text:
I just finished Undertale. Undertale is fuckin' awesome and you should play it. But I'm not going to spoil anything here, so if you haven't played Undertale, don't worry about it too much.
Undertale is a plot-heavy story game with really good music. Like, stunningly good music. It's fantastic. I hummed along with a bunch of it, it synergized beautifully with the game plot and the events that were occurring. It's a masterful soundtrack. And once I finished the game, I went and found a copy of the soundtrack online, and listened to it, and . . .
. . . it's weirdly barren.
See, when I think "fantastic soundtrack", I usually think "music that you remember outside the game and that stands on its own". And Undertale certainly has a few tracks along those lines. Perhaps . . . two? Perhaps three. Maybe four! Maybe not. Maybe only three. And to put this in context, recognize that the Undertale soundtrack is over one hundred tracks long (specifically it's 101 tracks long.)
A lot of these are small interstitials or teasers; a brief count tells me that 55 of these tracks are under one minute each, with a good number that are barely over a minute. There's only three tracks that hit four minutes; two of them are used in the cinematic ending, and the last is a major, heavily scripted boss fight, and I suspect it's really made up of seven or eight smaller tracks mixed together. In comparison, the Final Fantasy 6 OST (one of the best soundtracks I've heard) is 61 tracks, of which two are under one minute and five meet or exceed 4 minutes.
So what's up with this, Zorba? Why do I care? You haven't told me why I care yet! ZORBA, WHY THE FUCK DO I CARE ABOUT THIS
The thing that makes Undertale's soundtrack glorious is that it all fits perfectly. The game jumps from track to track, but it never feels disjointed and it never feels like it's interrupting. Instead of a single symphonic background that ignores the player's actions, the soundtrack dances with the player, emphasizing what needs to be emphasized and getting out of the way when the player is otherwise occupied.
And the end result is this weird-ass 101-track soundtrack, full of twenty-second snippets that just aren't relevant outside the game.
Undertale's soundtrack may not make a very good album, but I think it may be one of the best game soundtracks I've ever heard, and I definitely need to keep this in mind when working on music.]]>
I copied that off the game's website.
The important part is in the first five words. Warp is puzzle-based. That's how the game is billed, that's what I expected.
And let's get this out of the way: Warp is a good game. The puzzles are fun, the game is pretty, the plot is predictable but in the good we're-all-familiar-with-this-myth-so-let's-get-the-cliches-out-of-the-way-and-have-some-puzzle-fun manner. I like myths. Myths are good. Myths attached to a puzzle game are even better.
Zero, the playable character, has a host of special abilities. He can warp through solid walls and obstructions, he can warp inside objects and explode them from the inside, he can swap places with objects and he can launch objects at high speed. Note that "objects" includes "people". In most puzzle games, "people" are major puzzle pieces. In Warp, the only real difference between a turret and a person is that the person is easier to lure into important locations and doesn't shoot you as quickly.
It's all a recipe for a great puzzle game, and it's honestly somewhat tragic that it falls short.
The thing about good puzzle games is that, by their very nature, you'll have trouble with them. Some puzzle games are designed so that it's impossible to get stuck. Some are designed so that restarting is easy and fast. Warp is a bit of a curious beast in that it's also a stealth action game. Your opponents have guns, they are quick with their triggers, and you will die in a single shot. So: You die. You hit the "restart" button.
You sit there staring at a loading screen for ten seconds.
Which doesn't sound like a lot, but Warp is a very deadly game. The wrong approach can, and will, lead to death in seconds. Even when you're not being actively shot at, the world is littered with lasers and explosives and similar instant death traps. The second level starts with a puzzle that will kill you so quickly that failure results in spending more time loading than playing. And even when your plan is perfect and the area is harmless, Warp's sensitive controls will lead to you waltzing into lasers and warping yourself straight into death far more often than you'd expect.
Each time, accompanied by a ten second loading screen.
It is hard to describe how annoying that is, and it's just a herald of what lies in store.
Warp is filled with minor issues. Nothing that, in itself, would cripple the game. Things that I'd normally be remarking about in passing, as a minor blemish on an otherwise good game. But they just came so quickly and so relentlessly that it seemed every time I forgot about one, I'd run into another.
Example: The levels are filled, not just with armed guards, but with unarmed scientists. The scientists are terrified of you. Perpetually. Doesn't matter if you've carefully avoid killing scientists. Every time you warp into a room: screaming scientists. You can stand in the room for a minute and they just keep running around panicking, you leave the room, they recover and go back to work, teleport back in and it's Screamtown USA all over again.
This could have been improved in several ways. Iji does it brilliantly – avoiding slaughter in Iji eventually leads to the "enemies" allying with you, followed by an entire different branch of the game with a different ending. Extra endings and game branches take time and money, of course. Here's an easier idea: make the damn scientists quieter. As it is, every time you jump into a room you're greeted with an atmosphere-obliterating chorus of screeches. Or make them stop paying attention to you after a while! Maybe that's a reward for not killing them: they stop setting off alarms!
Another example: I mentioned Warp's controls. Most of my frustration revolved around Zero's Illusion ability, which allow him to project a duplicate of himself to trick enemies. The problem is that any damage done to the illusion, or any missteps into areas where the illusion is not allowed to go, will dissipate the illusion . . . causing Zero to instantly start moving in whatever direction the illusion was moving. If you use the illusion in a place where it's not allowed – even if a valid spawn point is literal inches away – the illusion will spawn directly in front of Zero, instantly disperse, and return control to Zero when you're least expecting it.
So if, for example, you decide to create an illusion and move it forward, and at that very instant a laser beam fires directly ahead of you, your illusion will walk into it, disperse, and before you have time to react, Zero will troop happily into it and die.
Cue ten-second load screen.
Not that this happened to me dozens of times over during the end boss fight or anything.
I can live with issues like this if the game is a low-budget affair, and doubly so if they're easy to recover from. Hotline Miami, an even faster-paced game released lately, is buggy as hell and had many fascinating problems and glitches as I fought my way through the levels. But in Hotline Miami, restarting the level is instant. And Hotline Miami's art is relatively simple, and its budget, I suspect, was quite minimal. For an indie game, Warp is a high-budget game, built on the Unreal engine, with detailed 3d models, good texturing, copious voice acting and cutscenes, and a boss that randomly and mysteriously fails to take damage from being attacked. Given the money spent on the rest of the game, the controls, loading times, and gameplay bugs are just unacceptable.
In the end, I kept feeling like the actual game had taken second tier to the rest of Warp. Compared to the amount of polish the art and atmosphere received, the gameplay was rough and spiky.
Warp is a good game. But with a little more work on the interface and a little more work on the game behavior, it could have been a lot better . . . even if that meant sacrificing a bunch of polygons.]]>
More generally, let's talk about losing. And more specifically, let's talk about losing in a PvE game, either solo or cooperative.
In the world of the early arcade, the player had to lose in order for the arcade to stay in business. More losses meant more quarters. The player couldn't lose too quickly or they'd get frustrated and bored, but they also couldn't win or they'd lose interest. On the development side of things, the nascent industry couldn't afford complicated endings, complicated plotlines, or often, even multiple levels. The combination was a perfect coincidence, producing what quickly became an arcade staple: difficult never-ending games, usually with little-to-no variety between levels, where the challenge was tied into getting as far as possible and another quarter would let you continue where you left off.
Things were happy. Things were good. Then the arcade died, we started purchasing games for a flat fee, and it all went to hell.
We never quite recovered.
Today, games seem to take one of a handful of approaches towards the "lose" state.
The simplest, and in some ways most intuitive approach, is to approach death as you would actual death. You died. That's it. Game over. Play again? This is generally called "permadeath", a term used to emphasize just how permanent this form of death really is. There's many problems with this approach for general use. First, most players aren't interested in replaying the early stages of a game over and over again to reach the later stages. Second, this means, to prevent extreme frustration, the beginning of the game often has to be more difficult than the end of the game, which is . . . weird, let's say. Third, most modern games are designed with a plot and with a large amount of hand-crafted content. You don't want to spend a ton of money on things the average player will never see, but with the permadeath approach, most players will never see most of the game.
The benefit to this is that you can design a game that is approached as a full-sized challenge. Dungeon Crawl is a roguelike that takes this approach, and single games often take between ten or twenty hours, where a single misstep (occasionally) means death. The game is crafted with this in mind. In the world of the ARPG it's usually called "hardcore mode", and it's been a staple of the Diablo series, and of ARPGs in general, essentially since the genre's beginning. Finally, this is a concept that's spread into the strategy world as well, although its existence is a little more dubious in the world of strategy games since generally by the time you realize you've lost, you've actually been on the losing path for a few hours.
The complete opposite approach is to make death completely irrelevant. Died in the middle of a battle? No problem! Just step back in and keep on shooting! There are very few games that take this approach, and those that do are usually castigated for it. The most recent example is Borderlands 2, which, in co-op mode, allows you to effectively suicide-rush most bosses over and over until you eventually win.
As I said, this approach is uncommon – but a slight modification to this approach is quite common. Instead of allowing the player to resurrect with the world state unchanged, you save the state of the world at specific points – we'll call these "checkpoints" – and if the player loses, they're returned to the checkpoint, with their ammo and health refilled but with all the enemies respawned.
Curiously, this slight modification of a system which is completely opposite permadeath still manages to accomplish many of the same goals as permadeath does – just in a different manner. If permadeath is meant to encourage extremely long difficult but fair games, then instant-retry is meant to encourage long games that have very difficult sections . . . carefully partitioned into tiny, tiny pieces.
Super Meat Boy is the best example of this. The vast majority of the game's levels can be comfortably beat within a minute, given a skilled player, but many of the tougher levels may take *hundreds* of attempts, if the player is capable of beating them at all. People sometimes object to this by saying that the lack of a "game over" screen means that every player is guaranteed to win, but this isn't really true – by ensuring that failure isn't a catastrophic waste of player time, the difficulty of each section can be tuned to be far more difficult, meaning that many players will simply be unable to ever progress past a certain level of difficulty.
While Super Meat Boy explicitly chops the game up into literally hundreds of levels, many other games accomplish the same thing in a more subtle and implicit manner. I actually don't know where this started, but my first experience with the checkpoint system was in Halo. The game attempts to detect when you're out of combat and "safe", then saves a snapshot of the game at that exact moment. If you die, you go back to the snapshot. Halo's auto-checkpointing works, most of the time, but there are alternatives – Ratchet and Clank chose to manually author checkpoints, and Arkham Asylum's game layout resulted in an intuitive and natural checkpoint layout. This is more of an implementation detail than a major game design change, however.
With so many good solutions for dealing with game saving, I find myself wondering why so many games still use bad solutions. Explicit save points were popular with early console games, both for storage reasons and for game design reasons, but there's just no good excuse for them today. Nobody enjoys going out of their way in order to find another save point just in case there's a big nasty monster behind the next door, but that's what explicit save points encourage. Worse, people end up double- and triple-guessing the game designer's savepoint placement, sometimes missing important save points entirely and having to replay large chunks of the game. Shadow Complex is a fascinating example of almost getting this right – "save points" merely have to be entered in order to save, and many of the save points are along major routes that you'll walk across during normal gameplay. But then many of them aren't, forcing the player to guess which door the save point is through, or take tiny detours in order to not risk a loss of progress.
