Posted on Leave a comment

Pick up some board games on the cheap via Humble

Humble does some great work in the sense that not only are they a useful platform to get games on the cheap, but they also help fund charities at the same time.

While it’s mainly all about PC and Steam, every now and then Android users get something relevant to their interests, usually in the form of a ‘Mobile Bundle’ but today’s bundle is a bit of a mixture.

Pocket Tactics is a Humble Affiliate.

Board Games Bundle (Link)

Asmodee are running a Board Games themed bundle, which still has about six days to go before it runs out. Now, it’s not all mobile games sadly – there are PC games mixed in. Considering how cheap everything is I’m sure you won’t mind too much.

At the $1 (minimum) tier, you get:

  • Abalone (Review) (PC & Android)
  • Harald: A Game of Influence (PC & Android)

And then PC-only versions of:

  • Agricola: All Creatures Big and Small
  • Cold Express 
  • Le Havre: the Inland Port

Pay at least $8, and you’ll get:

  • Splendor (Review) (PC & Android)
  • King and Assassins (Review) (PC & Android)
  • Small World 2 (PC & Android)

And then PC-only versions of:

  • Pandemic
  • Pathfinder Adventures
  • Fighting Fantasy Legends
  • Fighting Fantasy Legends Portal
  • Twilight Struggle

It’s a shame about Twilight Struggle – would have been a steal to get it on Android as well, but then it’s such a good quality port if you do do some PC gaming, we’d recommend picking it up all the same.

The total bundle worth is $139, and at the time of writing over 40,000 bundles had been sold.

By default, this bundle has Direct Relief as the chosen charity. They are based in Santa Barbara, California, and are an organisation that tries to improve the health and lives of people affected by poverty. Their current efforts are aimed at helping victims of the California wildfires.

Posted on Leave a comment

Enemy AI design in Tom Clancy’s The Division

The following blog post, unless otherwise noted, was written by a member of Gamasutra’s community.
The thoughts and opinions expressed are those of the writer and not Gamasutra or its parent company.


[youtube https://www.youtube.com/watch?v=fZOZ2daE-lA]

In 2016 Tom Clancy’s The Division brought players together in the war-torn streets of Manhattan fighting against a variety of enemy factions, as well as one another. Ubisoft’s RPG-shooter carries a diverse range of enemies to keep the player on their toes. But unlike other games I’ve covered to-date, The Division needs to deal with the practical issues of being an online co-operative game and how to manage all sorts of AI systems for thousands of players across the world.

In this first of a two-part series, I’m going to be looking at how developers Massive Entertainment sought to create a variety of interesting and challenging encounters throughout the world of The Division; how they designed their enemy opponents and manage their behaviours as thousands of players rush to battle online every day in the mean streets of New York City.

After an outbreak of weaponised smallpox, New York city breaks down into chaos and is quarantined from the outside world until the contamination is contained and order is restored. Players assume the role of an agent within the Strategic Homeland Division: a sleeper government unit that is activated in periods of national emergency in order to help first responders bring order to the region. Players can play individually or in groups of up to four completing a series of story missions and open world events in a region of Manhattan that at launch spanned over six square kilometres in size ranging from 21st street and 9th all the way to 55th and 3rd avenue.

To give players some variety and challenge, regions of the map are controlled by five rival factions: including the flamethrower-loving Cleaners, escaped convicts from Rikers Island, as well as the private military company the Last Man Battalion. In addition the most infected region of the city – The Dark Zone – has been cordoned off and is the games major PvP arena comprised of not only enemy AI but also fellow players who can go rogue at any time and begin to attack you.

As players explore the city of New York, they will interact with non-player characters (or NPCs) in one of three scenarios:

  • As Roamers in the open world: such as a wild dog, pockets of civilians, friendly JTF soldiers near safe houses or hostile mobs out on patrol.
  • Placed encounters: These are instances where players will find enemy mobs out in the game world, often deliberately positioned by the in-game systems with help from designers to force players into combat or to make an alternate route.
  • Narrative missions: specific designer-crafted missions that are part of the main story of The Division. These are lengthy plot-driven sequences with an emphasis on glueing together multiple individual firefights.

In each instance, the AI placed in the world has specific objectives that are aligned with one of two critical design goals:

  • To add to player immersion by enriching the in-game world and its design.
  • To provide puzzles to solve in combat.

The latter was the critical part of the game: given it aims to encourage players towards scouting areas prior to combat and establishing a base level of strategy. Once fighting breaks out, players need to continually re-evaluate their combat priorities and spatial awareness in order to come out intact. This requires enemy NPCs to carry interesting behavioural traits for players to recognise, but also some consistency in their basic behaviours, with a variety of subsystems that handle threat detection, dynamic objective handling as well as being able to react to players themselves.

