Critical-Gaming: Mario Melodies: Interplay part.2

Wednesday, June 18, 2008

Mario Melodies: Interplay part.2

We've already outlined interplay thoroughly in part 1. Now it's time to look at the interplay in Super Mario Brothers in detail. Keep in mind that interplay works best when it encourages the use of a game's primary mechanic in a variety of ways. In Super Mario Brothers, the order of mechanics are as follows:

0. Idle position (doing nothing)
1. Jump
2. Run, Duck, Slide, Swim, Throw fireball
3. Starman powerup, Koopa shell attacks

Click for larger image

Bricks: can be bumped continuously, harden, or break. In call cases, Mario rebounds back downward quickly and at a sharp angle restricting upward and horizontal control.
Fire Bar: can be ducked if there is a small gap between the fire ball and the floor.
Spring: can launch Mario very high or very short with a well timed jump.
Pulley Platforms: move under Mario's weight according to a simple pulley system.
Water Current: can pull Mario downward or across. It's an invisible force that Mario must struggle against by repeatedly swimming.
Falling Platform: This platform only falls when Mario is standing on it.
Bullet Bill: At a certain distance away from the cannon, Bullet Bills will fire. Once Mario is close enough, nothing will be fired. The Bullet Bill can also travel through solid parts of a stage keeping up with Mario throughout a level.
Pipes: Mario can enter some pipes. Some pipes contain Piranha Flowers that emerge when Mario is a certain distance away like the Bullet Bill. When Mario is close, nothing comes out.

The majority of level elements only feature one level of interplay. Properly designed enemies, like the ones I detail below, work with the level elements to develop higher levels of interplay. Even in my previous examples, I couldn't help but mention a few enemies because they're so closely intertwined with the level design.

The numbers refer to the level of mechanic

The Goomba is a classic Mario enemy. Though the Goomba isn't the simplest enemy in Super Mario Brothers due to its level 2 interplay (which I will explain shortly), it is the most basic enemy that makes up the foundation of the enemy design. After all, that lone Goomba is the first enemy encounter in 1-1.

As a simple minded fungus, the Goomba travels slowly in one direction. When a Goomba comes across a wall or other non hostile solid object, it simply reverses direction. Overcoming a Gooma is as simple as waiting for them to walk themselves to their doom, jumping over them, jumping on them, hitting a brick they're standing on from underneath, throwing a fireball, or kicking a koopa shell at them. But don't be fooled.

Depending on a variety of factors, Goombas can become a deceptively effective enemy. Fireballs can bounce over their heads. If you're big Mario attacking Goombas from underneath, the bricks can break creating an opportunity for the next Goomba to land right on top of you. And if you think you can squish the first Goomba and relax, the next Goomba in line can reverse direction off of the squished remains. These level 2 interplay designs make the Goomba a formidable enemy depending on their numbers and level position.

And if you think the Koopas are another simple enemy, consider that the Para-Koopa can reach up to the 7th level of interplay.

De-wing the Para-Koopa by jumping on it
The Koopa will fall to one side and walk in Mario's direction upon landing.
Green Koopas generally walk themselves to their doom unlike Red Koopas who turn around on the edges of platforms. In order to attack the Koopa, it must be jumped on or bumped from underneath. Unlike the Goomba, there is no way to kill a Koopa by just jumping on it or bumping it.
Once the Koopa has been attacked, it'll rest in its shell. But after approximately 5.5 seconds, it'll wake back up. What's even trickier is, depending on the Koopa, upon waking, it'll head in Mario's direction even if it wasn't moving in Mario direction before.
To prevent the Koopa from getting back up, it can be kicked away while still inside its shell. This is also useful as an attack against other enemies.
If the shell hits a solid level element, it'll bounce back toward Mario. This sliding shell poses a threat.
To avoid getting hurt, there are only a few courses of action. One can always simply jump over the shell. However, to counter it directly, Mario can stop the shell from moving by jumping on top of it, or kick another shell into it for a double KO. If Mario stops the shell, then the cycle resets back to level 5. If it ever wakes up again, the cycle resets back to level 3.

Though there are many more enemies to cover, for now we'll stop with these two classics. Hopefully, I demonstrated how to break down and diagram interplay based on gameplay mechanics. The next topic of discussion is variation, or how small changes can affect gameplay in a big way. Stay tuned.

2 comments:

Anonymous said...: I never realized that the simple Super Mario game I loved as a child was so very complex. But that also goes to show how advanced our minds are. As a child these complexities in games are quickly picked up by players after a couple of tries. The break down was great to show gamers how a game we thought was so simple was really more highly organized then we first conceived.; June 20, 2008 at 11:42 PM
KirbyKid said...: @ jrhee

"As a child these complexities in games are quickly picked up by players after a couple of tries."