And then there's World of Warcraft.
I don't understand World of Warcraft's death system.
Oh, sure, I understand its behavior. It's not complicated. When you die, you lose a bunch of money and appear at a nearby graveyard. You are given two choices: you can waste *even more* money and have to wait ten minutes to have fun again, or you can spend a bunch of time walking to your corpse in order to resurrect, then spend a further tiny amount of money regaining your health and mana, which, for some unexplained reason, don't just fill up to maximum when you resurrect.
What I don't understand is its purpose.
It's not a significant game penalty – the amount of money lost isn't particularly major, and money isn't hard to acquire in the game (just slow – so really, when I say "money", I mean "time"). In solo content or easy content, nobody has ever said "oh shit, I died, what am I going to do now". The answer's easy: you waddle over to your corpse and un-die. In raid content or difficult content, you really hate dying, but not because of the monetary penalty – you hate dying because dying means you didn't win. Meanwhile, the death penalty adds a whole bunch of wasted time before you can get back to the fun part, namely, trying to win again.
Oh, and when I say "when you die you lose a bunch of money" I don't actually mean "lose a bunch of money", instead your equipment gets damaged and you have to go pay to get it repaired, eventually, and if you forget, then your equipment stops working at all and you suck until you get around to forking over the money. So it's like losing money, except more annoying in every imaginable way.
The whole thing seems like a mechanic specifically designed to ensure that you spend the minimum amount of time having fun and the maximum amount of time being bored, while not actually penalizing failure in any more of a severe fashion than the simple fact that you failed.
Failure, like all game mechanics, should be treated as a tool to improve the game experience. If your game experience requires significant consequences for failure, then by all means, ensure that death comes with consequences. But if your game experience does not require those consequences, don't add a punitive death mechanic just for the sake of making death "sufficiently awful". We don't need extra punishment for failure – ideally, failure itself should be sufficient.]]>
A theme of Lovecraftian horror is that, fundamentally, the world isn't an evil place. Sure, there are evils in the world – a whole shitload of them, actually – but until someone has actually been influenced by an Elder God, they're probably a good person. Almost all the evils in Arkham Horror are explicitly set apart as something unworldly: an invader from another plane of existence or a minion of that invader.
Betrayal is the exact opposite. Betrayal takes place inside a haunted house, and no doubt about it, the house hates you. The only things in this world that are on your side are your friends, and even one of those is going to betray you. The world of Betrayal is explicitly malicious and is constantly out for your blood.
Each game manages to demonstrate this through game mechanics.
In Arkham, the world's alliance with you is reflected in several ways. The game is cooperative, and almost all conflicts are phrased as "player vs. monster". When a tie happens, the player will generally win that tie. Second, situations where a value needs to be rounded are generally rounded in the player's favor. Finally, random events – the thing you spend a good deal of the game doing – are generally good things, giving you money, clues, items, or other minor bonuses.
Betrayal, despite also being mostly cooperative player-vs-monster, works quite differently. Ties are generally considered losses. Rounding is always against you. And random events, while sometimes good, tend to be harmful, gradually stripping away your stats or giving major penalties – the game is a race against your own inevitable death at the hands of the House.
I've always liked this method of creating atmosphere, but surprisingly few games do it. Most games either have very little connection between the mechanics and the environment, or the two are so deeply intertwined that there's nothing subtle about it. Not, by the way, that either of these things are bad – I'm not suggesting that Bejeweled needs to weave plot threads into its game mechanics somehow, nor that Braid was worse off by presenting a highly unified front to the player – but subtle atmosphere is an important part of a designer's toolkit, and it's something that board game designers have tackled with great success.
Luckily, it's not completely unheard of in the game world, so I can give a few examples.
Demon's Souls is a hardcore dungeon crawler released a few years back. There has since been a spiritual successor, Dark Souls, that I've heard is quite good, but I haven't yet played it so I'll be talking about Demon's Souls.
In Demon's Souls, the world is out to kill you. Violently, rapidly, and efficiently. When it does – and it will, frequently – you lose all your hard-earned money. (Represented, in this game, by souls.) You're sent back to the beginning of the level, and the levels are quite long. Worse, the game doesn't get easier on the second try – no, now you're considered a ghost, and you have half as much life. And if you die more, the enemies get harder. That's right: Losing makes the game harder. This isn't a game where you get to keep making gradual progress despite dying, this is a game where dying makes anti-progress.
You know how many games have "town", or a "trade hub", or some other location that you can go in order to buy and sell stuff and stock up for your next run? Demon's Souls has that. And if you go the wrong way, you can die in town. And come back as a ghost, with half health. And the enemies got harder. And you lost all your souls. From dying in the safest part in the game. Good fuckin' job, man.
All of these mechanics fit the game style perfectly. The world of Demon's Souls is brutal – the backstory is about a war that has, in all practicality, already been lost, and the game reflects that. But importantly, none of the mechanics are unfair. The game never randomly kills you. It kills you because you screwed up, and then it kills you again in the exact same spot because you screwed up in the exact same way in that exact same spot. The lack of randomness is reflected in the game's storyline – the Bad Things didn't form out of nothing, they didn't just show up one day and decide to start fucking up the kingdom. They showed up because the king did something very, very bad, and now you get to suffer for it.
Borderlands, in many ways, is the exact opposite. Sure, the Borderlands game mechanics are also out to kill you, no arguments, but they'll give you every possible opportunity to survive while doing so. Running away is effective. Many characters have survival skills. "Dying" results in a period of time when you're lying on the ground wounded, but can still shoot things, and if you kill an enemy, you'll be instantly revived. And even if all that fails, you'll find yourself resurrected nearby with no loss besides a little bit of money. Not much money. Just a little. Plus you get some free ammo, just in case you ran out. And all the bad guys you killed? Still dead. Having trouble with a boss? Just keep throwing yourself at it, it'll go down eventually. Killing enemies is often rewarded by random guns appearing out of thin air, ammunition and health absolutely litters the game stashed away in chests, boxes, and even mounds of dirt, and the general philosophy if you're about to run out of something is to simply not worry – more will be along shortly.
On first inspection, the world of Borderlands seems like a grim brutal struggle for survival, but if you look a bit deeper it's a cartoony jokey "struggle". Sure, you slaughter nameless mooks by the thousand, but anyone with an actual name is guaranteed to survive until their plotline is resolved. Betrayal is rare and generally strongly telegraphed, wealth and riches seem to simply fall out of the sky for people to collect, and even the craziest nutcases find a successful niche to survive in.
(In the Borderlands world, even the average character is more than a little nuts. The craziest ones are truly out there.)
The interesting part about Borderlands is that the plot, originally, was quite different. Borderlands was developed as a gritty scifi roleplaying shooter, full of all the science fiction paraphernalia that we've grown to love from games like Mass Effect. But many of final non-gritty game mechanics were already in place. You'd shoot a horrible monster in the face, a gun would pop out. You'd walk around the world and find chests of ammo just sitting there. The game world and the game mechanics were in conflict – the mechanics kept saying "hey, look how ridiculous this all is, look how many guns you have, it's so many guns", and the plot kept insisting that this was a serious game with a serious plotline meant to be taken very seriously.
Compare the original trailer:
With the release trailer:
And then compare that with the Borderlands 2 trailer, which continues the path taken by the art revamp:
To wrap this all up:
Game developers have a tendency to consider the game mechanics and the setting to be two different things. In reality, they aren't – they're two parts of the same game, and at the very least they need to coexist peacefully. Ideally, they should riff off each other: both the game mechanics and the theme should be based around the same atmosphere. People will accept a brutally hardcore game if the setting feels appropriate, and people will accept a massively exaggerated game if the setting feels appropriate, but with an inappropriate combination, the game will feel jarring and out-of-place.]]>
Okay. Naming things is easy. But naming things well is tricky as hell. And it turns out that the problem is the opposite of what you'd expect. Coming up with names, totally trivial. Coming up with names that sound related is also quite easy. But in reality, named places often don't sound related. Popping open a map near my house results in names as diverse as "Half Moon Bay", "Redwood City", "Hayward", "Cupertino", and, of course, "San Francisco". What do those have in common?
Not a whole lot.
In fiction, naming is important. Naming is what gives us a first impression: of a place, of a concept, or of a character. If you're making something set in the present day, or in some real-world historical setting, you can tap into a lot of assumptions we make about locations. Knowing that a character is from Chicago instantly gives us a mental image that an origin from Paris would not have. But when we're dealing with the future, or with fantasy worlds, or universes completely disjointed from our own, we can't use those techniques. We have to tap into what the location names say on their own instead of our associations with the locations themselves.
These same techniques can be used for things that aren't locations as well, but it's time for me to stop talking in hypotheticals and start talking about concrete examples.
Meet Redline.
Redline is a movie about totally badass racers. I'm not going to talk about the movie itself very much (you should see it, by the way – see it in blu-ray if you possibly can, it's worth the pixels). But what I've found fascinating about Redline is its unexpected depth. The plot of the movie itself is very superficial, and yet there's surprising complexity buried underneath the surface. It feels like the universe was fleshed out far more than you'd really expect from what is basically a silly anime movie about racing. Now, while it turns out there really is a lot of backstory, posted in snippets on websites and in interviews, I don't know if there's really enough to justify the feelings I get from it. Those feelings are sparked entirely by the truly wonderful names.
Let's start with something easy: The planets that Redline takes place on.
Europass. Dorothy. Roboworld. Supergrass.
Straight away, we've got a few themes and a few lack of themes. I'll just call this out right now: you'll often see people creating made-up names by just stringing phonemes together. This is the same technique that a lot of the online name generators use, and I'll just list off a few names generated off an online name generator:
Inarod. Shyen. Orloris. Oldnn. Elmnshy.
The problem with these names is that they don't say anything. Besides the accidental English words embedded, like "shy" and "old", they have nearly identical sounds. Imagine eighty names of this form and you'll quickly find it hard to distinguish between them.
Meanwhile, Redline's planet names run from the blatantly descriptive "Roboworld" to the evocative "Supergrass" to the oddly human "Dorothy". Who names a planet "Dorothy"? There's a story there. A story we haven't been told, but a story nonetheless. It may not even be a story that the scriptwriter knows, but it's a hook that the scriptwriter could, at some future point, use to write a story.
("Europass" just confuses me.)
Now let's go over a few side character names:
Rattle-king Void Do. Mr Minerva Hanness. Kurukuru=Daza. Shoto=O-Jin. Old Man Mole. Funky Boy. Colonel Volton. Secretary Titan. Dr Sabose.
Already you can probably see a few themes. Unsurprisingly, Colonel Volton, Secretary Titan, and Dr Sabose are all part of the same organization. But there's also a bunch of plot hooks. What's a "rattle-king"? It's never explained, that's just how Void Do introduces himself. Rattle-king Void Do spends a chunk of the plot commentating side-by-side with Mr Minerva Hanness, and we've already got interesting conflict here – the names alone tell you that these are two different personalities, not Generic Elf Name #1 and Generic Elf Name #2.
And these names also sound fundamentally alien. How do you pronounce an equal sign? Why does "Mr. Minerva Hanness" have an honorific *and* two names? This is not a movie where people refer to people as "Mr.", so already the tall quiet "Mr. Minerva Hanness" stands out, especially next to the knee-height box-headed chattering Void Do.
