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Review: Minaurs

Minaurs is a bizarre experience. Featuring gnomish, subterranean, space-faring creatures who are just trying to save their species while righting the wrongs of the past, it asks you to be very patient as it reveals to you its depth and wonder. The longer you wait, the more you realize that it’s kind of just pulling you along on a ride that never gets very exciting.

You are one of the last free minaurs of your kind. The rest have been scattered to the stars and are lingering haphazardly in dangerous places in hopes for someone to come rescue them. You, with your sense of heroism and agency, conduct mining expeditions to dig them out of their potential graves, and maybe profit on the way. A mining expedition has multiple goals. To pass the mission and move on successfully, you have to find the specified number your incapacitated brethren in the caves below. On your way, you can also mine the some of the natural Resource growing in the many caverns.

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You can’t just saunter into any given cave system all willy nilly – there are rules to be followed. Your hero minaur moves automatically, turning when he hits an obstacle he can’t climb over or swim through. These are usually walls for neighboring chambers, that can be reduced to rubble (or rebuilt) with a tap. Tapping the ground will open a hole that the minaur can fall through to reach lower levels, but he cannot climb back up to the level he fell from without some extraneous effort.

Put together, a round of Minaurs is a lot like a round of Lemmings, with your autonomous and diligent pawn trudging to a fate he doesn’t know, while you work the levers to ensure his trip is a success. It takes some strategic thinking to carve a proper path to the lost minaurs effectively, as they’re often on separate levels nowhere near each other. Navigating around natural hazards like choking gas, acid, and belligerent creatures adds tactical wrinkles that throw wrenches in your plans.

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This seems more or less straight forward, but how things interact with you feels overly complicated. Your Resistance shield is a catch all buffer between you and bad things around you. Falling from tall heights or standing in poison will damage the shield, and if the shield is broken, you’ll start taking damage to your Energy Bar. Your Energy Bar is the currency you spend to build things and break things down, and without energy you’ll go unconscious. Both your Shield and Energy Bars regenerate and watching them both interact with wildlife and other dangers is a confusing sight, even if your character isn’t in any consequential danger.

For a game with so many instructions, it’s pretty tough to understand. Almost everything you do is punctuated by a tutorial menu, explaining the significance of this thing to the greater Minaurs ecosystem. But these screens then find themselves buried in the glossary, and paging through to get a refresher on a finer point of exploration is daunting. The prompts themselves are jarring, blasting into your face and completely pulling you out of the game, even if it’s just for a few moments. In some instances, they show up in rapid succession, becoming super annoying when all you want to do is watch your minaurs move from one side of the screen to another. At its worst, prompts will trigger sub-prompts, and suddenly you’ve drilled down into multiple Inception dream levels of tutorials.

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Progression in the game is at a glacial pace. You have to rescue a certain amount of minaurs before you can move to a new planet, and that number can be needlessly high. The first planet requires 90 saved minaurs, and with each expedition having somewhere between 1-3 scattered across it, it will feel like an absolute chore to make the jump. As you rescue them, you’ll find maps to start Noble Minaur rescues or to drop into expeditions with large numbers of Resource to mine, but the process never changes much, and it gets old very quickly.

You’ll find as you explore, you’ll be gaining several different bars that are filling and shrinking without much fanfare. One of them involves the aforementioned Resource – this blue, iridescent stone – is what you spend to upgrade your skills and are a fee to go on any expeditions. You’ll get Resource as bonuses for finding minaurs, but you can also reap it from the land. I’ve never had a problem where I didn’t have enough Resource for something I wanted, and I spend very little time going out of my way for it.

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Challenges pop up as you do things like gather and find wildlife. They each have specific goals like find a certain amount of Noble Minaurs or fall from a certain height X amount of times. When these goals are met, you are rewarded with a state boost and something called Prestige. Prestige is also gained every time you learn something new (every time one of those damned tutorials pop up). It serves as both a number to denote the progress of your knowledge of the Minaurs universe, and a gatekeeper for learning abilities. It never feels like anything more than wholly arbitrary.

Skills allows your hero to do things he couldn’t normally do without coaxing, like turning at will or not falling off of ledges for a short period of time. They don’t come very naturally – suddenly after reading enough tutorial menus your first set of them open up. That said, they do add a level of control to the process that makes the gameplay more active and gives you more of a reason to invest in the moment to moment stuff and not just your big picture path to victory. Unfortunately, they feel as convoluted as the rest of the game.

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Minuars doesn’t look bad, but it can be hard to really appreciate the art direction because of how dark and monotone the color palette is. Greens don’t look much more vibrant or vivid than the browns do earthy or muted. There’s a twisted, jagged, Jim Henson’s Dark Crystal sort of naturalism throughout, which is charming. The animations struggle to give any of the characters and wildlife that same sort of liveliness.

