Rob Zacny has written a thoughtful analysis of the map in AGEOD’s great wargame Birth of America. I’ve written about the map in Birth of America before, just not for my series, so I’m glad that Zacny has picked up the slack.
One More Map Thing
June 15th, 2009 by Troy Goodfellow · Design
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Re-Entering the Cave
June 14th, 2009 by Troy Goodfellow · City Builder, Design
I am on the edge of returning to Dwarf Fortress.
I know it will be a big mistake, though.
Here’s the thing. Dwarf Fortress is probably the most compelling city builder in many years. Like the best city builders, you can guide the development of your habitat but your citizens have wants and needs of their owns. There is both the predictable cycle of seasons and the unpredictable encounters with natural and humanoid resistance.
But I hate how much work it is to play.
I have it on good authority that at least one publisher has approached Bay 12Games and Mr. Adams about helping develop a proper interface and iconography and letting them finally make some money on what is one of the greatest time sinks since the original Civilization. Allegedly, the developer is so committed to the open and free model that he resisted any attempt to even negotiate about how he could turn his wonderful into something everyone can enjoy and appreciate.
See, getting into Dwarf Fortress is work, as hard work as any game since the days when you needed to know memory tricks in DOS and remember the 20 hotkeys that controlled your weapons. It’s not the ASCII (well, not just the ASCII) since I’ve always had a weakness for roguelikes. There are at least three different ones on my hard drive at any given time. But the assigning of chores and jobs, never mind understanding your layout is a big curve to learn, forget and then re-learn. I’m sure I never mastered it the first time.
But the game is so great…Dwarf Fortress is one of those games where you see things happen and you’re not sure you saw what you saw. It’s the old mind trick where something happens on screen – apparently randomly – but your brain gives it meaning and context so it makes sense within the master narrative of Mt. Fuzzy Pants. These things happen so regularly in Dwarf Fortress that it is impossible to not be enthralled by the epic tales of survival in the wilderness.
There are some decent tutorial videos on Youtube, so start there if you are interested. But what I wouldn’t give for a professional team to give this game the treatment it richly deserves.
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Over the Bridge and Through the Woods: Epilogue on Maps
June 11th, 2009 by Troy Goodfellow · Feature:Map
As I said on the podcast devoted to this topic, my series on maps has generally been interested in a very few themes. How do maps express exploration and how do they represent the world they purport to show. On the first theme we have the very evocative Seven Cities of Gold and the more historically accurate Europa Universalis. Representation is in all of them, but the wargames Sid Meier’s Gettysburg and Combat Mission stand out for how they capture the look and feel of geographic and topographic features on the battlefield.
And, as I said on the podcast, I have one great regret in this series – I didn’t pay any tribute to the developer designed maps you find in many very good RTSes – Company of Heroes, Dawn of War, Command & Conquer. This is partly because it’s ironically harder to find a map philosophy when a dozen maps are all specifically designed for a micro-purpose than it is when those maps simply follow general rules according to a script. And it’s partly because I haven’t played every map in those games enough times to get a sense for what they are trying to do besides make sure each side has equal access to resources and choke points and hiding places.
A couple of games almost made the cut. Supreme Commander‘s campaign missions start you on a big chunk of a map with one objective and then, once you complete that, the map expands to give you another one. And another one. It takes hours. But it does really interesting things to your sense of distance and force dispositions. Alpha Centauri has a living map in the sense that the map can be an enemy, and the more efficiently you exploit the map to your advantage, the more hostile it becomes. The map design transition between Medieval: Total War and Rome: Total War is a fascinating revolution, but I did Rome in the last feature series.
The take away on map design:
1. Good maps are not synonymous with boards. The analogy between a game map and a game board is natural but misleading. On a game board, pieces move across the cardboard usually to stake a claim or mark a location. So much more interactivity is possible in the electronic space and a big part of that is finding a way for the map to respond to player action. Discover the map. Break the map. Transform the map. (Rise of Nations maps do not change their shape in response to human action, but the navigable space does because the cultural borders can expand and contract.) There are exceptions – a good Dominions map, for example, presents a new world through exaggerated terrain representation and the like. But for the most part, a game map should reflect, in some way, what a player is doing to the virtual world.
2. Exploration should be about both promise and risk. Too many games, I think, see exploration a little naively. You push back the darkness and find new lands and new resources. This makes the game more about effectively steering your little explorer guy around. Now, risk should not be understood simply as imminent death. But there should always be a chance that something will go wrong – even if it’s simply wasted time. One of the problems with many strategy games – even great ones – is that you can press an auto-explore button and let the computer do the mapping for you. If exploration is to matter, there should be a trade off for taking the easy route.