But the focus of Redline is racing, and I haven't touched on the racers. The racers are extra-interesting because many racers race in pairs, each one is associated with a racecar, and the cars are given names as well. This means we have trios of associated names instead of single names, and that gives us opportunity to look for themes.
So let's list those off also:
|Transam 20000
|Sonoshee McLaren
|Crab Sonoshee
|King of Kings Machine Head Tetsujin
|Lynchman and Johnnyboya
|Trava and Shinkai
|Boiboi and Bosbos, the Superboins
|Miki and Todoroki
|Little Deyzuna
|(never named)
|Captain the Classic
|Count Markdie and Spark
|Snake Head
|Psychoman and Lotten
|Psycho Rod
|Fire Bird
|Bons Missile-EP4
There's a few patterns you can find in here simply by glancing at it. A lot of the racers, such as Captain-2-Block's Captain the Classic and Sonoshee McLaren's Crab Sonoshee, have cars that are named after themselves. Some of them have cars that are race-themed, like Trava and Shinkai's Speedmaster and JP's Transam 20000. Finally, Machine Head Tetsujin has gone with the egotistical approach – seriously, who names their car "Godwing"?
Each of these character/car combinations gives you a little mental picture of the character. Bons likes weaponry and serial numbers – one wouldn't be surprised if his last car was "Bons Missile-EP3". Gori-Rider is a militaristic gorilla. Little Deyzuna may have a big brother, or his size may be an important part of the character. Count Markdie could be royalty of some kind. Trava and Shinkai really love racing. Are these aspects important to the plot? Nope! Not at all. I'm making all of that up, it never factors in whatsoever. But they all contribute to give the universe an underlying foundation of implied backstory, and a foundation that goes to quite a lot of effort to avoid being thematically monochromatic.
Frequently, creators spend all their effort on the concrete things – on the surface of the art, on what the viewer is intended to see and experience. While I think it's questionable how much effort should be spent on the backstory, it doesn't take too much work to imply the existence of a complex and deep foundation. It's unclear whether Redline has extensive backstory or whether Redline just fakes it quite well.
The key behind faking backstory is variety and thematic hooks. Every civilization has a multitude of legends, every universe has a multitude of cultures. If your names all sound like they come from a single culture, split them up. Look at what you've done, look at the patterns in your names, intentionally avoid those patterns in the future, and make sure you've left plenty of opportunity for spinning off future stories.
Even if you never take those opportunities, your world will be better for it.]]>
Lab of the Dead is one of those games that doesn't match any particular genre. You could call it a limited sandbox game, or a puzzle game, or a grind game, or a plot game – it's unclear. The game mechanics are simple. First, you pick a zombie to experiment on, which has almost no influence on the game besides what your test subject looks like. Then you subject the zombie to various items, including anything from shooting it with machine guns, throwing eggs at its face, letting it eat a dead cat, or putting a pair of headphones on it and playing rock music. Depending on the emotional state of the zombie (measured on three scales – "aggression", "hunger", and "humanity"), these various items will result in one of three basic reactions, with a fourth Advanced Reaction that can also depend on what previous reactions the zombie has experienced.
In order to progress the plot, you must experiment on the zombie a certain number of times and discover a certain number of reactions. Progressing the plot unlocks more items that you can use for future experiments. Importantly, there's no way to lose – one could eventually beat the game by clicking randomly.
The most crucial part of the above, however, is that "emotional state" thing I mentioned. Every interaction with your zombie will affect two or three of those scales. Perhaps a squeaky toy will increase their Humanity and reduce their Aggression, perhaps feeding them a dead rat will reduce their Humanity as well as their Hunger. Since the game is gated based on the number of unique reactions you've seen, and since you need to change the scales in order to unlock more reactions, you'll be spending a reasonable amount of your game time trying to do things like increasing your zombie's humanity, or decreasing their aggression, or starving them so they'll attempt to eat a book.
All the reactions have custom animations with appropriately themed behavior. The mid-aggression Live Cat response might result in the zombie attempting to bite the cat. The high-aggression response may have the zombie straight-up disembowel the cat, while the low-aggression zombie may actually pet the cat a few times before the cat runs away. All of this comes coupled with appropriate music and sound effects – I mean, sure, it's still a zombie, but an aggressive zombie's growls tend to be a lot more furious than a passive zombie.
The end result is that you're sitting there spending 15-30 minutes at a time to train a zombie how to pet a cat. No, no, stop eating that mouse, look, let me show you a squeaky duck! See? How about listening to some music, are you feeling better now? Oh, you're getting hungry? Here's some meat I found down in the kitchen.
For a zombie game, it's a surprisingly personal game. I said "you pick a zombie to experiment on, which has almost no influence on the game besides what your test subject looks like," but let's be honest, that's actually a pretty major choice. Your options include half-rotted horrors, schoolgirls, average Joes, you name it. The "choice" segment really immerses you in the zombie's welfare, because out of a whole ton of zombies, you explicitly chose that one. The game's design aims quite directly at establishing an emotional connection between you and your test subject.
Which makes some of the game quite horrifying.
Because, remember, this is – in the end – a test subject. A zombie test subject. And for all that you may want to test the various toys and games you have available, there are also other, less fun items available. Knives. A machete. A shotgun. Grenades. And these items, as well, have to be tested extensively.
You know what happens when you shoot a zombie in the head with a shotgun?
It dies.
And when that's a zombie you've been carefully tending for half an hour, when you've taught that zombie how to play with a Barbie doll and a big stuffed bear, and when you are the one who has to scientifically determine what happens when you systematically fire a pistol into each of its limbs, its torso, and then its head . . .
. . . well, it's kind of a painful game.
Doubly so because of how little the game seems to care about your zombie's death. The main character sighs dramatically about needing another test subject and then it drops you right back at the "choose a zombie" screen. Pick a new test subject and the tests continue. The game considers the zombies completely inhuman, but I found that resulted in me being more aware of their humanity.
I'm definitely not the only one who felt this way. The top comment on Kongregate as of this writing, with a score of over 3000, is asking for the ability to switch zombies without killing your current specimen. I've seen the same suggestion in many other places. And yet, I think providing that would lose a large part of the game's beauty. The game, in its current state, *forces* you to destroy something that you've spent time on, and something that you've acquired history with, for the sake of a nebulous ill-defined long-term goal. The very fact that people are asking so loudly for the ability to switch zombies is, perhaps, a good indication that that ability should not be provided.
One of the things games do badly, and should be working on doing better, is emotional connection. It's a very rare game that leaves you personally invested in the welfare of the characters. I'll admit I hadn't expected to encounter that in a Flash game about experimenting on zombies, but I did, and I'd strongly recommend checking the game out and seeing what makes it emotionally tick.]]>
Today, let's talk about Rango.
Rango is a movie about a chameleon. The chameleon's terrarium is lost on the highway and he is left abandoned in the middle of the Mojave Desert. If you were going to list the ideal places for a chameleon to live, the Mojave Desert would be very low on the list.
Terrified and dying of dehydration, our titular chameleon runs into a philosophical armadillo who's been bisected by a truck and is in the mood to dispense advice. The movie gets surreal.
Now, first, recognize that I try to go into movies with no knowledge of the plot. Going into Rango, I think my full knowledge of the movie was "there's a chameleon voiced by Johnny Depp". Every once in a while I end up watching a movie which completely defeats my expectations at every point, for better or worse, usually for the better. (Pixar's great at doing this.)
In the case of Rango, I started thinking, hey, this is pretty weird, this must be a surreal movie! This is going to be great! I love surreal movies!
Then the main character ran into the sidekick and all the surreality went out the window, to be replaced, briefly, with a goofy buddy plotline.
For the remaining 90 minutes of the movie, the tone changed repeatedly. First it turned into a story about trying to fit in. Then it became a story about a band of elite commandos, who largely seem to have been picked by the main character because he needed a band of elite commandos and, well, they were there. The Elite Commando arc finished, in a weirdly comedic scene full of exploding bats, and most of those characters faded quietly into the distance as the movie transformed into a minimal murder mystery. The surrealism came back when the main character meets the Spirit of the West, then quickly gets shuffled off camera yet again, as a villain quickly vacillates between a colossal threat and a friend.
With Rango, I never quite knew where the movie was going to go. But that's cool. I don't need to know where the movie's going to go, and I don't want to know where the movie's going to go. Problematically, though, I had the feeling that the movie didn't know where the movie was going to go. It didn't feel like a unified production. Even though the plot was solid, even though all the Chekhov's Guns were properly placed and recovered by the end, even though all the character arcs intermingled and interacted, the movie as a whole simply didn't feel cohesive. There was no theme.
Now let's talk about video games.
Brutal Legend was an open-world exploration game released two years ago. The demo, and most of the promo materials, showed it off as a third-person brawler. This was accurate for the first third of the game . . . until it morphed unexpectedly into a real-time strategy game.
Devil May Cry was a plot-based third-person brawler/shooter . . . right up until the final boss, which drops you straight into a Starfox-esque 3d shooter.
World of Warcraft is a game about playing a fantasy hero, defeating big bad guys and collecting loot, using a palette of moves based on your character class. Or that's what you used to think! Then they introduced a dungeon named The Oculus, which unexpectedly shifted from controlling your character on a mostly-flat plane to controlling a dragon in full 3d, with a new, limited, and painfully uninteresting set of moves. Worse was the raid equivalent, Malygos, known for causing frustration (and motion-sickness) in a large amount of the playerbase.
And finally, Drakengard, a game which could charitably be considered a gigantic troll from beginning to end, finished up its Ultimate Ending by throwing away all of its normal game mechanics and transforming into a two-button rhythm game, of all things.
Now, I don't want to claim that games should never introduce new game mechanics. Many games make great use of minigames, sometimes giving the player a break between long segments of the primary mechanic, sometimes using the opportunity to tweak the tone of the game. The inevitable lockpicking minigames that always seem to show up in fantasy RPGs is a great example – you want to pick a lock, suddenly you're playing a minimal lockpick simulator. Once that's complete, back to the main game!
The difference is that these games don't include it as a shoehorned-in part of the main plot. The games that include lockpicking simulators are generally intended to be semiaccurate sandbox games, including lockpicking, and the designers want something that feels a little more concrete than a random die-roll. Maybe they're sandbox-simulating a magic-slinging fantasy hero, sure, whatever, but in a game like that, the gameplay is taken from the behavior of the character. One can easily imagine a magicsmithing minigame, or a horseriding minigame, or a shopkeeping minigame, side-by-side with the lockpicking. Conversely, nobody anywhere said "hey, I really like beating up crazy heavy metal archetypes while wielding a magic guitar, but you know what I've always assumed would go along with a heavy metal beatdown? Resource management, unit construction, and research!"
The real key here is that a game, like a movie, must know what it is. A game about kungfu should stick to kungfu. A game about fantasy warfare should stick to fantasy warfare. And a game about destroying thousands of bad guys with long-range artillery backup from a dragon should remain that way.
The problem with Rango, as I see it, is that nobody sat down to determine what the movie was really about. One group wanted a surrealistic mind exploration. One group wanted a goofy action comedy. One group wanted a murder mystery. The movie's backbone was never properly laid out, and so the movie itself ended up being indistinct and illdefined.
Brutal Legend had a similar issue. I think it could have made a great brawler. I think it could have made a great real-time strategy game. But the unhappy medium didn't work – the two parts didn't feel unified and didn't feel appropriate. I wasn't involved in the design meetings, of course, but I have a hard time imagining how people could have sat down and described the intended theme of the game, the intended backbone, and come up with what Brutal Legend ended up being.
