent in prior dreaming about maybe beating it. This whilst I was purposely avoiding it, like a school bully coming to take my lunch money. And to ultimately beat it, as the poison was eating up my health, in my sheer animosity. It was an incredibly satisfying moment that seems very rare in gaming today; and for me personally, something that FromSoftware has dominion over within the AAA space.

I'd like to return to Bloodborne at another point to elaborate further on this fantastic game. You'll notice how I've had to combat the ties to the souls series; by reflecting on how it isn't like them. This is because those ties bind it to the souls series; and despite its movement and overall feel being similar; the end game is a different prospect that deserves recognition to be stood apart.

Looking back at Portal and it's Learning System

Until recently, I wasn't sure what my particular compulsion and driving force for playing a game was. I play a multitude of games of course; and I try very hard to finish most games I play, mainly due to having spent the money on it. So I always try to make the most out of what I'm playing even if I'm not necessarily enjoying it, but I tend to know what I am going to enjoy. Most games I've found that I do enjoy, create a strong iteration process to keep me invested. And I've similarly found that; Designing Iterative mechanics is what I excel at best. It's with this in mind that I visit one of my personal favourite games for both general puzzle design and iterative design, Portal. 

Portal is a first-person puzzle game. In Portal, the player is given a tool called the Aperture Science Handheld Portal Device (or Portal Gun). The Portal Gun can project 2 opposing sides of a doorway, which allow the player to teleport across any visible distance within a 3 dimensional space. The game is presented as multiple test chambers within a laboratory. Each new test chamber has a new puzzle for the player to solve, using the portal gun. The game features an overarching comical storyline where the player’s avatar Chell; is being coerced into doing these puzzles by a sentient robot called GlaDos, with the promise of having cake at the end.

The player is given a rewarding learning system, where they are educated in practice and never told what to do. The basics are taught entirely through the game and level design. The Portal Gun itself, can project both ends of a doorway, though the player learns that the portals don’t simply carry objects through. The game features a complex physics mechanic; so that any force acting upon the player (or an object), is carried through the portals also. This starts with placing cubes upon pressure sensitive pads and culminates with using gravity and an imaginative use of portals; to gain extreme velocity, which propels the player (or objects) through the air. Over the course of the game, the player is continuously taught new rules and exploits to these mechanics. Consequently, the player is only ever given the tools to succeed. This is constantly shown to the player through feedback in the environment. Everything in each test chamber is there for a reason and once the player figures out how all the pieces fit together, they will have solved the puzzle. However, these effortless mechanics usually become complex in execution; when the player is relying on being instinctive and doing multiple versions of these mechanics in one swift movement. This is when Portal is at its exceptional (and perplexing) best.

The entire of Portal could be seen as a tutorial in a traditional system. This is because; the player is only ever learning new techniques to solve puzzles. The learning methods of Portal make it unique in this way. This is expertly crafted in the early levels, as the game makes it near impossible to not solve the puzzle, despite offering new circumstances every time and despite never revealing any hints (like on screen text or video). The feedback in the environment is all the player ever needs to be able to solve the puzzle, as everything in the test chambers is there for a reason. For instance, it’s very important to help the player understand how the portals work without actually telling them. Thus, the first time you enter a portal, it’s clear that the portals are indeed portals and not simply a tunnel. This principle is further conceived when the player can see themselves within a portal, as the opposite faces them. The player then must walk around that same room and see that there is no possible way that it can be nothing other than a teleportation device, as the portals have no rear.

The early levels are very simple in practice but are actually excellent in implementation. This is because, it’s difficult for the player to play wrong and get stuck. They’re never told exactly what each object does, but rather subtly influenced through previous solutions. In the opening 10 test chambers, the player learns that:-

• The portals can be used to traverse impossible distances, 
• The portals are equal parts of the same doorway (ensuring that the player can choose to walk through either end), 
• The portals can be placed on any plane as long as it has a white surface (all early levels have white walls, ceilings and floors), 
• The portals cannot be placed upon black planes (this colour pallet also makes it easily distinguishable at a distance), 
• The cubes can be picked up and placed upon switches to open doorways, move platforms and/or activate machinery, 
• The portals can be used to teleport more than just the player (objects such as cubes and light pellets), 
• The momentum acting upon the player (or an object) as they enter a portal is equal to that which is carried out the opposite side, 
• Light pellets can rebound continuously off any surface and are also required to activate doorways or platforms, 
• Walking through a lift is required to complete a puzzle and when the player does, it eliminates the use of portals and removes any existing portals, 
• They cannot be hurt from falling. 