I think you mean that we can pick up complex games/systems after a few tries now that we're older. I'm pretty sure that back when we were kids, we had to learn "how to learn" as we learned how to play videogames. Mental abilities, motor skills, and stamina were all things us gamers have developed through years of trial and error. But, because we were so little, and we had nothing better to do, our memories of playing games as kids are heavily edited.

I think that in the same way babies absorb language to help them interact with the world, gamers (especially kid gamers) react to and absorb structured environment. Places where there are rules and wiggle room to experiment.

It's like watching a baby pick up their toy and drop it off to the side. The parent picks it up and gives it to them. The baby watches the parent carefully, then repeats. In their own interesting way, the baby is figuring out the limitations and rules of their world.

You brought up some interesting topics. Thanks.; June 21, 2008 at 12:02 AM

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Updated Critical-Glossary

All + All -

Critical-Glossary

+ - Alphabetical
- + - abstract mechanic
  - Some gameplay mechanics are completely artificial, meaning they do not make logical sense based on the form of the game. When such mechanics are privileged within a game's design, we tend to label these games as being "arcade" like. I describe these gameplay mechanics as being abstract.
    ~ see article
- + - accordion level design
  - Folded level design that folds back and forth at multiple creases that creates a pattern either in the types of creaes or a patten of some concerte nature.
    ~ see article
- + - asynchronous time (async)
  - It is a design innovation that applies to games that are played in real time. By taking the progression of real time and breaking it down in specific contextual ways, a new level of game design can be reached. This is the essence of asynchronous time, or async.
    ~ see article
- + - clean design
  - Following form fits function and relatively simple gameplay that is layered for effect.
  - ~ see article
- + - cluttered design
  - Design elements/choices that create more negative space than actual space. Also, design elements that ignore form fits function.
    ~ see article
- + - conceptual variation
  - adding or subtracting a different elements than what was modified in the previous step.
  - ~ see article
- + - counterpoint
  - In music, Counterpoint is the writing of musical lines that sound different on their own, but harmonize when played together. How the melody of a song interacts with the other lines is the focus of Counterpoint.
    Counterpoint, in gaming, is a word for the way gameplay develops past optimization by layering interactive elements into a single gameplay experience. When each layer influcences, interacts, and enhances the functions/gameplay of each other layer the gameplay emerges into a medium of expression that reflects the individuality of a player and the dynamics that reflect the complexity of the world we live in.
    ~ see article
- + - crease
  - The point at which a level folds upon itself.
  - ~ see article
- + - diminishing trend
  - A diminishing trend is one where game elements are either added or subtracted that reduce the amount of consequences and allow for mechanics to be executed less precisely.
    ~ see article
- + - direct (mechanics)
  - A measure of how the changes in the method of input are paralleled with the action in the game according to the form of the mechanic. If you quickly press the green button on your controller, does the game quickly press the button on the screen? If you hold the button on your controller, is the button on the screen held down as well?
    ~ see article
- + - distinct section
  - When a section contains an individual gameplay idea that isn't significantly and directly related to another section, then that section is considered a distinct section.
    ~ see article
- + - dynamic (mechanics)
  - An measure of how the game world responds to the action. According to the form of the game world and the mechanic, does the world react realistically? What is the extent of the properties of the mechanic? Are the reactions to the mechanic special cases or can the resulting actions continue to effect the game world?
    ~ see article
- + - elements
  - Any variable element in a videogame.
    