The theme needs to be determined. Movies, games, books, it doesn't matter – artwork without firm intention simply does not stand up.]]>
We've come a long way from "the Princess has been kidnapped, go rescue the Princess". The Super Nintendo acquired a pile of RPGs with complicated plotlines, the gaming industry had a brief but ill-fated flirtation with live-action directing, and we've attempted all sorts of curious branching plotlines and fully explorable worlds.
Somewhere in here, the gaming press and public came up with an interesting term. "Theme park". A "theme park" game is one that calmly shunts you along from awesome event to awesome event, like a Disneyland attraction on rails. You get to see a lot of amazing stuff but, in the end, you had little to no choice in your actions. The most popular accusations, and the most damning of them, tend to be leveled at World of Warcraft. The curious part is that World of Warcraft plotlines never involved choice. People claim to have felt more immersed in the game years ago, and despite the complicated and deep plotlines that now fill the World of Warcraft universe, and the identical amount of influence players have on the world (namely, none), the game just doesn't grab people like it did.
Now, part of this is probably just people tired of WoW. The game has been out for a very long time and people are bored. But I think there's a different reason – one that can be analyzed carefully, and, with effort, avoided. In order to demonstrate that reason, we're going to have to take a journey back in time, tens of thousands of years ago.
Or, if you'd prefer, six years ago, to the release of Ice Age 2.
Spoiler-laden plot synopsis: The main characters of Ice Age are happy in their new home paradise. Then disaster strikes! The gigantic ice wall that's holding the ocean back is beginning to melt, and the entire population must migrate to the other end of the valley, where a boat awaits to rescue them. Will they make it in time?
Well of course they'll bloody well make it in time. It's a kid's movie. Right off the bat you know that it will have a happy ending, and that means everyone's gonna survive. The problem is that they've already tipped their hand. Nine minutes into the movie and you know the whole plotline. Sure, it's a kid's movie, and that means it will be happy, but that doesn't mean they need to tell you how everything will work out. Compare Ice Age 2 to Hook. We all knew Hook is going to have a happy ending also, but we didn't know how. We didn't have the entire plotline of the movie spelled out in the very beginning. This is important.
Second, the Ice Age 2 universe feels painfully contrived. Hundreds of creatures are all crammed together in the very end of an ice-filled valley, which is next to a gigantic wall of ice, and right beyond that wall is the entire ocean. What the hell? How did they even get there? Ice Age 1 ended with them walking into a sun setting over a gorgeous vista, Ice Age 2 starts with this:
Did they enter the valley on the other end, then troop all the way down here? What do they eat? Everything around is ice and bare dirt! The universe feels incredibly artificial – there's The Place That Everything Happens In, and then there's an impassable barrier ensuring that you're not allowed to think about stuff outside that place, and then there's an infinite ocean.
As the movie goes on, there are a lot of events. Many things happen. But in almost every case, these things are small self-contained events. Character gets in trouble –> character gets out of trouble. Hooray! Trouble is over! Let's move on to the next trouble! There are only a few plotlines that last any appreciable time, and as mentioned, none of those are really suspenseful. To make matters worse, Ice Age 2's closest attempt at a bad guy – a pair of prehistoric water carnivores – have no personality, no motivation, and no reason for the viewer to be interested in them. We know they're gonna lose. They're bad guys. You can largely discount any scene where they show up because you know in the end they'll be completely irrelevant. (In the end, they're completely irrelevant. Surprise!)
It felt like the world was created for the sake of the plotlines they wanted to make. Like they had a checklist of things they wanted to include, and by God they were going to make sure to include all those things, so they went down the list and when every event was checked off they called it a movie and released it.
Move forward three years and we've got Ice Age 3, which takes a dramatically different approach. Two minutes in we've got a plot point: the main character's wife is pregnant! Three minutes more and we've got another: one of the side characters is getting easily exhausted while hunting, and wants to leave the group! Another two minutes and we've got yet another: the main character is neglecting his friendships for the sake of his pregnant wife! Another five minutes and we've got a fourth plotline: someone's found some eggs! And then they hatch dinosaurs! And the dinosaurs don't play well with the smaller and fuzzier babies of the area! And, seriously, what the hell is the plot of this movie?
The answer is that there isn't a single plot. Everything listed up there is important and interwoven. Instead of having a single backbone plot, with subplots interspersed like a monotonous drumbeat, Ice Age 3 interweaves every plotline together – the short ones, the long ones, everything. The "main" plot isn't even started until 25 minutes into the movie.
The end result is that you never quite know what's going to happen. Oh, sure, it's going to end happily ever after, it's a kid's movie, we know that. But it's unclear what "happily" means in every case, and it's certainly not as obvious what the exact events are going to be. With that many plotlines running in parallel there are ample opportunities for them to bang into each other and interfere with each other, such as when the mommy mammoth needs for the hunter to defend her against attacking dinosaurs, despite his feelings of inadequacy. Dual plotline resolution, go!
And finally, Ice Age 3 spends a lot more time attempting to insert personality into the various side characters. With mixed success, I'll admit – the "main villain" is still little more than an angry killing machine. But this time it's a killing machine with a name, and backstory, and significant history with one of the main characters. I start caring about him because his behavior will actually have long-term consequences with the other characters in the movie.
Now, take a look at MMO questlines.
Today, each zone has a single largely-linear questline. You're shunted along a backbone plot from one event to the next. Sure, each event is related to the plot, but none of them go outside the plot in an unexpected manner. Each quest is predictable – hell, with few exceptions, each quest gives you the entire quest description before you've even accepted the quest. And there's no way to escape the relentless march of the plot. There's nothing outside the plot, there are no surprising interactions. You start the zone, and several hours later, you finish the zone.
But several years ago, things worked a bit differently. Sure, each quest was, if anything, even simpler. But zones tended to not have single unified plotlines. Often, they had a pile of smaller plotlines. And you weren't shoved along a single plotline – if you went and explored, you could find a different plot. You could pursue these in any order you wanted. There's the opportunity – you're walking around the world doing one quest, and bam, you walk straight into another quest! It didn't feel like you were on rails nearly as much, it felt like you were walking around in a significantly more alive world, where each player would end up experiencing the world in a slightly different order and with a slightly different flavor.
Another problem is the characters. I think this is a situation where, with the best of intentions, MMO design has gone in exactly the wrong direction. Modern MMO quest design is all about participating in epic plots. But that's the problem in a nutshell. It's not your plot, it's someone else's plot. It's Thrall's plot, or Asha's plot. With the old style of MMO quests you had limited choice, but you still had the option to say "haha, screw that, that's not worth the effort". And a lot of the best-known MMO plots were single people asking you for assistance with their person problems. With the modern style, it's the big leaders of your faction or alliance, requiring that you help them with whatever disaster has popped up lately, and if you don't, you can't continue the plotline. It doesn't feel personal.
As an example of how subtle but important this can be: Imagine you're talking to the Emperor's engineer. He tells you that he needs a left-handed sprongwhacker in order to build a machine to drive back the Infernals. You go and retrieve a left-handed sprongwhacker and give it to him. He says, "hey, thanks! Here, have some platemail." Received: [Platemail of the Emperor].
Now imagine a different quest. You're talking to a mechanic in a village. He says, "oh man, I'd totally make you a set of platemail, but I'll need a left-handed sprongwhacker. I used my last one yesterday!" You go and retrieve a left-handed sprongwhacker and give it to him. He says, "fantastic! Here's that platemail you wanted." Received: [Sprongwhacker-Imbued Platemail].
Which of these feels more personal? Well, the second one does by a long shot! You did something, not because a guy told you that you should, but because you wanted to. And your reward is a permanent badge of honor. You found that sprongwhacker, and this is the platemail that proves it! Whereas in the first place, you just got some random platemail. In fact, pretty much every piece of armor you find in a modern MMO is random. Every once in a while, a quest will offer a reward, but it's rarely thematically appropriate and never mentioned in the quest text. There is exactly one difference between a quest that offers equipment as a reward and a quest that doesn't: the quest that offers equipment says "you can choose one of these pieces of equipment as a reward".
I think this is a problem. I want to feel like I earned that equipment, and I want to feel like the person giving me the equipment has noticed that I am worthy of a new shiny piece of armor. As it is, there isn't even acknowledgement that you've gotten equipment. It feels like a perfectly mechanical side effect of pushing the "complete quest" button.
The fundamental problem is that MMOs are trying to design their questlines like they're movies. Movies have it easy: they can tell you who the most important people in the movie are. They can focus on one character and now it's important, or they can give backstory with sad music and now you know the other character's important. But with games, we already know who the most important person in the game is. It's you. It's the player. It always will be the player. And that means that every event, every plot point, has to interact with the player, not a bunch of other characters that the designers are dancing across the screen in the hopes that you'll get entangled with their plot.
If you want me entangled, you need to make me entangled. And that means either giving my avatar a chance to develop some personality of his own, or giving me a chance to influence my own story, even if this is something as simple as giving me a choice between which stories I feel like pursuing.]]>
As game developers, we, of course, want to harness that. Luckily, there are a few good ways to do so.
Many years ago, back in the SNES days, a game called Chrono Trigger had a clever innovation. You beat the game, and then, after the game was done, you could start the game again . . . with your existing characters, levels, and equipment, and with a whole pile of new endings unlocked. It was called New Game+.
The beauty of New Game+ is the the most devoted players, those who had loved the game and wanted to keep playing it, could keep playing it. It wasn't just a grind either, there were things to do that you could do only in this new mode. For example, killing the boss five minutes into the game, with a single character, resulting in a completely new ending. The game contained a lot of equipment that could be gotten once only, but of course, on the second playthrough you could get it again, allowing for combat strategies that simply weren't possible on a single playthrough. And, of course, you could see the effect of different choices on the plot, without having to spend all the time slowly bashing your way through the game at a normal level.
Most players, I assume, never tried New Game+. Or perhaps they tried it for a few minutes and stopped. But some – a very small number of players – played the game over again, once, twice, maybe more, trying to unlock all the endings and all the equipment, just enjoying their time in the game world that they loved.
Recently, there's been an interesting new financial model for games. It's called Free-to-Play. The idea is that you provide a game that doesn't cost any money, then you ask people to start forking over cash once they're already playing. There's a bunch of variations – some leave you hilariously underpowered unless you're giving them money, some games make it mandatory to give them money to proceed, some games make it frustrating to not give them money, some just constantly hound you for money, and some provide a fun game and let you fork over cash for vanity items and out of laziness.
I think there are a lot of interesting moral comments you can make about the various first variations, but this entry isn't about that, which is why I'm going to talk about the last one. Tribes: Ascend is nearing its release date and it's one of the more elegant and friendly Free-to-Play models I've seen. The only things that require money (known in-game as Gold) are purely cosmetic skins – everything else can be acquired simply through experience, acquired by playing the game.
And we're not talking boring grinding, either. The game is a team-based competitive shooter. You get experience by playing the game in a normal fashion. Now, you might think this means that someone who finds the game fun wouldn't want to give them money – after all, there's no reason to do so, you can still unlock everything without it – but there are two distinct groups of people who happily pay out.