All NPC behaviours are achieved through use of a behaviour tree system, where subsections of the tree are activated to run specific behaviours that are seeded with certain objectives or variables. This can include the likes of target destinations for navigation, areas to explore potential threats, enemies to attack, cover to move into and so-on. I’m going to look at the design and structure of these for enemy NPCs, but if you want to learn more about how behaviour trees work: check out my articles on the AI of Halo 2 and 3 which cover some of this in more detail.

The behaviour tree architecture shown above (note: read from right to left) was reliant on a richly layered system, which was capable of providing multiple paths to each behaviour. This is because of the range of ways in which one specific action could arise and required the system to be as flexible as possible. The top layer of the tree [yellow-right] breaks down the three critical ways in which a NPC would react, including direct orders from in-game systems, to maintaining active combat or initiating combat if necessary. This moves down into the conditions layer [blue/purple-centre], which identifies what behaviours can be executed based on the current conditions of the world and the character itself, all the way down to the lower layer [left] which handles pretty much every variation of combat that is possible in the game.

What’s critical here is that the middle layer is built such that it can link to a variety of different actions on the lower layer. This is to prevent behaviours being duplicated through the bottom half of the tree based on very specific conditions. As such all the different NPCs in the game (which I’ll come back to in a minute), as well as tools such as the Seeker Mine – which is technically an AI character – can have similar sub-trees or behaviours to suit their purposes which are copied around. As you can imagine, this would result in a behaviour tree architecture that is rather complex – and you’re right – what you see below is simply massive in scale and this required heavy collaboration between programming and design teams in order to get this working. Given the scale of the problem and the challenges faced, the programming team developed numerous tools for editing and eventually debugging each of the NPCs and built these into the Snowdrop engine that The Division is built upon. These debugging tools are extensive, given they allow for the developers to identify what is going wrong with a particular character in real-time in an online instance and I’ll come back to talking about this later.

So now that we know a little more about the AI architecture, let’s take a look at the design of the NPCs themselves.

At launch The Division had 36 enemy NPCs types spread across five factions. Archetypes help establish the type of behaviour of a given character, while factions govern attributes that are specific to all NPCs within them. To enable a bit of gameplay diversity, there are large number of archetypes in The Division:

  • Assault: Basic shooting and cover AI.
  • Rusher: Rush directly towards target.
  • Tank: Takes and deals large amount of damage.
  • Sniper: Long-range and accurate assault.
  • Thrower: Throw grenades and area-of-effect items.
  • Support: Assist teammates in combat (e.g. healing)
  • Heavy: Suppress players.
  • Leader: Provide buffs to nearby players.
    and
  • Controller: Fights via Proxy (turret)

There are also Special NPCs that do not adhere to the archetypes model – but these are only used in end-game and boss battles.  Each of these archetypes are designed to give clear feedback of the immediate dangers to the player and how to strategise their attack patterns. In addition, many of these archetypes compliment one another (as shown in the image below) such that one can exploit each others attributes in order to achieving their goals.

For example, while snipers maintain their distance from players to deal large amounts of damage, rushers deal damage up close and immediately try to close the distance between themselves and the player. Meanwhile Tanks and Heavies force players to stay in cover, while throwers will attempt to flush players out. As such this forces players to use different tactics throughout a given battle based on the enemy unit composition. This is driven by a desire to force players to continually evaluate three key gameplay attributes:

  • Target prioritisation and ordering: Who should I attack right now?
  • Repositioning and exposure: Am I in the best cover given the current scenario? Often resulting in players moving to better tactic positions and keeping them from coming out of cover.
  • Rewarding endurance: Provide long protracted battles that test a players ability to maintain their posture at a given level of intensity.

Factions

As mentioned earlier, the 36 NPC types were spread across the major NPC factions: Rioters, Cleaners, Rikers and the Last Man Battalion that is split into tiers 1 and 2. Depending on where you are within the New York map, you will encounter one or more of these factions in combat. Each faction is designed to scale difficulty as you progress through the game, progressing in the order I listed them. But given there so many individual NPC types, how do you manage the difficulty progression in a manner that is easy for designers to iterate upon, but also effective enough to be pervasive across entire groups of NPCs.

To achieve this, Massive built an AI profile system that modifies a number of exposed attributes about each of the NPCs. This enables them to become more or less of a threat to the player accordingly. This are eight different attributes that are influenced here:

  • Reaction time to player actions.
  • Movement speed.
  • Group behaviour
  • Cover usage
  • Skill usage
  • Stagger resistance.
  • Suppression resistance.
  • Health
  • Damage Accuracy

The profiles that are built can be consistent across either a specific NPC type or a faction that NPCs exists within. So for example the Rioters – who are the first faction in the game players will encounter – are restricted to using a ‘Dumb’ profile where all of these attributes are fairly low. However, all Heavy’s, Support’s and Turrets have dedicated profiles for those archetypes that are consistent across all factions. Meanwhile the Last Man Battalion have their own Elite profile: which makes them far more threatening to players than all others.