       * player: character(s), cursor, avatar, HUD
       * level: non aggressive interactive (physical) pieces
       * enemy: hostile/aggressive forces
       * audio: sound effects, music
       * visual: non-interactive on screen elements
       * rumble: force feedback
    ~ see article
- + - elemental variation
  - see conceptual variation
- + - emergent structure
  - the coming together of a few rules in "unexpected" ways.
- + - expanded game idea
  - In counterpoint, If the player must combine secondary functions with primary functions to progress, then the game idea is considered to be expanded.
    ~ see article
- + - feminist criticism
  - Like Marxist criticism, the most successful Feminist critique of a game involves analyzing how the range of player functions that affect female characters directly or indirectly reveal the operations of patriarchy. When the player is encouraged or forced to play in a way that depicts men as strong, rational, protective and women as weak, emotional, submissive, and nurturing, then the game can be said to support and reinforce patriarchal genders roles and ideologies. Patriarchal values work to oppress women, and all feminist theory and criticism works to promote women‘s equality. A Feminist analysis can become more complex when finding examples of actions toward women if a game doesn’t feature any women or the game allows for limited interaction with women. Writing essays about such games often leads to finding evidence by absence. In other words, a Feminist critic’s central piece of evidence may be what can’t be done to women instead of what can.
- + - flow
  - How a game accelerates or creates forward momentum. This factor of gameplay isn't necessarily about speed. More specifically, it looks at how a game's interactions feed back into the player's options/experience like a snowball rolling down hill.
- + - folded level design
  - Level design that resuses a space with the second use containing an extra layer to the gameplay that builds on the knowledge and experiences established on the first layer.
    ~ see article
- + - form fits function
  - Form fits function is a powerful game design principle that has powered many of Nintendo's greatest games. Using familiar visuals, games can use their form to communicate to the player. If there is a ball resting on a tee and the player avatar has a golf club in their hands, they better be able to swing the club and hit the ball. Otherwise, why put such things in front of the player in the first place? Keeping the form true to the functions and limits of a game creates the cleanest most easily enjoyable experiences.
- + - function creates form
  - When a game's mechanics inspire, shape, and define the creation of ancillary parts of a game. ie. story, setting, premise, characters, music, audio
    ~ see essay
- + - game idea
  - The influence of a game element or group of game elements on a game's mechanics in a specific way.
  - ~ see article
- + - gimmick
  - A sometimes hidden innovation intended to attract attention and increase the unique value of a product or work. dictionary.com
- + - individual (mechanics)
  - A quality of a mechanic. Does the input yield the same action every time? Or can the input result in a variety of different actions?
    ~ see article
- + - interplay
  - Interplay is the back and forth encouragement of player mechanics between any two elements in a game. Put simply, interplay is where actions and elements in a game aren't means to an end, but fluid opportunities that invite the player to play around with the changing situation.
    ~ see article
- + - intuitive (mechanics)
  - A measure of the degree to which input method matches the form of the game. If there's a green button on the screen, and a green button on your game controller, the form of the game is liked to the input of pressing the green button on the controller.
    ~ see article
- + - linear variation
  - adding or subtracting a single game element or fixed group of elements in a specific arrangement.
  - ~ see article
- + - marxist criticism
  - Like Psychoanalytic criticism, Marxist criticism can seemingly critique a game by looking solely at a its fiction. However, both of these critical modes, in relation to videogames, achieve a deeper, more profound level of analysis when the elements of interactivity between the game and player are taken into consideration. Many Marxist critics of literature believe that film, literature, art, music, and other forms of entertainment such as videogames are the primary bearers of cultural ideologies. While we’re being entertaining by these medias, our defenses are lowered making us all the more susceptible to ideological programming. A Marxist critic of videogames looks for how a game supports or condems capitalist, imperialist, or classist values. Perhaps the best and most obvious place to look toward in games is the role and function of money. Some games represent money with actual U.S. dollars or some other form of real world currency. Others use fictional currency from bell, to gil, to star bits, or even points. What the player can purchase, how these items or services function, and how the money circulates within the game world all become important areas of analysis.
    ~ see essay
    ~ see example
- + - minimum difference
  - The smallest degree of change needed for a change to be significant for a particular mechanic. (minimum degree of difference)
    ~ see article
- + - momentum
  - is created when player mechanics layer and/or link into resulting states that create opportunities with a higher amount of risk/reward
- + - multi-element whole
  - emergent gameplay
- + - multi-fold level design
  - A level that is designed with multiple layers and creases that fold onto each other more than once.
  - ~ see article
- + - negative space
  - see static space.
- + - new classical criticism
  - "New Classical criticism focuses on identifying a game's primary function/action that sums up all of the player's actions, functions, and abilities into a single expression. This expression can be thought of as the interpretation of the game or what the gamer is actually doing when he/she plays. Sometimes the primary function can be encapsulated in a single word. For example, the primary function of the Super Mario platforming series is "jump". After the primary function is identified, the New Classical critic then looks at a game's formal elements to analyze how they promote the primary function. The formal elements include Sound, Music, Art style, Story, Graphics, level design, enemies, etc. Because the New Classical critic privileges interactivity over passivity (especially when focused into a limited number of rules and actions), such a critic is only concerned with how these elements shape the gameplay experience, and assumes that any formal element in a game is only meaningful when it supports the primary function and exists in a lower state of priority to that function. In other words, elements like story can't be more stressed and more important to a game than the gameplay. Even if a game is designed according to the conventions and assumptions of Western game design, it can still be critiqued in the Classical mode."