The first group is the obvious group: those with more money than time. The game's fun, they want to unlock classes and items, here you go, have some money.
The second group isn't as obvious. It's the group of players who absolutely love the game.
About two weeks ago the first player reached Rank 50. Ranks have absolutely no bearing on the gameplay, they're merely an indicator of how long you've been playing. He's been playing a lot. He posted a screenshot of his progress, and one of the things quickly noticed was that he had enough experience to unlock every single item in the game several times over, enough gold to unlock every single item in the game several more times over, and enough Boost – an experience-multiplier purchased with Gold – to easily acquire yet more complete experience-based unlocks. And it turns out that he'd recently paid them even more money.
There's no logical reason for him to do this. You literally can't unlock anything repeatedly. He already has enough experience and gold to most likely unlock everything the developers will ever release. And yet, he loves the game, so he's willing to put more time and more money into it.
The long tail is usually a major point of interest with free-to-play games. In theory, there are hundreds of thousands of people out there who don't care enough about your game to give you $10, but maybe you can get $2 out of them, or maybe you can get them hooked and get $5. And, yeah, you get a lot of money off those people. But nobody talks about the outliers – the people who give you $300 extra just because they really enjoy playing your game. The people who will finish your game from beginning to end two, three, five times, as long as there are things for them to work on and achieve.
I think there's a lot of crossover between the free-to-play customers and New Game+ players. In both cases, there's a person who has deeply loved your world and wants nothing more than an excuse to give you more money, to spend more time playing, to do something more in the world you've created. Not only is this person going to play more, but they're going to evangelize you to their friends.
That's valuable, whether it be in goodwill or cold hard cash.
If you're making a game with a world, if you're making a game with an experience and not just a final boss, remember to let the player leave your world at their own pace. If they want to stick around, make sure there are things for your player to do. The benefits are hard to calculate, but you'll find them very valuable.]]>
So let's talk about that.
Starcraft 2 and Supreme Commander
You could just as easily compare Starcraft 1 and Total Annihilation, but I'm sticking with these because it'll be easier to find screenshots. (And no, we're not going to talk about Supreme Commander 2. That game didn't exist.)
Starcraft 2 and Supreme Commander, on first glance, occupy the same genre. They're both real-time strategy games, where the player is given control over a base filled with resource gatherers and production structures, has to construct an army, and is told to go blow up the bad guys.
It's the same genre, but the two games differ drastically after that.
A race in Starcraft 2 consists of 13 to 15 units and 15 to 18 buildings. Most buildings have orders they can be given, either to produce units or to produce upgrades for units. The units themselves almost all have a gimmick – sometimes a passive gimmick like the Observer's cloaking field and cloak detection, sometimes an active gimmick like the Marine's stimpack. Combat in Starcraft 2 is mathematically simple, without any worries about ballistics or dodging. A fired shot will always hit and always do a predictable amount of damage, albeit with a little travel time. However, the complexity of the units make combat fast-paced and difficult to perfect.
Supreme Commander takes a dramatically different approach, with almost fifty units and fifty buildings per faction. Production buildings build units just like Starcraft's, but control over your utility buildings is limited to a simple on/off switch. The vast majority of units have no gimmick, either passive or active, and while there are technically "fifty units" the majority of them are simple upgrades on previous units – like the "Conservator T1 Interceptor" vs the "Swift Wind T2 Combat Fighter" vs the "Corona T3 Air Superiority Fighter". In Supreme Commander, there's no reason to build the older models of aircraft – you'd always want to build the new, higher-tech version.
First, there's a moving of complexity. In Starcraft, you upgrade units by researching upgrades at your various structures. In Supreme Commander, you upgrade units by building a new factory, then producing upgraded units. The result is that, while Supreme Commander has two classes of "thing" – buildings and units – Starcraft 2 has three classes of "thing", adding upgrades into the mix. Supreme Commander simplified the basic concepts available in the game by adding far more types of unit.
Ironically, despite having well over three times as many units as Starcraft 2, Supreme Commander's units are, overall, much simpler. Most of Supreme Commander's units do three things: they move, they shoot, and they die. In the meantime, Starcraft's units can do all sorts of things, from kamikaze explosions to directed area-of-effect attacks to mind control to teleportation.
Supreme Commander's base-building is significantly more complicated. Structures in Starcraft are largely passive, acting as large lumps of hit points that let you build things. Supreme Commander leans much more heavily on active buildings with weaponry, giving you an entire range of close-range and long-range defensive buildings, as well as a small number of ultra-long-range artillery buildings. To supplement this, Supreme Commander provides a range of defensive shield buildings that can protect nearby units and structures from incoming fire. Finally, Supreme Commander's energy-generation buildings also act as augmentations for nearby structures, doing anything from reducing resource consumption to increasing fire rate.
To compensate for this dramatic increase in complexity, Supreme Commander's bases are far easier to automate. While Starcraft's factories require manual intervention for every single unit, Supreme Commander's factories can be set to automatically construct units without the user being involved. This is a good thing because Supreme Commander armies are far far larger. Starcraft limits the player to an army of 200 "food", and the vast majority of units take one or more food – some reaching up to eight food per unit. Endgame armies frequently number around 50-75 actual units. Supreme Commander, by default, limits you to 500 units, but this is more of a computer performance limit than a game balance limit.
So, the Complexity Roundup so far:
Starcraft has more complicated units, more base management, and more complex upgrades to deal with.
Supreme Commander has more complicated base layout and far more units, but once your base is laid out, it mostly manages itself.
From what I can tell, the goal with Supreme Commander was this: Make the player spend effort only on things that are actively improving their position. Building a larger base is worth spending time on. Keeping your base running is not. Changing your production is worth spending time on. Mass-producing units one at a time, by hand, is not. Your base is meant to run itself while you're away. So what do you do during those times you're "away"?
The intention, I think, was to set the player up as . . . well, as a Supreme Commander. (They're not subtle.) You have hundreds of units and you order them all around constantly. The trailers showed the player doing pincer attacks, feints, all sorts of clever military maneuvers.
Unfortunately, this doesn't work out well in a modern real-time strategy game. In real warfare, many of these clever military maneuvers worked due to limited information, bad communication, and extremely slow units. It's easy to do a pincer maneuver when the enemy is nearly incapable of relaying orders from one side of their formation to the other, and it's easy to do a pincer maneuver when the enemy is unable to look into thick brush. It's a whole lot harder when the enemy has a circle of visibility around their units roughly equal to yours and when the enemy can retreat at the same speed as you can attack.
And "far more units" isn't really a source of complexity in itself. When your units do individual important things, it certainly can be – if you're familiar with the game, imagine trying to efficiently manage a 1000-food Starcraft 2 army – but in the world of Supreme Commander, more units simply means a larger blob of death that gets moved around the map as a sort of conceptual amorphous accumulation of power.
Supreme Commander tried to move a large amount of Starcraft's base management and micromanagement complexity into largescale strategic positioning . . . but it turns out that really doesn't work well in the RTS genre. The end effect is to take a complicated game and just make it simpler, and that's one of many reasons Supreme Commander was unsuccessful.
But with that in mind, I can talk about a more successful example.
World of Warcraft raids vs God of War boss fights
I'm not going to even pretend that one of these was inspired by the other. We all know that's not true. But they make for an excellent study on how you can get dramatically different gameplay by moving complexity around.
For the sake of this discussion, let's just ignore the whole multiplayer thing. Assume your World of Warcraft pals are simply AI bots, and the boss lives or dies based on your success at your role in the fight.
World of Warcraft characters are very complicated. Even standing in one place trying to maximize damage on a single target, you're generally juggling half a dozen abilities or more, each of which has to be used properly in order to do your job right. Many of your abilities interact with each other in complicated and nonobvious ways and have to be activated in the right patterns. If you start having to move, or deal with large groups of enemies, or target-switch often, it gets far more complicated.
Conversely, controlling Kratos, God of War's main character, is quite simple. Maximizing damage is a matter of mashing a single button repeatedly, and your alternative attacks vary in only a few simple ways – usually recovery time or area damage. Kratos has no complex interacting moves. The only interesting thing Kratos does in terms of combat techniques is his combo moves, triggered by pressing the buttons in certain patterns – but Kratos has only a small number of these combos, and they are both completely predictable and easy to trigger.
Kratos is, fundamentally, much simpler to control than a World of Warcraft character. Basic understanding of Kratos's abilities takes minutes at most, and expert control takes perhaps a few hours.
Simplifying his control scheme opens up a lot of space for complexity in other places. Namely, bosses.
Much has been said of the complexity of World of Warcraft bosses, and in a sense, this is accurate. The most difficult boss fights tend to take a month or two for the best groups to kill. But this isn't a particularly even comparison. Warcraft bosses are intended to be tough to kill, while God of War bosses are intended to be relatively easy to kill. Challenging, yes, but doable. We're going to compare Warcraft bosses that are roughly the same difficulty as God of War bosses.
When making this comparison, the Warcraft bosses start looking simplistic at best.
Complicated bosses might do something every fifteen or even ten seconds – simple bosses will often have thirty-second-long periods of time where you're simply standing there whaling on the boss. Some bosses, such as the semi-infamous Patchwerk, have literally no gimmicks. They stand there and beat on you, you stand there and beat on it, if you survive long enough to kill it within the time limit, you win. Meanwhile, the God of War bosses tend to require a response every five seconds or so, at most. There's simply no time to get complacent and no time to rest – the boss will be smacking you if you let it.
Modern Warcraft bosses will usually have two or three basic attack patterns – "run away when he does this", "don't stand in fire", "get ready to cast a lot of healing spells", but all of these are telegraphed with a clear indicator and several seconds of spare response time. The God of War bosses often give you one second's worth of notice, at best, and frequently require that you quickly and accurately recognize the boss's movement and respond in the correct manner out of several options.
World of Warcraft has chosen to put a large amount of the gameplay complexity into the character. Once you understand your character – and that can take a phenomenally long time – most of the bosses end up being relatively similar. God of War, conversely, has chosen to put a large amount of the gameplay complexity into the boss. Each encounter is dramatically different, but your character is relatively simple and easy to deal with.
Proper complexity budgeting isn't just about putting complexity in the spots you want complexity to be – it's also about taking complexity out of the spots you don't want. If Kratos had a complicated control scheme it would take away from the real goal of the game: beating the shit out of horrifying monsters the size of a house. But if World of Warcraft had a simple control scheme, then the process of creating new bosses would be far more complicated and expensive, possibly resulting in huge budget issues. You can't get away with strictly removing complexity because that results in a dull game, but likewise you have to stay below an upper threshold, or your game is impenetrable and unplayable.
I could probably go on with more examples for months, but this has gone on easily long enough by now. I'd like for you readers to analyze a few games based on complexity. Take a look at what a game explicitly avoided adding, or what a game added that was unnecessary. Compare two games in seemingly the same genre but with different behavior.
I've found this to be a surprisingly powerful tool for analyzing game design, and I've already modified some of my game plans by reconsidering where I'm putting complexity. If you find anything interesting using it, let me know!]]>