The last and final modifier that has an influence on an AI’s behaviour is it’s role and rank within the game itself. Characters range from regular grunts to veterans, elites and finally the named NPC rank, which is reserved for only the most high-priority targets. As a NPCs role increases, this has an influence on base stats such as weapon damage, armour and shot accuracy, with elite and named NPCs having access to unique weapons and mods. They even get custom laser sights that have absolutely zero effect on their gameplay ability, but it puts players on edge as a result.

This suite of management systems enables Tom Clancy’s The Division to build up a rigorous and diverse collection of non-player characters that help bring Manhattan to life. Whilst these systems fundamentally use the same core AI architecture, the use of archetypes, factions, profiles and ranks enable a lot of diversity in not just the behaviours executed, but also the level of challenge that these characters present for thousands of players across the world. But therein lies the bigger problem: how do you maintain performance for these kinds of systems in a game designed to run online for players all over the world? The Division has hosted over 10 million players since launch with a peak of over 1 million concurrent players. That’s a lot of non-player characters that need to created, maintained and controlled over thousands of individual game instances.

In part 2 of my case study of The Division, I’m going to look at how Massive Entertainment pulled this off and explore the online integration. The design decisions that were made to ensure the game runs as smoothly as possible and the problems and limitations this presented for the AI systems. In addition, we’ll also look at the tools that were built to enable testing of the AI behaviours in online instances, as well as how AI players were used to test the consistency and stability of story missions on test servers.

  • Jonas Gillberg, “AI Behaviour Editing and Debugging in Tom Clancy’s The Division”, Game Developers Conference (GDC), 2016.
  • Drew Rechner & Philip Dunstan, “Blending Autonomy and Control: Creating NPC’s for Tom Clancy’s The Division”, Game Developers Conference (GDC), 2016.
  • Philip Dunstan, “How Tom Clancy’s The Division Simluate Manhattan for Millions of Players”, Nucl.ai 2016.
Posted on Leave a comment

Opinion: It’s ‘Store Wars’ in the 21st century

[In this opinion piece, SuperData Research founder Joost van Dreunen examines the new digital store rivalries between Steam, Epic and a host of others – who will reign supreme?]

Tonight on Store Wars: Steam slams against the ropes as newcomer Epic bursts onto the scene leaving a massive cut in rev share. Can the might Valve recover or will it use its ultimate and press release on Half-Life 3 to save the day?

And what about old-timer GameStop? How will it fill the hole left by those pesky publishers and win back favor? Looks like it’s going straight to the slaughter house. 

(Sorry. I just finished season 2 of Glow.)

Anyway, Valve updated its distribution agreement. Epic opened its store promising a better deal for game makers. Everyone is going nuts.

Breaking with the standard 30% cut which is what most platforms (Apple, Facebook) claim in exchange for their services, Valve announced a few major changes. Two key sentences from the announcement.

First, Valve’s new revenue distribution: “when a game makes over $10 million on Steam, the revenue share for that application will adjust to 75%/25% on earnings beyond $10M. At $50 million, the revenue share will adjust to 80%/20% on earnings beyond $50M.” Succinctly, make more, keep more. 

The change is part of an effort to appeal more to big publishers. Activision, Ubisoft, and EA already have their digital storefronts and distribution platforms. Different from the brick-and-mortar space, publishers managed to build their own rather than rely on a third-party. For years, the big guys have had no interest in putting their content side-by-side with a growing number of small and medium-sized game companies.

Second is the data allowances: “we’re updating the confidentiality provisions to make it clear that the partner can share sales data about their game as they see fit.”Opening things up (and giving publishers control over their own sales figures) will allow a better risk mitigation and budget allocation for especially smaller companies.

I’m pretty sure that Valve knew about Epic’s announcement and released its own news to get ahead of things. However, it feels like there recently have been a bunch of secret meetings about acquisitions between all the big names but because no one got along, they’re now all going to compete instead. It would certainly explain why Epic succeeded in raising another $1.25bn considering its pitch deck likely contained the words ‘digital store’.

As a platform Valve has long held dominance but now that the industry is mostly digitally distributed and other firms like Green Man Gaming and Discord are starting to close is, Valve is making concessions to avoid losing its position.

Companies like Facebook, Unity, and Tencent are figuring out how to claim a piece of the market, of course. Cloud gaming is about to go big, which will give Amazon, Microsoft, and Google more market share. It also felt the gravity pull towards Epic when it clocked over a billion dollars and used it to promote its own platform

Without these changes Valve would become less valuable as a partner and give newcomers more competitive strength. With some providence it determined that facilitating mild competition and enabling network compatibility is better rather than aggressive competition. (For the same reason, Sony, which dominates the console market, relented and agreed to make Fortnite interoperable.)

Not unimportant is the growing consolidation across the top-line of the games industry. In the PC market the top-line firms have been growing at an incredible rate.

Between 2013 and 2017, Activision grew its PC operations at +10% compound annual growth rate. EA’s was +30%, and Bethesda’s +36%. Meanwhile the share of the top 4 public firms based on PC gaming revenue grew from 44% to 60% in that same period. It’s getting lonelier at the top.