3. Information on the map should be immediately clear. We can’t forget what maps are for – they are visual representations of data – locations, resources, routes, points of interest. Though it’s difficult to get every bit of information you need on one screen (Europa Universalis has a half dozen map modes) the data the player needs on screen should never be more than a single click away, with no more than a couple of more to take advantage of that information. Though a lot of old time gamers still complain about 3D (for God’s sake, get over it) if the height of an object matters than I should be able to tell relative height at an instant. Different grades of black and brown and gray do nothing for me here, and marking marsh hexes with a slightly off-green color is not always helpful.
4. Let your map be a character. This is related to the first point, but is a little more philosophical. An interesting map is one that has a personality, one that speaks to the player through more than simply moving across it. A good game map resists. It entices. It follows predictable rules but can surprise.
So that’s it. No really profound insights.
A sidenote: In the post-recording chat after Episode 14, Tom Chick asked if I had pitched this series to anybody who would pay me for it. Given how slowly the thing got finished, it’s a good thing I didn’t. Not sure who would have paid for it anyway.
But I enjoyed writing it and will probably move on to a more normal posting schedule in the next few months. I have lots of other series ideas, but they can wait till fall.
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Rise of Nations (2003)
June 10th, 2009 by Troy Goodfellow · Big Huge Games, Feature:Map, RTS
I go back and forth about which early decade real time strategy game is better – 2002’s Age of Mythology or Rise of Nations. Released eight months apart, there was certainly time to love both, and I do. They are even superficially similar – resource hoarding, base building, age advancing pseudo-historical RTSes. But both do such wonderfully unique things to a genre that probably felt staler six years ago than it does now that they stand in my mind as two of the best RTSes ever made. Only Company of Heroes has really measured up since.
Rise of Nations was the first game from Big Huge Games, the studio built by Brian Reynolds after he left Firaxis. A cursory glance at screenshots reveals little of interest and it’s only once you play the game that you understand how special it was and still is.
RoN’s appeal for me was almost entirely rooted in how it understood space. The history was nice, the great variety in the races was astonishing and the interface was almost perfect once you found the expandable tabs. But the borders, the terrain and the map scripts lifted the random map generator in RoN from run of the mill to astounding.
The borders were the big thing. Your civilization would have cultural boundaries you can expand as you found more cities and research specific technologies. Unless supported by supply units, enemies in your territory will suffer attrition damage, meaning that the real world tactical problem of managing/destroying a supply line is beautifully abstracted.
So it’s a little surprising that the specifics of the border system may have been an afterthought. Paul Stephanouk, a producer on Rise of Nations explains:
Obviously they are very Civilization-ish but, honestly, borders are such a common concept in so many wargames that when the topic came up I don’t recally anybody ever illustrating it by comparing it to another game. In my memory it was just like “hey, let’s have national borders so we can do *something*” and we proceeded from there, but that doesn’t mean that Brian didn’t have a specific reference in mind.
The idea of borders as a conceptual frame is quite obvious. Borders establish what belongs to you and what belongs to the other guy. So if there are special resources in your territory, you can access them and your opponent can not. The more of the map you control, the more attrition you can inflict on enemy forces, making them work harder to get to your important core cities.
But in Rise of Nations, the borders also controlled some pretty basic stuff like resource collection. If a national border ran through a forest or a mountain, the side with the greatest percentage of that terrain feature would be able to get more out of it. You could have a nine worker forestry center cut back to three because someone built a fort or temple nearby. Just like in Populous, the map itself became a weapon only you would use it to starve an enemy of oil or metal and not just kill invaders.
Borders changed dynamically and boldly. One simple research level could be enough to push your territorial claim past a tower or barrack. Where most RTS minimaps show the positions of units and structures, the minimap in RoN was a clear guide to who was expanding the fastest. You could, if you were careful, punch a hole in an over-extended rival’s united empire.
Though “epic” is a terrible word, Rise of Nations was designed with a conscious epic-ness. Stephanouk explains:
We used infinite resources because we wanted to make a game about nations on an epic scale. Worrying about individuals successfully carting loads of goods back and forth didn’t really seem to fit with that. We wanted to free up that mental bandwidth for the player to deal with other things like economy and technology.
So though permanent forests are not historically appropriate, they are epic. They don’t force you to do a lot of peon management – in fact idle villagers will just assume the nearest open task. The resource collection is essential to winning the game, but all that min-maxing of the path from resource to storage area is a royal pain.
What is even more epic is the terrain as a buffer. You can’t walk through forests or chop through them. (Well, the Iroquois nation can walk through forests, but they were introduced in the Thrones and Patriots expansion and are unique.) This ends up meaning more choke points. Other RTSes use walls to direct enemy assaults; RoN uses geographic features. The map, in effect, builds the walls for you.
All of this makes the strategic decision of city placement all the more important. If you can predict the angle of attack, you can set up a proper defense.