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Description of Property
If you are looking for a beautiful, scenic place to build your dream get-away home, look no further. Located in a well-maintained, gated community on the hills above Lake Cumberland are these two lots that can be bought together at a discount price or separately. Lot #161 has over 3 acres as shown by plat and Lot #160 is 2 ½ acres m/l. Both lots feature blacktop road frontage, sit at end of a cul-de-sac with underground utilities available, and level ground that easily could be prepared for your home. Stillwater offers common areas, golf practice greens and a par 4 golfing hole, ponds, picnic areas down close to the water of the lake, hiking, and most of all, a relaxing atmosphere filled with the sights and sounds of nature. All of these features are protected by restrictions and by the HOA. Call today for prices and more information.
*Listing Price: $ 80,300 Reduced Price $55,000
Listing Agent
Golden Rule-Wilson Real Estate and Auction
|Columbia Office #1,
1004 Jamestown Street - Columbia, KY
1-270-384-1111 or 1-800-854-9992
Email our Office
|Russell Springs
Office #2, LLC
21 E. Steve Wariner Drive - Russell Springs, KY
1-270-866-6600 or 1-800-410-5155
Email Our Office
|©2018 Golden Rule-Wilson. All Rights Reserved.
|*List price,
specifications & availability are subject to change without
Disclaimer: All information is believed to be correct but is not warranted by selling agents.
Adobe Reader required to view Printable Listings. To obtain a Free copy click here.