Finally, it also suggests that, well, Half-Life 3 is never coming. If it did, it would be a massive draw to the platform and Valve wouldn’t have to concede anything as a vertically integrated superpower. Changing the agreement suggests there’s nothing in the pipe. 

So who’s going to win here?

Competition is great for consumers. To be fair, though, neither Valve nor the rest has so far really solved the discovery issue, but let’s not hold that against them, yet. Game devs, on the other hand, are going to have to spend more time thinking about their go-to market strategy.

Sure, a bigger cut is cool. But what about marketing? And didn’t the rapid growth in inventory depress prices for everyone, especially smaller fries? Even collecting all that sales data from all over the place every month is going to be a burden.

With so many platforms sprouting now, we’re likely to see consolidation and, possibly, a major acquisition or two to claim economies of scale. More so, store fronts know their success depends on driving traffic and they’re willing to take a cut on their own margin just to have your business.

Retail’s gonna retail.

[This editorial was originally published as part of Joost van Dreunen’s regular newsletter on innovation and interactive entertainment. You  can subscribe to the newsletter here.]

Posted on Leave a comment

Valve explains recent Steam store traffic changes

Valve published a blog post today outlining how a recent Steam code change meant to fix a discoverability bug inadvertently changed the way Steam algorithmically recommends games, harming some devs’ traffic.

Most notably, Valve claims that traffic from the “More Like This” recommendation engine on every Steam store page did drop noticeably for two weeks in early October, but that it “recovered around October 19th, and has stabilized since.”

This lines up with the dip that devs like Grey Alien Games’ Jake Birkett documented last month, and some people are continuing to see. Valve chalks the short-term issue up to an accidental algorithm change that caused the “More Like This” widget to recommend the most popular games on Steam that share a tag in common with a given game, rather than the most similar games.

At the same time, the company was testing a recommendation algorithm change that also caused some unforeseen traffic drops, and Valve says it will continue to do these sorts of things as it works to improve the storefront.

However, as Birkett notes, many indie games have continued to see low referral rates all the way through October and November, meaning that the algorithm change has led to likely permanent decreases in referral traffic. (Though some devs have likely seen increases, too.)

Posted on Leave a comment

Nintendo Power Podcast episode 11 available now!

Nintendo Power Podcast episode 11 available now!

’Tis the season for gaming gifts, family co-op and pine-scented Nintendo nostalgia. Bill Trinen from Nintendo Treehouse and Peer Schneider from IGN join host Chris Slate to share their happiest Nintendo holiday memories, plus plenty of heart-warming holiday stories submitted by our listeners. And, of course they take the Warp Zone quiz, discuss their current gaming obsessions and look ahead to big titles coming in December and January. Get cozy by the fire, hit play and enjoy a heaping helping of holiday spirit.

Nintendo Power Podcast is available on Apple Podcasts, YouTube, SoundCloud and Google Play Music and on the Nintendo Switch system in News.

We hope you enjoy the show!

–Your friends at Nintendo

Games Shown:

Posted on Leave a comment

Now Available on Steam – Just Cause 4

7.20d:
==

* Melee heroes below 300 base movement speed increased by 5

* Tranquil Boots: Movement speed reduced from +28% to +24%
* Power Treads: Attribute bonus increased from 12 to 14
* Phase Boots: Now has the active again instead of the passive
* Mask of Madness: Movement speed changed from +12% to +25 constant
* Yasha: Movement speed changed from +8% to +25 constant
* Manta Style: Movement speed changed from +8% to +25 constant
* Sange and Yasha: Movement speed changed from +12% to +35 constant
* Yasha and Kaya: Movement speed changed from +12% to +35 constant
* Wraith Band: Recipe cost increased from 220 to 240
* Bracer: Recipe cost increased from 220 to 240
* Null Talisman: Recipe cost increased from 220 to 240