Of course, none of this would have mattered much if the map scripts weren’t so compelling. Age of Mythology had great map scripts, too, but the variety in Rise of Nations is astonishing. Because the game didn’t bother with nuisance units like transport ships (land units could cross water but not attack or defend while sailing), sea maps required an entirely different set of skills. No one controlled the water, you see, so an amphibious attack could be very difficult to defend against. Where you could sort of neglect your navy a little in Age of Mythology ocean maps, the decision to make every land unit a water crosser opened up new avenues of play.
Not that naval stuff is easy.
Having naval combat on your maps stresses the hell out of the already problematic fun-house sense of scale that most RTS maps need to use. The ships never look right near units or, if they do, take up so much screen space that they are very awkward to use. Most good water maps are the ones about using water as a form of variable blocking terrain and not as an arena for combat.
Then you have the little features on each of the scripted maps. The ones that only had oil in the ocean, or the ones with thick and impassable forests. There could be no easy way to get where you wanted to go, but that was entirely the point. There was such a range of scripts and map types that they took on entirely different personalities depending on the number of nations in play and who those nations were.
There are so many different parts of Rise of Nations that work so seamlessly that it raises the question of whether or not Big Huge Games really had much of an idea going in how everything would fit. Money is mostly raised by trade caravans and taxation and both are dependent on how many cities you have. Which means you need more land to accumulate this essential resource. (Knowledge is also tied to how many universities you have and only one per city.) This is where the comparison to Civilization holds up best – expansion is the only road to success. Sure you can do a “one city challenge” but that in many ways goes against the game’s core design.
Things changed in Rise of Legends. The maps has a little more character, but more fixed strategies largely because the cities were fixed in particular spots on the map.
We discussed fixed vs. free build a lot early in the development as it impacts many aspects of the game design, however I recall the driving factor for fixed city locations mostly coming about from technical constraints on we handled RoL’s modular cities as well as a need to make sure that spacing of the cities didn’t end up causing maps to become unplayable. Once we knew we wanted fixed cities we then spent time making sure that other aspects of the game worked well with that condition.
And, to be honest, a big part of me likes what fixed cities does to the map. But Rise of Nations probably had more tight connections between how the conception of space forces you to plan far ahead. That early scouting was crucial (how far am I from the sea, anyway?). Within the opening minutes I would already know where my second and third cities would go.
(Thanks to Paul Stephanouk for his insight.)
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Three Moves Ahead Episode 16 — The Sims
June 9th, 2009 by Troy Goodfellow · Electronic Arts, Podcast, Three Moves Ahead
Bruce shows up late, but we do get a full panel to talk about The Sims 3 and the franchise in general. Tom gets all artsy, Julian makes an odd comparison and Troy is a cheater.
One of the four panelists hates The Sims, by the way. No prize for guessing who.
Listen here.
RSS here.
Subscribe on iTunes.
Robin Burkinshaw’s sad story of Alice and Kev (originally on the Quarter to Three forum)
Tom’s Sims Diaries at Fidgit
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Post E3 Impressions
June 7th, 2009 by Troy Goodfellow · E3
While not as tiny as last year’s show, in no way was E3 a return to the old ways. There were few surprises, a lot of games that were already out or will be released in the next eight weeks, and a lot of polish. People don’t show “works in progress” as much as they did in the glory days, and despite the noise and lights, it was pretty easy to get around the show floor. I never had to wait too long for anything like food or coffee or drinks.
On the strategy side, I saw four games and I think there may have been only a couple of others in the entire show. That’s how bleak it is out there, friends. Of those four:
1) Hearts of Iron III is now on my radar as something I have to play. It wasn’t, since I really want Crusader Kings 2 instead and I’m kind of bored with WW2 grand strategy in general. But the improvements have piqued my interest.
2) East India Company is the sleeper surprise of the show. I mentioned it to some of my colleagues and they went to look at it and also came away impressed. It’s a Casual Grand Economy Strategy thing that my friend Bill Abner says reminds him of High Seas Trader. I have a preview build to play, but I have so much writing to do…
3) Supreme Commander 2 was also a bit of a surprise. Listening to Chris Taylor talk frankly about what worked and didn’t work in the original reminded me of how few people like him are still front and center in the industry. The new game looks more streamlined but still deep enough to not annoy the hard core. In many ways, Supreme Commander 2 and Hearts of Iron III are taking the same road – sticking with important deep strategy stuff but making it more accessible and appealing.
4) RUSE was a waste of my time. The booth was packed, mind you, but only because some Ubisoft people were playing the game on a 20k dollar touch screen game table. The actual game that you will be buying is a simple little wargame that will be easily workable in the console environment, but I suspect will get old fast for the PC RTS gamers. It could be a huge success, but I saw nothing in the demonstration that has moved RUSE even to the middle of my “anticipated list”.
Other game highlights include seeing video of action/RPG Space Marine (worst name ever), the action/espionage/RPG Alpha Protocol and the MMO Heroes of Tellaria. The big thing for me was meeting most of the rest of the Crispy Gamer team.
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