All in all, Minuars is a solid concept bogged down by way too many systems, and the dreadful experience of learning them all. It also it far too long. That is to say, you spend far too much time doing menial things just to see something new, and to quickly realize that it isn’t all that different than the thing you’d already been doing.

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Gamasutra plays Sleep Tight with lead dev Maxx Burman

Next week, twin stick shooter/tower defense/horde mode game Sleep Tight will land on Steam and the Nintendo Switch. It’s a little game with surprisingly nuanced design decisions going on under the hood, so we were pleased today to invite Maxx Burman, one of the game’s co-creators, onto the Gamasutra Twitch channel to discuss the game’s design and development. 

For your convenience, we’ve archived that conversation for full viewing in the video up above. If you’re curious about the life of indie devs who are starting their launches on Steam and the Nintendo Switch, or if you want to know how developers are starting to think about integrating Mixer into their games, you should take a look! 

And while you’re at it, be sure to follow the Gamasutra Twitch channel for more developer interviews and editor roundtables. 

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Video: How to solve collision problems in game programming

In this GDC 2013 session, Blizzard Entertainment’s Erin Catto explores how to solve collision problems in game programming.

Catto discusses how games would be far less compelling without the realistic physics simulation that engages the player’s intuition and stimulates their motion awareness.

He goes on to explain how physics has become a staple of modern gaming as developers try to re-create and re-interpret the world around them through physics engines, discussing collision detection with a focus on rigid body physics and real-time simulation in games.

It was an informative talk that’s still definitely worth watching, so developers shouldn’t miss the opportunity to do so now that it’s freely available on the official GDC YouTube channel!

In addition to this presentation, the GDC Vault and its accompanying YouTube channel offers numerous other free videos, audio recordings, and slides from many of the recent Game Developers Conference events, and the service offers even more members-only content for GDC Vault subscribers.

Those who purchased All Access passes to recent events like GDC or VRDC already have full access to GDC Vault, and interested parties can apply for the individual subscription via a GDC Vault subscription page. Group subscriptions are also available: game-related schools and development studios who sign up for GDC Vault Studio Subscriptions can receive access for their entire office or company by contacting staff via the GDC Vault group subscription page. Finally, current subscribers with access issues can contact GDC Vault technical support.

Gamasutra and GDC are sibling organizations under parent UBM Americas.

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PUBG Corp apologizes, removes offensive Japanese mask from game

PlayerUnknown’s Battlegrounds developer PUBG Corp. has apologized for an in-game helmet depicting the Japanese rising sun flag found in the mobile version of the battle royale game after Korean and Chinese players deemed the design to be offensive. 

The cosmetic item featured the Japanese rising sun flag, which is reference to the country’s imperial army and its World War 2-era military aggression.

To a Western audience the design may not seem insensitive, but in Asian countries it carries connotations of far-right ideology and ultra-nationalism.

It has since been removed from the mobile game, and players who purchased the item pack have been issued refunds and told the item included “a previously undetected bug”.

In addition to finding rising sun imagery in PlayerUnknown’s Battleground mobile, the bot ‘Unit 731’ was also discovered, which is a reference to a division of the Japanese army that developed chemical weapons and conducted human experiments on Chinese and Korean prisoners of war. This name has also been removed from the game.

PUBG Corp. (whose parent company is the Seoul-based Bluehole) issued an apology for the helmet via The Korean Times, stating: “We apologize for causing concerns over a pilot mask item. We will conduct an overall re-examination of our image production process to prevent such a recurrence. We will enhance procedures to scrutinize game items before their release and hold the person in charge responsible.”

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Don’t Miss: Crafting the sound of No Man’s Sky

Hello Games’ stellar exploration game No Man’s Sky is a unique project, one that relies heavily on innovative use of procedural generation tech.

At GDC 2017, No Man’s Sky sound designer Paul Weir broke down how the game also makes use of an innovative vocal modeling synthesizer plugin and a custom-built generative music system to ensure the game’s soundtrack is varied and reactive to player action.

It was a fascinating talk that shed light on how No Man’s Sky‘s vocal tract synthesis plugin VocAlien was prototyped and built, as well as how the game’s procedural audio pipeline was laid out.

Weir also demonstrated how No Man’s Sky heavily relies on the use of a custom generative music system which is deeply embedded within the game logic, discussed the creative implications, and laid out how the band 65 Days of Static were able to both compose a traditional album and create generative soundscapes without compromising their sound.

It was an interesting presentation that you can now watch for free over on the official GDC YouTube channel!