* Axe: Counter Helix damage reduced from 75/110/145/180 to 60/100/140/180
* Axe: Level 15 Talent reduced from +4 Mana Regen to +3
* Brewmaster: Primal Split cooldown increased from 140/120/100 to 140/130/120
* Brewmaster: Level 10 talent reduced from +30 Damage to +20
* Clinkz: Burning Army damage type changed from Pierce to Hero type (50% vs heroes to 100%)
* Clinkz: Burning Army base attack time increased from 1.5/1.35/1.2 to 1.75/1.6/1.45
* Dazzle: Intelligence gain reduced from 3.4 to 3.2
* Dazzle: Bad Juju cooldown reduction reduced from 30/40/50% to 20/35/50%
* Elder Titan: Level 25 Talent changed from Astral Spirit Grants Spell Immunity to +600 Echo Stomp Wake Damage
* Ember Spirit: Base armor increased by 1
* Faceless Void: Time Lock chance reduced from 10/15/20/25% to 10/14/18/22%
* Faceless Void: Level 10 Talent reduced from +20 Damage to +15
* Grimstroke: Ink Swell max damage reduced from 160/240/320/400 to 100/200/300/400
* Grimstroke: Ink Swell max stun duration reduced from 2/2.6/3.2/3.8 to 1.7/2.4/3.1/3.8
* Grimstroke: Soul Bind cooldown increased from 80/65/50 to 90/70/50
* Io: Tether heal/mp transfer rate from 1.2/1.3/1.4/1.5 to 1.05/1.2/1.35/1.5
* Juggernaut: Omnislash now removes debuffs on cast
* Juggernaut: Level 15 Talent reduced from +25 Attack Speed to +20
* Keeper of the Light: Will-o-Wisp now has a 100/125/150 gold bounty
* Keeper of the Light: Will-o-wisp manacost increased from 200/300/400 to 250/350/450
* Lich: Base movement speed reduced from 315 to 310
* Magnus: Empower cleave damage reduced from 30/45/60/75% to 20/38/56/74%
* Magnus: Level 15 Talent reduced from +15 Strength to +12
* Magnus: Level 20 Talent reduced from +12 Armor to +10
* Monkey King: Mischief invulnerability duration reduced from 0.3 to 0.2
* Nature’s Prophet: Agility gain increased from 2.8 to 3.3
* Nature’s Prophet: Wrath of Nature’s max targets increased from 16 to 18
* Phantom Assassin: Phantom Strike attack speed duration reduced from 2.5 to 2.25
* Phantom Assassin: Blur now has a 0.4 second cast point
* Phantom Assassin: Coup de Grace damage reduced from 230/340/450% to 210/330/450%
* Puck: Dream Coil stun duration from 1.5/2.25/3 to 1.8/2.4/3
* Rubick: Telekinesis cooldown increased from 28/26/24/22 to 34/30/26/22
* Rubick: Telekinesis lift duration reduced from 1.1/1.5/1.9/2.3 to 1/1.4/1.8/2.2
* Sand King: Sand Storm cooldown from 40/32/24/16 to 40/34/28/22
* Sand King: Burrow Strike stun duration from 1.9/2/2.1/2.2 to 1.6/1.8/2/2.2
* Sand King: Level 15 Talent reduced from +50 Sand Storm DPS to +40
* Slark: Leash distance increased from 350 to 400
* Slark: Shadow Dance movement speed reduced from 30/40/50% to 20/35/50%
* Slark: Level 25 Talent reduced from +100s Essense Shift Duration to +80s
* Spirit Breaker: Greater Bash damage reduced from 12/20/28/36% to 8/16/24/32%

Posted on Leave a comment

Review: Command & Conquer: Rivals

A lot has happened since the debut of the Command and Conquer: Rivals teaser a couple of months ago. EA released a blog for the game. There have been tons of videos, both on the merits of the game itself and showing gameplay to the prospective players. Remasters for the original Command and Conquer and Red Alert have been announced. There’s been a lot of movement in Command and Conquer circles over the past couple months.

And now, it’s out in the wild. The whole world can, for better or worse, go out to Google Play or the Apple Store and try out Rivals if they want. To decide if it’s a pay-to-win cash grab (we wrote a bit about the game’s pay model back in November), or if, maybe, something interesting has been created here. Let’s dive in and take a look.

Broad Strokes

First off, what is Command and Conquer: Rivals? There’s been a lot of hot air blown about the internet on the topic of this game, but it still feels right to cover the basics before digging into the details.

02 broadstrokes

Command and Conquer: Rivals is a Real Time Strategy game designed from the ground up to be played on mobile devices: phones, and laptops. It seeks to stand out from the innumerable Clash Royale clones that exist in a couple of key ways. Unlike virtually every game of this genre, Rivals lets players directly control all of their units in real time – most games like this strip gameplay down to just placing units onto a game map and watching their interactions play out. Rivals brings real RTS sensibilities of controlling your own army along to bear.

Another way that Rivals seeks to differentiate itself from other mobile strategy games is actual strategically different map selection. Instead of just re-skinning a single pre-existing arena design, Rivals is again taking a nod from traditional RTS gaming in having a variety of different maps with slightly different Point of Interest configurations that change how the map is approached tactically and strategically.

Players load into one of these game maps, and train units and harvest resources as they attempt to hold more capture points than their enemy in order to be the first to destroy their opponent’s base. You can do this indirectly, by holding the capture points and using them to direct the missile on the map to shoot at the base, or directly, by attacking their base with units.

03 broadstrokes2

That should be enough to get started with. Let’s get down to details.

As hilarious as it might be to leave this section blank, it wouldn’t be true. If you can leave out the “Command and Conquer” part, and just evaluate it based on the gameplay, you find a surprisingly fun strategy game that’s well-suited to mobile formats.