subset: commoncrawl


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Sleepwise - A Resource Manual
Disability Services
Sleepwise - A Resource Manual is a valuable resource for allied health workers supporting the families/carers of young children (under six) with developmental delay. It outlines a comprehensive approach to supporting children's sleep, including individual sleep plans and family support.
Sleepwise comes with supplementary materials including a CD containing PowerPoint presentations and handouts.
Price: $220.00
Buy a copy of 'Sleepwise'


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Click here to see details of all Upcoming Events
The classes are both therapeutic and enjoyable. I would recommend them to anyone who finds their lives stressful and wants to do something positive about it. I am feeling much happier and more relaxed about life than when I first came a year and a half ago.
Great introduction to meditation by a passionate and experienced tutor. Would recommend to people looking to find out more about the benefits of meditation and learn a variety of meditation techniques. Just what I needed to kick-start my meditation practice. Thanks Julie!
Emma M
I have found the classes very relaxing and therapeutic. Julie is a great teacher with this almost visible aura of calmness. I have learned some breathing and relaxing techniques that I can use every day now to find a balance in this busy world. I recommend the classes to anyone who would like to experience something new and make their life less stressful.
Julie is an inspired and friendly teacher. The four week classes covered a range of meditation tools and tips and were really easy to follow. Each week different methods were explored with two types of meditations at each session. It's left me in the habit of regular practice and definitely feeling more relaxed. Would highly recommend the four week course.
Julie is a lovely person, always in communication by email and very helpful person. Great environment, location in Covent Garden is great. Convenient timing as well for working individuals to attend. Really interesting experience and a nice end to a hard working day. Really recommend it.
I was new to meditation and a bit hesitant about the whole thing! A friend had recommended Julie and I am so very glad she did. I was surprised to find that I can quite my mind! It has helped me relax more. I have even found my sleep to be much better.
I have found both Julie as a teacher and her Meditation Class to be a very healing and empowering experience. Opening up my inner space has charged me with energy and focus to look at my life as a whole and how to change it and I suddenly have the courage to move forward in all areas on my life. It's been amazing in a short space of time and I would highly recommend it to anyone who feels stuck or unsure of what they want and how to get it.
Julie has a fantastic way of explaining meditation and what it's all about, without making you feel silly or that you can't possibly do it. I felt completely at ease and was really interested to hear how meditation had helped her. There were two meditation sessions broken up in-between with a stress tip, with the second being more in-depth. I've honestly never felt so clear and able!
Anonymous Online Review
The sessions don't make you feel silly for "thinking". Julie explains that you just need to train your mind to be aware of those thoughts but not indulge them. As someone with a very busy and distracted mind, those sessions really helped me on my way to clearing out all the stress and feeling clear.
Anonymous Online Review


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Are you a multi-vehicle family and planning to move? Need an auto shipping company to transport your vehicle safely, quickly and conveniently to your new destination? You are at right place. We at Pro Auto Transport provides you with a list of best and professional automobile transportation companies. But before you choose a vehicle shipping company you need to keep in mind some of the points:
- Make sure the company you are choosing has a proof of federal license, insurance, and bond requirements.
- When the hauler visits to pick up your vehicle, he should take photos and note any scratches, dents, etc. The photos should be dated and attached to the shipping invoice. These can be used in case there are any damage disputes.
- Before signing the contract with any shipping company, make sure everything including the estimated pick-up and delivery dates and times you agreed to, insurance coverage and delivery location are spelled out clearly in the contract.
- The vehicle shipping rates are always according to the level of service provided by a particular company.
- It is necessary for you to know that the vast majority of companies from which you get bids are brokers. Make sure you know the person with whom you are dealing and don't forget to check all the licensing and customer testimonials.
- Also, keep a note that auto shipping companies do not take a car if anything is being transported inside the car.
So, no matter whether you are shipping a car, motorcycle, SUV or boat, treat it with kindness and hire only the best, experienced and cheap car shipping company.


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ReThink True Health Podcast with Nathan Brammeier, 8/27/14
Nathan came across my poster at the Ancestral Health Symposium a few weeks ago and graciously invited me on his podcast! We covered a ton of ground in just 40 minutes.
KGNU, "Connections," hosted by Roger Wendell, 8/1/2014
Two Part Connections:
1st part: Stephanie Welch, from the Society for Barefoot living, on the benefits of barefooting, how to overcome fear and social barriers, and how to incorporate barefooting into your daily life.
Ancestral Food Summit, hosted by Joe Salama and Polina Sayess, 8/9/14
Speaking alongside notable ancestral health figures such as Paul Jaminet, Chris Masterjohn, Jimmy Moore, Cate Shanahan, and others, Stephanie Welch, advocate of using evolutionary biology to inform how we address not only health but societal and global problems, speaks about how barefooting fits into this and how it ties in with a better big-picture understanding of nutrition, sustainable agriculture, climate change, and biodiversity.
Recorded 8/9/14 and currently in post-production.
In the meantime, see last year's lineup:
Dianna's Daily Dose, hosted by Dianna Ploss, 9/16/14
Dianna's show featuring local health and wellness experts airs weekly on Cambridge Community TV. In this episode, Steph talks about numerous facets of barefooting in Boston and answers her first live caller on the show.
Dianna's Daily Dose, hosted by Dianna Ploss, 8/19/14
Dianna's show featuring local health and wellness experts airs weekly on Cambridge Community TV. In this episode, Steph gets a chance to talk about several aspects of why a Paleo approach is relevant in our modern lives, and what shoes have to do with this!


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Power Agent By Mazhar Kaleem
Power Agent is another masterpiece written by Mazhar Kaleem. It is his special number written by him. This novel truly based on the power of special secret agents and specially Captain ... Continue Reading
Page 1 of 11
A comprehensive collection of Free Urdu Novels & Stories Online


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graphite on paper
12 x 9 inches
Little Rock-based artist Jerry Phillips makes striking and labor intensive works that require countless hours in the studio. Phillips' drawings often come from found photographs that he then uses as a readymade composition. Using graphite, he projects the image to his satisfaction and creates a unique work with a personal twist. The work Balzac is stark and graphic, and yet incredibly slow in the laborious and delicate process. His work has been exhibited in New York, Geneva, Valencia, Los Angeles, Saratoga Springs, Dallas, San Francisco, Ghent, Tallahassee, Buffalo, and Santa Monica, among others.
estimated retail value: $4,200
click here to contact someone about placing an absentee bid
courtesy of the artist and feature inc., new york
gallery website: www.featureinc.com


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Felt the Difference
Reviewed By Fraynel M (FORT WALTON BEACH, FL) Reviewed for a 2006 Nissan Armada —6/29/2015 9:58 PM
First drive after the pads were installed I could immediately feel the difference in my braking performance.
There are no customer reviews for this product
Reviewed By JT W (Grapevine, TX) Reviewed for a 2006 Nissan Armada —8/15/2011 9:36 AM
Although my old brakes were diminished and needed replacing, these new pads do seem to be more effective. They have a greater surface area than the old OEM pads and do not leave brake dust everywhere, which was a selling point for ceramic.


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Words containing ainspitz
Found 1 words containing ainspitz. Browse our Scrabble Word Finder, Words With Friends cheat dictionary, and WordHub word solver to find words that contain ainspitz. Or use our Unscramble word solver to find your best possible play! Related: Words that end in ainspitz
- Scrabble
- Words With Friends
- WordHub
- Crossword


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"Hey everyone,
Like I promised, the roadmap for GWENT: The Witcher Card Game is coming! I'll be dropping some major news soon, but I need to ask you for your patience, as the team needs more time to lock things down. What I can say now is that GWENT is coming home. You'll soon get to know what that means exactly.
In the meantime, I have two announcements about April in GWENT:
April 17th will bring an update featuring Faction Board Skins and Premium Cards — 35 in total if you count the tokens for Shupe. We're focusing on bug fixes and stability — especially on consoles.
In the middle of April, we'll be holding a Premium Keg Weekend, so keep an eye on that and save your kegs!
Talk to you soon! The wait is just a tiny bit longer!
Paweł Burza
Community Manager"
Very exciting news, hopefully a Thronebreaker date soon? !!!
Premium Keg weekend soon? Glad i havent opened my season kegs yet hehehe


text:
Couples all have those quirky things they do; those inside jokes that come from sharing your soul with another person. A word that makes you both laugh for no reason, a habit that neither of you knows where it began. For them, it was the knocks. Eight raps on the door when he came home from work, one for every letter of "I love you." Eight claps to wake him up from a lazy afternoon nap. Eight slow taps on his chest after they made love. Eight became their lucky number, and they made sure to marry in August.
Now, twenty-five years later, he sat alone in the dark, listening to the rain hit the window, and the thunder roll. The glass of scotch barely had time to warm in his hand before he brought it to his lips and took a large gulp. He tapped on the glass, five soft clinks, waiting for the other three that he prayed, begged to come, but he knew never would.
Three weeks ago, they had gone into the city for a night on the town: shopping, dinner, and a late night show. They were having so much fun. His mind's eye betrayed him again, though, as it had every night, replaying that night over and over and over. He could still picture the silver gleam of the masked man's knife, vivid as streetlight glinted off its blade. He could still picture her mix of fear and defiance as she clutched her purse tight. And he could still picture that silver slipping into her side. The blood poured over his fingers as they sank to the sidewalk. Tears blurred his vision while he yelled for help. Someone finally came, but it had been longer than an eternity for him since the blood has stopped running.
He sat nursing the half-empty glass. Lightning lit the room, shining off its surface like starlight on steel. With a primal roar of rage and sorrow, he pitched it across the room, watching it shatter like the life he once had. He snatched the bottle off the table, draining what little was left as he stumbled up the stairs to the bedroom.
Falling backwards, he kicked one shoe off before passing out. His dreams wavered back and forth between pleasant and terrible memories until he slowly opened his eyes. It was still dark, and he could hear the rain still falling on the roof. It was then that he felt it, icy cold on his skin, above his heart. Eight slow taps…


text: There has never been an alternative to creative living for me. I can't remember a time when I was not involved in creative activity. My primary medium now is pastel, and I work both "en plein air" and in studio. I am fortunate to live in the beautiful Hudson Valley at the edge of the Catskills. At any time of day, there is something to delight the eye, whether it be long shadows in the afternoon, mists of a hazy summer day, or a stand of trees punctuating a newly plowed field.There is such variety, I am often compelled to pull off the road to take in the view. Often I'll snap a few photos for reference, or execute a quick sketch for future development. When it is too cold or stormy, I'll use these photos and memories to revisit the places that have charmed me.I love to explore my surroundings, and record my reactions to time and place. I paint outdoors to force concentration, to achieve a rapid, lucid response to the parameters set by the changing light... I sometimes travel to distant locales, paints in hand, to use the novelty of location to insist on a more intense concentration. A change of scene sharpens my vision and forces extreme focus. But every outing is an adventure. Atmosphere and light effect a mood and sense of place that I try to capture in my work. Even the most familiar site can be especially alluring in certain weather or light conditions. I believe it is important to record the rural areas of my world as both an inspiration and a reminder to appreciate and preserve the beauty of nature.