In addition to this presentation, the GDC Vault and its new YouTube channel offers numerous other free videos, audio recordings, and slides from many of the recent Game Developers Conference events, and the service offers even more members-only content for GDC Vault subscribers.

Those who purchased All Access passes to recent events like GDC, GDC Europe, and GDC Next already have full access to GDC Vault, and interested parties can apply for the individual subscription via a GDC Vault subscription page. Group subscriptions are also available: game-related schools and development studios who sign up for GDC Vault Studio Subscriptions can receive access for their entire office or company by contacting staff via the GDC Vault group subscription page. Finally, current subscribers with access issues can contact GDC Vault technical support.

Gamasutra and GDC are sibling organizations under parent UBM Americas

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Get a job: RocketWerkz is hiring a Designer

The Gamasutra Job Board is the most diverse, active and established board of its kind for the video game industry!

Here is just one of the many, many positions being advertised right now.

Location: Dunedin, New Zealand

  • Immediate start date
  • Dunedin, New Zealand
  • Permanent
  • Full Time
  • Terms flexible dependent on the candidates skills, experience and fit

Systems, game mechanics and level design

  • High and low-­level design of gameplay systems and mechanics
  •  Design and creation of game levels and placeholder assets
  •  Produce documentation and prototypes detailing the logic and desired implementation of designs
  •  Meet project deadlines/schedule as set by Creative Director
  •  Collaborate effectively across multiple disciplines
  •  Manage time off, workload and work hours in consultation with the wider team

Skills/Requirements

  • Experience with systemic and procedural game mechanics
  • Experience with in game economy and itemization balance
  • Experience with designing and implementing puzzles into levels
  • Proficiency with Blueprint and Unreal Engine 4
  • Familiarity with other aspects of game development (asset creation, programming, sound production)
  • Familiarity with version control software and practices
  • Ability to rapidly prototype
  • Over 5 years experience in game designer positions
  • Excellent communication and interpersonal skills
  • Open to direction and feedback, willing to revisit work
  • Excellent organisational skills when working under time pressure
  • Passion for games and creativity
  • Good level of English language

About the studio

Dunedin, New Zealand-based RocketWerkz began in 2015. The independent game development studio was founded by Dean ‘Rocket’ Hall and employs staff from all levels of industry experience across multiple projects. In 2016 internet giant Tencent invested in the Studio. The focus of the studio is as a creative factory – developing PC games, new genres and cooperative multiplayer experiences.

Interested? Apply now.

Whether you’re just starting out, looking for something new, or just seeing what’s out there, the Gamasutra Job Board is the place where game developers move ahead in their careers.

Gamasutra’s Job Board is the most diverse, most active, and most established board of its kind in the video game industry, serving companies of all sizes, from indie to triple-A.

Looking for a new job? Get started here. Are you a recruiter looking for talent? Post jobs here.

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Bandai Namco Amusement Lab Inc. established for VR arcade development

Bandai Namco has announced today the establishment of its new development group Bandai Namco Amusement Lab Inc., which will focus primarily on developing and operating VR, AR, and MR experiences for Bandai Namco arcade and entertainment facilities.

It seems the company decided to open up this new subsidiary to bring VR in arcades to the next level, as it will also take care of management operations, software and hardware development, and network development for such experiences.

The new group will officially be established on October 1 2018, and will be physically based in Bandai Namco Studios headquarters in Tokyo.

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The challenge of designing Overwatch maps when players can get ‘literally everywhere’

He was asking stuff like ‘How high can the players get?’. I was like, ‘Dude, imagine you have a hero that can just fly all the time, let’s start there.”

– Blizzard’s Geoff Goodman recalls a conversation with another designer early into the development of Overwatch

Overwatch doesn’t shy away from introducing characters with a variety of movement ranges, but giving players the ability to fly, grapple, and slingshot themselves around a map brings up its own batch of level design challenges.

In an interview with VG 24/7, Overwatch lead designer Geoff Goodman looks back to early conversations he had with the team about designing future-proof levels and explores how excessively mobile new characters like Wrecking Ball influence the design of new maps. 

Goodman recalls one specific chat he had with lead level designer Aaron Keller when Overwatch was in development, warning him not to “cheat too much” and avoid placing objects in a way that would look odd from different angles.

“Everyone is going to be able to get literally everywhere. The bigger issue was containment, to make sure you can’t fly out of the map too far,” Goodman explains. “That was way early because I knew we were going to get into this area where people can go basically anywhere, and pretty quickly we actually ended up making Pharah, which is pretty close to being able to free-fly. I kind of proved a point with her.”

Goodman touches on how this philosophy has changed as new characters and maps are developed in the full interview over on VG 24/7