The game’s actual in-match, minute-to-minute gameplay is surprisingly engaging. There’s kind of a modified rock-paper-scissors going on, where the 2 players in the match are jockeying their units around trying to put the units, they’ve trained next to targets they’re good at hurting, while avoiding enemy units that are designed to kill them. As a for-instance: early in a match, you might have fielded a squad of Nod Militants, and a Laser Trooper squad. You’d want to put those Militants next to an enemy GDI Rocket squad, as Militants are an anti-infantry unit, and the Rocket squad is designed to fight vehicles and aircraft.

Likewise, you want to get your tanks firing on enemy vehicles, and your anti-vehicle Orcas to attack tanks, while keeping them away from anti-vehicle and anti-air unit attacks, respectively.

04 thegood

It’s a simple formula that’s made far more interesting with the advent of unit abilities and unique attributes. Hard-hitting GDI units often have ‘ammunition’ – they fire a volley of shells, then can’t attack until the shells reload. Some Nod units have a laser that ramps up damage after they remain focused on one target for a while: their Giga cannon unit’s laser actually splits to multiple targets if allowed to attack one enemy for long enough.

Some units can attack 2 tiles away, like the GDI sniper. Some can attack multiple tiles in a line, or an area. Some leave persistent pools of fire or chemical gas that persist on the battlefield, damaging any units that move across them.

There are units that have to set up to fire. Units that move more quickly after attacking, to be able to get away from enemies. With a simple, easy to grok damage/counter system and movement rules, they’ve still managed to put in a lot of variety and, yeah, combat depth.

05 thegood2

It might not be “real” Command and Conquer, but Redwood studios did a good job of paring the RTS down to an experience that’s incredibly rewarding and interesting on mobile. Kudos to them on that.

This is, well. This is the stuff that’s a little harder to accept on the palette, as it were. The stuff outside of the match is what might give more players pause than the actual moment-by-moment gameplay.

Like most free to play games these days, units are acquired in random ‘packs’ like cards. Additionally, you acquire multiple ‘cards’ and spend them (along with in-game currency, which of course can be purchased in the game’s store via another currency that’s mostly generated via real money transactions).

So, units can ‘level up’ when you have enough cards. Each unit has 3 ‘sub levels’ that are accessed purely by in-game cash, which means that if you’re waiting to level up one troop type you like using while waiting for more cards, you can improve its performance incrementally.

06 thebad

I don’t think any game has been objectively improved with the addition of the grind of unit unlocks and card collecting or any of that. This isn’t an ideal pay model. It can get annoying. It can be frustrating and feel unfair and grindy and like it’s asking you to pay into the game in exchange for filthy, pay-to-win rewards. But, I’m a realist about this stuff. You need to monetize your game to be successful, and similar models are widely used all over the mobile space.

The real question, as I see it, is: How and how much does it impact the actual game experience? The answer, of course, is ‘it’s complicated’.

It’s possible to win with lower level units, due to the counter system. An air unit that deals damage to tanks is always going to beat a tank (that can’t shoot back). However, a higher level GDI Jump Trooper squad is going to do higher proportional damage to an enemy harvester, whose level and HP is determined by the level commander the player’s chosen. So, there’s a definite, if often marginal and difficult to notice, benefit to having higher level units. But the counter system is just enough to tip things in favor of a ‘mostly fair’ verdict.

07 thebad2

As new units come out, bundles are released that let players ‘catch up’ with the unit. And the pricing of these, as well as the pay-only random crates, is excessive. $20 for a new unit is a lot, and one had sold briefly for $50 USD.  That sometimes hurts to see in the game store.

It’s always pricing that hurts these games. But it’s entirely possible to spend little if anything on the game and enjoy it, up to a point.

Also, regarding balance: there’s always a counter, but some of these heavy hitters can feel overwhelming the first time you see them. The Brotherhood of Nod’s Inferno bomber is *murder* on ground units, for instance, and the GDI’s Sandstorm is a damage machine against air and enemy vehicles. They’re able to be countered, but some ‘death combos’ may exist if allowed to come out on the field.

08 thebad3

The game has some decent player reward systems. The Bounty system gives you bonus (in game) cash for playing a certain number of matches a day, or for training certain unit types, killing harvesters, and the suchlike. Do 5 of these Bounties, and you get a loot crate. It’s a Skinner box, but for all that it can serve as an adequate incentive.

There’s a decent clan system with the requisite card sharing with clan members. There’s a truly excellent public replays system (though I keep hoping for improvements to the replay UI, I’ll be honest). Competitive, esports style content is apparently on the way. It’s got a good supporting feature set, everything you’d kind of expect from a game of this type.

I like the core gameplay with its depth in simplicity. I love the control you have over your units, and the way that EA has managed to preserve the idea of resource gathering and base building. Many of the units are fun. But Fairplay might be the big clincher for me.

At its core, Fairplay is a band-aid. The card collecting, unit leveling system introduces inherent imbalances: pour enough cash into the system, and you’re going to eventually end up with better stuff than other players. And you’ll eventually go up against players that haven’t done that, and whose stuff is way lower level than you.

