Challenge Accepted: Difficulty patterns
Giving the player ultimate control over the curve has both benefits and drawbacks, starting with the fact that players have the right to just opt out of much challenge there.
One of my favorite things to say about a game is that it has a difficulty curve bordering on a flat line. It’s a remarkably elegant way of pointing out that a game doesn’t really change its difficulty over time, that if you can clear the first level without too much trouble the next dozen won’t give you much more or less challenge. It’s not necessarily something that you want to be the case with a game, but it does happen.
It also presupposes that difficulty in most games is at least roughly a curve, but it can really be in lots of different shapes. If you want to get super technical, the shape can even vary from player to player, but that’s not the road I want to walk down today. No, today I want to take a look at how it works when you start tracking the challenge of a game over time, how the ebb and flow affects the game as a whole. Sure, we’ve played games where the curve resembles a flat line (or a vertical one), but even the idea of a difficulty curve means that there’s a different rate of change over time.
The Final Fantasy Project: Final Fantasy IV: The After Years, part 3
Artwork from a sketch by Yoshitaka Amano
Once you’ve cleared the first of the tales, the game opens up a bit – there are six more tales available right away, each covering a different character who ties back into Final Fantasy IV. Curiously, Ceodore is the only new party member to get billed as having his own tale, as all of the others feature characters from the first game, although Rydia, Palom, and Porom have all grown up quite a bit since their initial appearances.
And yes, there are more than seven altogether, but the point is that these events happen in a similar timeframe and don’t overlap with other characters in the same way that Ceodore’s tale does. But let’s put that to one side for a moment; we’re still going to take these on in the order they’re presented and the order of their release. I did think it was neat that the option for skipping between them existed, though, especially knowing that more unlock as you continue.
On popularity
I’m all alone, but I’m giving this presentation even though it scares me.
If you’re doing anything even remotely creative, you have to first be willing to play for an audience of one.
I’m not saying you’ll have an audience of one. I’m not even saying your audience of one is going to be any good. Maybe you have only one person at your show and they’re hooting and hollering and basically treating you like garbage. Maybe someone’s heckling you the whole time you’re up on stage. Even worse, maybe they’re not even paying attention to you, treating you like you’re part of the scenery.
But none of that matters. If you’re going to put yourself out there, the first thing you have to decide is that you can get up on stage for that one person, and damn it, you’re going to give the best performance you possibly can for that one audience member. You are going to perform your fucking heart out. This is going to be the best performance you can possibly give.
In other words, you have to decide that you don’t give the tiniest shit whether or not you’re popular. You’re going to perform either way.
Demo Driver 8: Lumines
Elegant and simple sometimes leaves a distressing amount of space wherein you’d like to say something without much to say.
I am not very good at Lumines. I would like to be, certainly, but I’m not. And I don’t think I quite have the patience to get good at it, probably because some stupid part of my monkey brain looks at the amount of time I’d need to unlearn my stupid habits to get good and asks if I could be spending this time on killing enemies and earning experience in something else. But that’s not a failing of the game.
Lumines is a port of one of the early titles on the PSP, and despite the airs it puts on it’s a pure puzzler. Like any good pure puzzle, it’s remarkably simple in its execution, allowing nearly all of the complications to emerge purely through game states. It looks a lot like Tetris at a glance, but the demo makes it clear that trying to play it like Tetris will just result in you not being very good at the game and getting a game over screen repeatedly.
Guess who keeps doing that despite himself?
Telling Stories: Off the table
If you started roleplaying far enough back, you almost certainly started it with tabletop games. Heck, that might still be where you do most of your roleplaying. The great thing about tabletop games is that they are pretty much fixed points in time, and if you want to start running a Vampire: the Masquerade first edition campaign, no one’s going to stop you as long as you have players. The books do not unwrite themselves.
A lot of what I write here is just as applicable to tabletop games as it is to online roleplaying, and I’ve said before that my background in the latter makes me far better at the former. But if you’ve never roleplayed online, it’s easy to erroneously assume that you can just jump in with all of that experience and take off. Realistically, there are substantial differences between playing online and offline that you have to get used to first. Some of them are better, some of them are worse, but none of them exist in a vacuum.
Recent Work
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Chocobo Dash
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Eliot Lefebvre 