None of these rules are ever taught to the player. Instead, the player learns that they are ultimately the only solution or indicated through environmental feedback. This natural education really helps the player understand the rules of play within the space of Portal.

Additionally, in these opening test chambers, the player is only armed with the ability to shoot one side of the portal. This is firstly to limit the control of the player within the room, but also that they may learn that both ends of the portal are also the entrance. For this logic, it may seem that it would have been useful to colour both portals the same. But in fact, some puzzles require the player to know which portal is placed where (should the player need to move from A to B to C quickly; A and C’s portal will need to be of the same colour), so it is more important that the player can associate a coloured portal with a button. In this case, the left mouse button shoots the blue portal. But there’s a lot of colour co-ordination for the player to associate with in the game. For instance, the test chambers and turrets are in black and white. This is while most of what the player can influence will have a colour, such as blue and yellow for the portals, orange for the player avatar and red for the switches.

In this same approach, Portal’s feedback often over-emphasizes important features, despite the already basic layout. This is clearly to identify their significance to the player. For example:-

• Most objects in the game are unnecessarily large, such as the cubes and switches, 
• Switches are on raised ground and have dotted lines that point to their corresponding use, 
• The clear indication of black and white in a test chamber usually dictates how the player will move through it. For example, the player will realize that a white plane amongst black planes is crucial to the puzzle. In the same way, that a black plane amongst white is limiting the use for a reason, 
• Glass panels are to help the player see a section of the room without being able to directly influence it at that moment, 
• Large test chambers will usually require the player to launch themselves across the room. 

In practice, the first time the player is required to use momentum to project through the air (or flinging as it is referred to); they enter into a test with dark tiles everywhere. Immediately, the player’s attention is drawn to look upwards as the wall above them starts to move forward on a mechanical arm. This wall is white allowing the player to shoot the blue portal on to it. In front of the player, a large descent where at its base, is the corresponding yellow portal. As there are no other options or directions to go; the player’s only destination is down. When dropping the player can see through air resistance in the view; that they are gaining velocity as gravity pulls them towards the ground. The player hits the portal and is carried out the opposite side with enough momentum; to cross the descent they just jumped down. The player then has to do this a second time, as another wall as been brought forward, now at a slight curve. This time the jump is a greater distance, as is the drop below. The player will see that not only does the curve project them in an upward trajectory, but also at a faster rate.

Again, there is no indication to the player how to solve this puzzle. It, at this early stage, is simply the only possible solution for the player - the only wall that the portals can be placed and the only direction that the portals can project. At this point, the player’s only unused mechanic is the secondary portal. Still, despite revealing these few mechanics in the opening test chambers, the player is never subject to any more, only ever new questions for these same rules.

I'm unsure if I can convey this brilliance in words alone and I'd highly recommend revisiting Portal with it's Developer Commentary, which elaborates this further. What I can say is that this realisation of 'Iterative Design', is going to be my personal incentive for future projects. And I will use the learning mechanisms of Portal as a blue print for how to educate the player.

Looking back at Skyrunner, my Final University Project

This is a brief look back at my final project in University. Having been in the industry for a few years now, I feel comfortable looking back on something I probably didn't appreciate as much as I should have at the time. I really enjoyed making the game but I've struggled ever since to work on something truly meaningful, and one that I believe in. This is mainly due to a lack of insight into the design process. But I too lacked this insight when I made this game. This is the first of many posts in which I'm going to try and refocus my attention on becoming a Games Designer. So I'm going to outline the following; what I set out to do, what I achieved, what I would have included if I had more time and how I would make it now. It's close to 3 years since I finished University. But in my final year, I was finally given an opportunity to create something that was completely of my own design. I'm not sure if prior to this moment I fully understood what a Games Designer was, but I definitely knew at this moment. And this actually changed my outlook on games. The process of coming up with mechanics and features for games was something I'd not been used to, as I'd always been given limitations in briefs. Myself and a friend Daniel, set to work on creating something that we could build our image upon. The image we wanted to convey was that of determination, dedication and passion.

In the September of 2011, we began work on a game called Skyrunner. A 3D Adventure Platformer. We opted to create the game in UDK, which neither of us had worked in before, but we believed that we were more likely to create a game that worked due to kismet (the visual scripter), as opposed to learning to code and create something in Unity (which we'd both worked in our previous projects). Our main goal of the project was to create a landscape that would both tell an epic story and feature memorable platforming. This would come in the form of the main traversal mechanic of skydiving. 