Also, the way of the world is, matchmaking systems can make mistakes. They can have a bad match-up where the only person available to play against you is in a higher MMR bracket than you are. Like, by a lot.

09 fairplay

The Fairplay system attempts to address this, and it’s a gesture that I really appreciate (being a realist about the need to monetize this game, and the observation that loot box driven card leveling has worked for a number of games). How does it work? I’m glad you asked.

if you’re put up against a player with units that are significantly higher level than yours, or who have a large MMR gap against, you won’t be able to lose MMR. You’re exempt from that penalty. But, if you win, you gain bonus MMR for the challenge.

It’s not a perfect system. It’s a band aid on top of the game’s monetization system. But it’s also a heck of a lot more than many other mobile games with similar pay models do to make the game less frustrating for free players with less time.

How you feel about C&C Rivals will probably, ultimately, come down to how you feel about mobile gaming in general. If the idea of free-play models with loot boxes or card levels is a turn off, this is one of many games you’ll want to avoid, even though EA is actually taking steps to mitigate the impact of the system on the gameplay.

10 conclusion

How you feel about C&C Rivals will probably also come down to how you feel about RTS games. If you’re looking for a deep campaign with FMV cutscenes and Joe Kucan in a black robe, with an extensive tech tree and huge maps covered with Tiberium, this is also probably not a game that’s going to fit your needs.

But if you’re looking for a satisfying RTS you can play on the toilet at work or getting your kids to sleep (I do this almost every night) and still feel like you’re executing some goddamn tactics and actual strategy, Rivals is definitely worth a look.

But I’ve made my case. All I can do now is ask that you give it a try. It might just surprise you.

Posted on Leave a comment

Four design lessons which were really obvious to everyone but me

The following blog post, unless otherwise noted, was written by a member of Gamasutra’s community.
The thoughts and opinions expressed are those of the writer and not Gamasutra or its parent company.


I’ve been playing a lot more videogames recently. Over the past ten years, I developed a very specific set of criteria and tastes that made up a paradigm of game design. All of this lead me to search within an extremely narrow (and increasingly narrow over time) space for new games to play—Eurogames in particular, and some single player strategy games like 4X games and weird Rogue-likes and Rogue-lites. “Designer games”, you might call many of them. But even within that sphere, there were many qualities that a game could have which would put it into a sort of “autoreject” category for me. I wrote about some of those qualities in articles like “Instant Ambiguity Sauces” and even last year I wrote about my problems with score systems.

It’s not so much that I think I was wrong about any of that. I think basically everything I say in both articles is at least mostly true. The “sauces” metaphor is quite terrible and ugh, the writing in that article makes me feel bad in my tummy, but the points made about execution, labor and such are, I think, true. It’s more like, taking a step back: yes, those things are true, but they also have these other qualities, these benefits that maybe you’re not thinking about, 2012 and 2017 Keith.

Recently, I opened that back up to a lot of kinds of games which two or three years ago, would have been in the autoreject pile because of their numerous GAME DESIGN FLAWS. Partially, this has been an experiment, I think. But I am also earnestly enjoying some or all of the following games, in varying ways and degrees: Pillars of Eternity II, Diablo III, Overwatch, Darkest Dungeon, Gwent, Hearthstone, The Witcher III.

I want to be clear: the randomness and content-explosion of Hearthstone is a real problem for me, as is the console-RPG restrictiveness and non-interactivity of The Witcher III (I’m spoiled by CRPGs, sorry). I don’t see myself playing either of these games again.

But in playing these games, I’m just kinda noticing… man, in my epic quest for good game design philosophy, I think I’ve lost touch with some stuff that almost everyone else sort of intuitively knows about games and what makes them enjoyable. Here’s some of those things.

1. Random stuff is fun

Yeah, in Rogue-likes, a lot of how you do is dependent on what enemies get generated when, what items drop, and such. It’s pretty random. But people, including myself, kind of enjoy that. Not enjoy the game despite the randomness, but actually because of the randomness.

I used to hate it when people would say this in response to my randomness-complaints. What really concerned me was this idea that we were just going to “rely on randomness instead of building an actual system”. I saw a lot of designs that felt “under-designed”, and felt like they only worked because of the randomness. I felt that we were using randomness to trick ourselves into thinking that our designs were working, and thus, learn nothing about design in the process. This also goes for other stuff I’d call “sauces”: execution, tons of content, stuff like high-score systems. These all work fine when implemented properly. Do they have downsides? Yes. And I think it’s good to point those downsides out, but This brings me to my second point:

2. We don’t need to worry about the human race not-learning about game design

The thing is… we are learning about design, even about designing the kinds of systems I’ve been interested in. There’s a clear progression from year to year, decade to decade. Actually, in the last decade, the speed of game design innovation and refinement has never been higher, and this despite my cries of “stop all the game design sauces”. In the world of designer board games, it’s most obvious to me, but also… almost everywhere, it’s pretty obvious. As I have more and more games finished, this reality becomes clearer and clearer to me. The innovations of Darkest Dungeon, or even The Witcher III as a couple examples, are innovations that I would have dismissed five years ago. But I now recognize a bit better how seemingly “small” changes have massive ripple effects throughout a system. From my work on Escape the Omnochronom!, I’ve learned how incredibly hard it is to innovate in the radical “from the ground up” sort of ways that I used to perhaps over-value.