    ~ see essay
    ~ see essay 2
- + - open variation
  - Doesn't look at examples from the game, rather it focuses on arrangements and groupings that the researcher creates. Such an approach looks at possible scenarios than existing ones.
    ~ see article
- + - origami level design
  - A type of multi-fold level design where the creases and layers are so flexible and/or dynamic that considering the possibilities within a single level are interconnected and complex. Considering the shape created from a multi-fold level is similar to observing an origami figure.
    ~ see article
- + - primary mechanic
  - Whether a game is defined by an action or a group of actions, a small set of mechanics rests at the core of every game. This mechanic is the primary function.
    ~ see article
- + - psychoanalytic criticsm
  - For those who aren’t careful, a Psychoanalytic critique of a game appears to only be concerned with the fiction of a game and the relationship of the characters. Unless the game is Psychonauts, most games seem to have little to nothing to do with the human psyche. Neglecting how the game fiction and the gameplay (or game rules) come together to create the Psychological work in a game is a common pitfall. Another easy pitfall is to get wrapped up in Psychoanalyzing the developers of the game, or what may be infinitely more embarrassing, accidentally analyzing one’s own psychological state while trying to pass it off as an analysis of the game. Though it is true that the fiction of a game is an important part of any Psychoanalytic analysis, the gameplay is where the most profound sources of material because the interactivity of the game can influence and transform the player in more powerfully subtle ways than a passive medium.
    ~ see essay
    ~ see essay2
- + - quantification
  - Breaking down the range of possibilites for a game mechanic into distinct parts for the purpose of analysis.
    ~ see article
- + - refining trend
  - And finally, the refining trend is one that increases consequences that force the use of mechanics in a more precise manner by adding or subtracting game elements.
    ~ see article
- + - secondary mechanic(s)
  - The set of mechanics that do not make up the set of primary mechanics. These mechanics usually aid and help shape the primary mechanic.
- + - sections (sub-sections)
  - All games can be broken down into sub-sections or sections. Whether a game is broken down by rooms, loading sections, cut scenes, stages, levels, rounds, or turns, if a game has a mechanic that is repeated, then it can be divided into sections.
    ~ see article
- + - species
  - The 4 varying levels of counterpoint with the last being a combination of the previous three.
  - ~ see article
- + - static space
  - The static distance between player and objective. Can occur when a strategy is repeated without escalation.
- + - static trend
  - A static trend is where there is no change between sections, or when the changes are inconsequential because they fall short of meeting the minimum requirement for the quantified mechanic.
    ~ see article
- + - strict variation
  - Examines the exact way the game "levels" are arranged or grouped
  - ~ see article
- + - structuralism/deconstruction criticism
  - Structures are probably the most recognizable feature of videogames. Because structures create the foundation for the game rules and player to learn these rules, analyzing structure develops a clearer insight into how a game works at its core. We're all familiar with the structures of genre. Any gamer can instantly recognize a first person shooter like Halo from a puzzle game like Tetris. Each gaming genre has a certain look to it that is the result of the gameplay structures. Like with any genre, the degree to which the conventions are followed or deviated from varies greatly from game to game. Recognizing a game's structure is an acute way of talking about how a game works in or outside of its genre.
- + - suspension
  - In counterpoint, when a game element or game idea is offset form the established pattern of game ideas to create scenarios where the element/idea can carry over and influence other game ideas.
    ~ see article
- + - tertiary mechanic
  - Any mechanic that is contextual to external forces to the players natural state.
- + - translation
  - The rewording or paraphrasing a game idea into another medium (typically words).
- + - variation
  - how a game's elements influence the use of game mechanics over increasingly larger segments of the game
    ~ see article

...about Critical-Gaming

We have come to a point where how we talk about video games is insufficient in expressing how we feel and think about them. With each year comes increasingly complex games, yet we are still, for the most part, writing and talking about games on a shallow consumer level.

It is time to start thinking and writing critically about games. However, before we can do this, we must approach gaming from a critical mode or mindset. To do this, we must first understand of how the different parts of a game work together (game design). Unfortunately, many of the who have experience in this area spend their time making video games. Beyond that, the body of knowledge that does exist is scattered at best. For this reason, it is hard for a thorough understanding of game design and critique to become widespread.

I have started this blog in efforts to inform both gamers and non-gamers of the complexities of gaming and how it compares to any other art form (music, literature, movies). Using literary critical theory and music theory as a starting point, I have developed a comprehensive set of critical modes for video game critique. By writing in these critical modes, and by critiquing other video game reviews, I hope to raise our understanding and expectations of video game journalism, critique, and even video games themselves.

We already have a loose idea of what it means to be a core gamer. A casual gamer. And a hardcore gamer. I hope with the right mindset, we can become critical-gamers, who don't shun our fellow gamers for thinking deeply about games but embrace the change we wish to see in the world.

Wednesday, June 18, 2008

Mario Melodies: Interplay part.2

2 comments:

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