Taking loads of inspiration from Aztec Mythology, what we developed was a story in which the world as we knew it, had been destroyed by the Gods. And what was left of humanity, lived in the floating islands of the clouds above. Enter the Red Kites, a small tribe of about 20 people, who are looking for the next leader of the village, as the current Elder feels her life is slipping away. The tribe now look to 3 chosen ones who are the great descendants of the original 3 survivors. The Builder, The Healer and The Warrior. The Warrior's descendant is either Rau or his sister Kaki depending on what Gender the player chooses. And it's up to the player then to confront the trials ahead and take their mantle as the new Tribe Leader. 

In creating the game, we wanted to reflect this story more than just a cutscene. So at the start of the game, the player is in a dream sequence of Rau (or Kaki). They play a simple side scrolling platformer where the story is depicted through epic statues behind the immediate action. This also served as tutorial to introduce the player to mechanics. Once the player, has finished this section they enter the village. 

The Village is something that in hindsight we probably didn't need to work on as much as we did. We created every character, giving them all unique looks and personalties through as little as a paragraph. This was generally for the player to develop an understanding of the inner rivalries between the houses of the chosen. And set the stage for what was to come. We also included a side quest in which the resident musician has lost his music sheets, which serve as collectibles throughout the game. Each one has its own poem that we wrote to further explain the story.

Once the player has navigated some difficult platforming (and gathered the music sheets if they choose to). The real challenge begins. The player must dive into a large floating pillar like structure in the sky. As they fall through the pillar the player will need to dodge an all manner of objects such as giant gears, spears and pits of lava. This was probably the most difficult scenario to program. The main trouble we had was that we needed to change the character controller options for the player, in order for them to control Rau as he was falling. Furthermore, it was nearly impossible to predict, if the player had died, where the traps might be aligned; making every subsequent trip a guess. Thankfully, people were enjoying the prospect of beating the Pillar despite its difficulty, having seen that both Dan and I were able to beat it, making it look easy. 

Initially, we had planned for there to be 3 puzzles that would be between each skydiving section but due to time constraints and the fact it was already pushing 30-40 minutes of play; we cut out the final 2 puzzles. Which didn't seem to really matter as no one could solve the puzzle anyway and so we had to create a shortcut to bypass the puzzle completely. Also in keeping with the storyline, the big boss and God of Death, Mictlan, is attempting to stop Rau from progressing and has destroyed the tail end of the pillar leaving Rau to fall to his death before he is saved from an unlikely source. 

At this moment we have a closing cutscene, in which the player is told that the quest has only just begun. We learn that there are more survivors in neighbouring lands and Rau that must unite them to stop Mictlan from finishing the job.

Despite it's length, we had planned for so much more in the game. Rau was going to be able to control wind, by pulling and pushing objects and also to stop him from dying from skydiving. We also ran out of time, with getting Kaki also playable in the game, despite having all her animations setup and ready. We were also going to have a boss battle with Rau's new abilities against Micltan, who was also ready for the game.

We had planned to continue with the game. But ultimately found that the year we dedicated to it, was merely a stepping stone to a much bigger project that we couldn't undertake. In my own revisions of the game, I would have cut out a lot of the village and the villagers that inhabited it. This took a great deal of time to create their conversations and interactions with the player. We should have focused more on the skydiving element, adding in new mechanics and the puzzles which were already built (like the gauntlet), which never made it in.

Now, I would completely revamp the game entirely. For one, the storyline would change slightly and focus on Rau and Kaki's relationship with their father who took the challenge and never returned. The art style would change to something more oriental. And mechanically, the game would feature completely new controls and interesting combat.  New mechanics would include:

• The player would fight indirectly through use of elements, as a Rain Maker. So Rau or Kaki would dance around trying to avoid the enemies, whilst summoning the weather.
• The player would not only fight beasts and creatures, but also ride some of the larger ones.
• Rau would be able to transform into a God under direct sunlight, taking on the form of a phoenix allowing him to fly between areas.
• Lastly, the game would feature a song, which tied slightly to the story and is essentially the prayer, the oath and the creed of the Red Kites. The player would be able to make Rau or Kaki sing this song at any point with a dedicated button. This song will reveal secrets in the world by opening hidden passages and call beasts to aid the player when they are in danger. But most importantly of all, if sung when confronted with other people in the world; there response will tell the player if they are friend or foe.

I'm not sure if I will ever make this game. More likely, I will borrow elements of it should I ever decide to attempt something more ambitious. For now though, I'll sign off with the original gameplay video for the game. The song is Demons by Dry the River.

If you would like to play the game, the game is available for a free download on both PC and Mac through this site. http://www.indiedb.com/games/skyrunner