Anyway, I think it’s pretty obvious to most people that we are learning some stuff about game design. I think if anything, my previous cries on this issue were more of a complaint that not everyone agreed with my idea of what “game design knowledge” should look like: super-formal, and most-valuing the kinds of systemic qualities that Keith Burgun most-values. Some of this “worrying about the state of game design advancement” feels a little bit like me just having a chip on my shoulder, or something to prove. Which… isn’t all bad. It’s good for people to occasionally try and prove things. But it’s also good to make sure that your identity isn’t completely consumed by the big point you’re trying to prove, and it’s important to remember that whatever point you’re trying to make, there’s always a bigger picture.

3. It’s okay, sometimes, for games to “waste your time”

I’ve written a lot about elegance and how games (and all art) should be as efficient as possible with the time that a player gives you. In my book I sort of define “elegance” as a ratio between the time that someone puts in playing your game, and the value that they get out it. A highly-elegant game would, at least in theory, give a player tons of value in five minutes, whereas a low-elegance game might go on and on for six hours and give the player very little value.

I think this is sometimes true, and a worthy thing to think about. The game Civilization, for example, is plagued, in every single iteration, by becoming almost objectively boring once the game reaches the mid to late game.

But I also worry that this very-transactional way to think about games (or any art) is incorrect, and probably damaging. Art is people too, and sometimes people take a little while to express what it is that they’re about. Maybe that’s okay. Maybe there are some things that need to take a little bit of time to express. Maybe there is something in that “downtime” that’s actually important. Furthermore, maybe this is just a specific problem with Civilization, and not something that should be formalized into some grand philosophical point.

Of course, on a practical level, if a game takes a lot of time to play, you may just not have the time to do it, depending on your life circumstances. But I don’t know. I think I always probably had the time to play pretty much any game I wanted to play.

I also think the combination of:

“my hard core cynicism” +

“the 2000s/2010’s habit of forcing you to play a hand-holding maximum baby-mode unskippable tutorial” + 

“the fact that I have played A LOT of videogames in my life”

… was a pretty big culprit in my “anti-time-waster” philosophy. I think I probably played an hour or less of a lot of console games and, even if I would have ultimately rejected them anyway, rejected them partially because the tutorials were so incredibly boring. They were a perfect opportunity for my cynicism to say, “SEE? It’s just telling me to put the square peg into the square hole! I told you videogames sucked!”

4. The fantasy really matters a lot

I used to think of “a game” as “a set of rules” and then you use theme (characters, setting, art, music, etc) to express that ruleset. The rules are really what make the game the game, and the theme is just kind of a “skin” that we place on top of it. The idea of “reskins” supports that.

I think that that’s not wrong, but it’s part of the picture, and one big part of the picture that this misses is the way that theme linguistically or semantically links your rules for players into a coherent picture. If you’ve been designing games long enough, you probably have noticed that some rules may be “exactly what the system needs mechanically“, but just for some reason feels totally weird and wrong to have in the system. It’s too number-crunchy, or too far from the core mechanism, or just makes no sense thematically.

Eurogames are some of the most “systemy” kinds of games out there (which is a big reason they’re some of my favorite games ever). But sometimes, they show a little bit of this. Check out this “basic theme” explanation for Friedemann Friese’s game, Friday:

Wait, so, you’re not Robinson, you’re some other guy, named Friday? And I’m teaching Robinson? Also why am I teaching him to improve his survival abilities when what I really want is for him to leave the island? Shouldn’t I just be building him a new boat or something? Also if he beats two pirates, he leaves? This, to me, is a good example of a game which has a bit of that “feeling like the theme was slapped onto mechanics” feeling.

For so many popular videogames, if you don’t try to get into the fantasy at least a little, they really don’t make much sense, or work. If you really think of Breath of the Wild as just a mechanical puzzle/exploration toy sort of system, you’re going to be pretty disappointed.

I think I really just under-valued how much work fantasy simulation can, and maybe always does do for games. (Actually, I have a new strategy game that I’ve been working on recently, and I had been hitting some walls until I decided to go back to the theme and let the fantasy drive the design a little bit. Sometime soon I’ll make a video or something talking about this.)

That’s about it for today’s self-flagellation session. Hopefully some of this was interesting or useful. My hope is that while there were many things which were obvious to others, but not obvious to me, perhaps the reverse is also true. I think theory is good and useful and necessary, and I think the theory work I’ve done is good. It just needs to be put in the proper narrow context and understood as looking at a very small-scope problem. There’s always a bigger picture.

Thanks for reading!

This article is also available on my website at www.keithburgun.net.

As always, you can support my work over at patreon.com.