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Voters in Platte County will decide Tuesday whether to renew a three-eighths cent sales tax for roads and bridges for another 10 years.
Supporters of the measure say the tax has enabled the county and participating municipalities to complete more than 50 repairs or replacements of major roads and bridges. Renewing the tax would ensure other projects in the works will be completed, they say.
"I believe we made promises and those promises were kept," said former Presiding Commissioner Betty Knight, who served on the commission when the measure was initially approved in 2003. "I hope that people see the value that a three-eighths sales tax has done for roads in the county."
Opponents say renewal would amount to an unneeded tax increase.
The sales tax is set to expire in September. The renewal needs a simple majority to pass.
A second question on the ballot asks voters to decide whether to approve $20 million in bonds for transportation and infrastructure related projects such as roads, bridges, drainage and sidewalks. Proceeds from the sales tax would pay for the bonds.
During the past decade, the sales tax that is up for renewal has generated more than $51 million.
Some of those projects were widening Barry Road near Interstate 29, improving North Congress Avenue, street reconstruction in downtown Platte City, Northwood Road improvements and replacing or repairing 22 bridges throughout the county.
Knight said improvements to Barry Road spurred economic development to Zona Rosa and nearby retail areas.
Before the measure was approved there was a significant discrepancy in how much money was available for different road districts. Funds generated from the sales tax is split equally between the county and municipalities, Knight said.
The sales tax has enabled the county and municipalities to secure matching federal, state and local funding for various road projects and improvements.
If the measure is renewed, the sales tax is expected to generate about $60 million. Supporters said renewal would provide money to replace 15 bridges and four major road projects and much-needed work to Missouri 45.
Supporters of renewal say the county's tight budget would not allow the repairs to be done from general operating budget. There are 225 miles of roads in the unincorporated portion of the county, and renewing the sales tax would allow the county's roads and bridges to keep pace with population growth, they said.
For some municipalities, the sales tax has been the sole funding of road maintenance and improvements, Knight said.
However, some residents oppose renewing the tax.
Resident Jackie Cox said because the sales tax sunsets in September, renewing it would be the same as increasing taxes. Residents pay for road improvements through property taxes, road districts, state fuel taxes and other funding sources, Cox said.
"I am in favor of low taxes and limited government," she said. "I think we have a lot of ways that we are paying for roads and bridges."


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The Gisborne district property pulse factsheet for November 2011 is published using data from Realestate.co.nz and REINZ (Real Estate Institute of NZ).
Property sales across the Gisborne region at 31 in the month rose slightly on a seasonally adjusted basis in November, but was down 213% as compared to a year ago. The inventory of unsold houses remains fairly static at around 63 weeks which is well above the long-term average of 42 weeks of equivalent sales.
Median sales price of property sold during the month in Gisborne at $245,000 was down 7% as compared to a year ago but up from the prior month. The asking price expectation of new listings in the Gisborne region was down a significant 29% as compared to a year ago at $260,189.
The level of new listings coming onto the market in November at 76 was up compared to October and significantly down 11% as compared to a year ago.


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Windows - Other
Aurora Web Editor 2008 Professional 5 0 0
Download FREE And Anonymously
Torrent info
Name:Aurora Web Editor 2008 Professional 5 0 0
Total Size: 6.71 MB
Magnet: Magnet Link
Seeds: 0
Leechers: 0
Stream: Watch Full Movie @ Movie4u
Last Updated: 2009-11-23 01:07:52 (Update Now)
Torrent added: 2008-07-04 15:44:42
Alternatives:Aurora Web Editor 2008 Professional 5 0 0 Torrents
Torrent Files List
Keygen (Size: 6.71 MB) (Files: 5)
keymaker.exe197.00 KB
setupaurorawebeditor.exe6.51 MB
Torrent downloaded from Demonoid.com.txt0.05 KB
Announce URL: http://open.tracker.thepiratebay.org/announce
Torrent description
The Aurora Web Editor is 2 Editors in 1!
The Visual Editor: Create websites quickly and easily - just like when you use a word processor! Unlike some other Web site creation software, you don't need to learn to code HTML! The visual editing environment (WYSIWYG - What You See Is What You Get) displays your website the way it will look once online. Adding text, pictures and links is a breeze. You can even drag items around the screen to resize and position them exactly how you want.
The Code Editor: For those Web developers who prefer to code webpages manually, the Aurora Web Editor offers a rich HTML coding environment. A HTML tutorial is included.
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Where to Camp
Pembrokeshire is dotted with campsites every where, from sea side to hillside. The Love Camping map below is a good place to get started but there are lots of other small independent sites that are well worth search for. You are welcome to use any campsite of your choice.
We pitch our tents in Pembrokeshire at the site you book.
We at easy camping recommend Shortlands Farm. A full review of there site and things to do will follow shortly, but here is what cool camping have to say.
Cool camping on Shortlands Farm


text:
Why US companies have started fleeing China
For a long time, it looked as if Apple had found the key to unlock the Chinese market. A world-famous brand, extensive factories in China and cooperation with the government's...
Thanks for contacting us. We've received your submission.Back to Reading
May 17, 2016 | 6:53am
November 6, 2015 | 5:15am
News Corp. is a network of leading companies in the world of diversified media, news, and information services.


text:
Show Summary Details
Quick Reference
(1919–2006 ),
Jamaican poet and folklorist, was born in Kingston. In 1945 she won a British Council Scholarship to study at the Royal Academy of Dramatic Arts in London, and subsequently ...
Subjects: Literary Studies (20th Century onwards).
Related content in Oxford Index
Reference entries
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Jobs Board
View the latest job vacancies at the Morgan Quarter below:
Customer Advisor - 18 Hours
JoJo Maman Bébé is the UK's leading independent multi-channel retailer of maternity wear, babywear and nursery products. They are currently looking for a part-time customer advisor with previous retail experience to guide, inform and assist customers in the correct purchase of their vast range of clothing and products.
View the full job specification and apply here.


text:
Small bathrooms no longer have to compromise when it comes to great design and first-class function. The Pier WC, a contemporary yet very simple toilet, has the shortest projection on the market at a minimal 43cm.
Not only compact, the seat is still extremely comfortable and fits perfectly in limited spaces, whilst the high-function flush performance is as good as it gets.Introducing an innovation in ceramic glaze technology, Pier is expertly crafted from CERASLIDE®; a forward-thinking firing process that ensures the perfect surface consistency to resist stains, limescale, daily wear-and-tear and assist with flush performance.
Teamed with the BATAFORM® anti-bacterial treatment, the combination ensures an impeccable level of hygiene alongside a luxurious gloss finish, ensuring all round wellbeing in the bathroom.
No downloads currently available for this product, please speak to our customer services team for additional product information on 0345 873 8840 or email [email protected]


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As a Senior Associate at Hanley Investment Group, Eric specializes in the sale of retail properties including single-tenant NNN properties, strip centers, and neighborhood shopping centers. With his considerable experience in investment and real estate finance, Eric has proven to be a great asset to the team and his clients with his insights and valuable perspective in asset valuation, financial modeling, strategic marketing, capital sourcing, and business management and development.
Prior to joining Hanley Investment Group, Eric was a Director at Faris Lee Investments, where he managed a team of financial analysts, research associates, and marketing personnel.
Eric began his career as a Commercial Mortgage Origination Analyst at Wells Fargo Bank's Commercial Mortgage Group, where he underwrote and originated CMBS loans through the Southern California Commercial Banking office, and was involved in the origination of over $1 billion dollars in CMBS loans.
Eric graduated from Pepperdine University with a degree in Business and Management. He is a licensed California Real Estate Broker, an active member of the International Council of Shopping Centers, and a candidate for Certification with Argus DCF Valuation.
He enjoys volunteering with local charities including Society of St. Vincent de Paul, Habitat for Humanity and Crystal Cove's Marine Conservation Project and earned a congressional recognition for his significant philanthropic efforts. A resident of Costa Mesa, Eric serves as a member of the City of Costa Mesa's Housing and Community Development Committee.
949.585.7644 phone
949.585.7645 firstname.lastname@example.com
BRE License: #01913407linkedin


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Richard Avedon: both, Rudolf Nureyev 1961
I love viewing these pictures together. I love that Avedon chose to photograph Nureyev in a simple, vulnerable stance and while dancing in an expressive pose. It really showcases the multifaceted beauty of Nureyev's ability and vice versa.
Richard Avedon: Dovima with Elephants 1955
Dovima's presence among the elephants is graceful as her presence always is. Yet her touching the elephants combined with their almost synchronized, equally graceful movements makes the viewer wonder if it was her grace and elegance that was able to tame such lumbering creatures.
While Avedon's celebrity and fashion photographs are first used as a representative of a familiar figure, they also go beyond that. They don't simply reproduce a face or a body, but (at the risk of sounding cliché) a soul and an ability. This is rarely captured in celebrity photos, especially editorial and journalistic work.


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