In order to promote my work on Groping The Map: Book 1, I have decided to release a .pdf sample of the first nine pages of the chapter on Nova Prospekt from Half-Life 2. Consider this a “vertical-slice” of the book, as you can see I have made some changes from the traditional format that the articles had when posted directly to this site. I’d greatly appreciate any and all feedback on this sample and please feel free to share this as widely as possible.
In addition to this sample of previously unseen work I have complied the three existing Groping The Map articles into .pdf files for easy distribution, they can be found here, again feel free to share as widely as possible:
Additionally I, along with a collection of other really smart writers have started RunJumpFire. I have a new weekly column there called Design By Example where I analyse one specific game mechanic or mechanism each Wednesday. Currently I have articles up on Deus Ex: Human Revolution and Super Metroid, forthcoming this month are articles on Dishonored and Alpha Protocol, the column archive can be found here.
While playing the first hour I took some notes. The reason the notes only cover the start of the game is that I have since restarted twice in an attempt to understand why my reaction, as shown by the notes, is so predominantly negative. I have yet been unable to reconcile my experiences with the praise lauded upon the game. It is not simply a case of not liking a competent game as much as others, this has occurred before and will again, rather I am concerned because I think Binary Domain is a genuinely badly designed game, one that makes mistakes in interface and encounter design I had thought long solved.
So what follows are my notes, as taken while playing, with some additional clarifications, to help see if I can make sense of why it provoked such a negative reaction. I have changed the order in which I took them as certain points are better explained in light of others.
I’ll start with what was actually one of the first notes I took.
Actually about as funny as it thinks it is.
It’s rare to find a game that’s genuinely comedic, and all too often action games swing the other way becoming overly self-serious, Binary Domain manages to find a tone that feels much closer to something like Beverly Hills Cop than I was expecting. It’s a brash action game and knows it, the script has yet to try to be anything else.
Why is A vault over cover but B climb? (Xbox 360)
This confounded me when I first played and I still don’t have a handle on it. The B button is nominally the “Interact” button, except when it isn’t. The A button will enable you to take cover and then vault over or dart around that cover, but B is required to climb up onto something, except when that something is a ladder in which case the A button is required. Operating a device in the world requires the B button however if that device is a control panel for a crane you cannot exit the crane interface by pressing B you instead have to press A.
Why give the character a voice if he’s not going to vocally respond? Conflict with voice input probably.
This seemed confusing at first until I remembered the game has an option to response to spoken voice commands. For that reason I can understand not having the character voice those comments as that would be redundant and potentially confusing. For players who are not using voice commands it’s jarring having the protagonist speak freely only up to the point at which you are given control of what he says. I can see this becoming a non-issue very quickly.
Off putting lag\acceleration on movement controls. May need to lower sensitivity.
This is probably my biggest complain: I cannot hit anything consistently. I am either wildly overcompensating or sluggishly dragging the cross-hair into position depending on the sensitivity setting. I’ve been using dual analog controls since the era of Halo: Combat Evolved but playing Binary Domain I feel like I’ve never touched a controller before. This is the main reason I restarted the game, I had hoped that more time with it would help me grasp the nuances of the controls, unfortunately that has yet to happen.
All the weapons so far sound incredible similar and you need to fire them a lot, soundscape is muddled cacophony.
A minor complaint initially but when combined with the next it makes the soundscape of Binary Domain a variation on a small number of weapon and impact sound effects, all of them similar and after an extended combat encounter I wanted to rest my ears.
You’d think they’d have chosen ammunition that does some actual damage against robots.
I appreciate that it is the start of the game, but every enemy I have encountered takes several seconds of sustained fire to destroy. It was pointed out to me that my approach should be to attempt to target vital parts of the enemies and so disable them, or turn them against their own. With the controls the best I am usually able to do is position the crosshair on the center of the enemy’s body, the degree of fidelity I would need to perform head-shots consistently is one I am unable to achieve.
Very aggressive enemies for a game with such a limited range of melee, or other close combat, options. Enemies will close and flank you with little you can do to stop them. Repositioning requires you to exit cover, so you expose yourself to those enemies ahead of you.
Enemies have a tendency to close range rapidly and either attack directly or move behind you. The former is frustrating as there are few options to deal with enemies in close range, the latter is almost always lethal as repositioning in combat to deal with enemies attempting to flank you will disengage you from cover therefore opening you up to attack from the front.
The focus button rotates the player to face the target not just the camera.
Like Gears of War there is a button to focus the camera on an important event or location. In Binary Domain it does not just turn the camera, it turns the player as well. This has led to me getting killed on at least two occasions.
Cover is almost exclusively perpendicular to the line of advancement you can’t flank enemies while remaining in cover. Nor can you move move between cover as fluidly as other cover shooters, it’s a first generation cover shooter closer to Mass Effect 2.
The layout of the levels so far have been unidirectional, with the AI advancing down a line directly opposite your direction of movement; except when airborne enemies spawned in behind you, but that is an entirely different complain. Cover is predominantly perpendicular to that line of advancement, allowing you to take cover from direct incoming fire. There has rarely been cover positioned parallel or at an angle to the direction of movement. Such cover would allow you to reposition to flank approaching enemies or deal with those enemies that have run past you. A good example of the type of space that I’ve yet to see in Binary Domain can be found at the end of the first level of Gears Of War. Exiting the prison Marcus and Dom enter a patch of ground dotted with low walls positioned both perpendicular and parallel to their direction of movement, Locust are positioned throughout and the layout allows for multiple possible routes through the space while remaining in cover. You can position yourself opposite the Locust and engage them directly or you use the space tactically moving around to flank them.
Doesn’t feel as fluid and responsive as Gears of War, or in fact Deus Ex: Human Revolution.
This is tied to the previous comment regarding my difficulty aiming, but is more concerned with the basic movement either out of or between cover. In those rare instances where such angled or parallel cover does exist there are no options to shift position to it without leaving cover, you cannot move around corners while remaining in cover the way you can in Gears of War, or Deus Ex: Human Revolution. These factors make moving in any direction other than directly forward inadvisable, limiting your options to staying put and shooting everything as it approaches – hoping you can destroy them before they run past, and thus outflank you – or advancing directly towards the approaching enemy and engaging them at close range, the options for which are limited.
Not everything that looks like cover is.
Compounding my previous complains are objects or elements of level geometry that in another game could conceivably provide cover but in Binary Domain do not. This is particularly egregious on the roads approaching the Sea Wall and again on the far side. The road surface is frequently split and buckled, with some sections of road higher than others. While you can climb up these sections, you cannot take cover behind them, despite them being close, if not identical, in height to the low walls and blocks that do provide cover.
10 Days Earlier…
When this cutscene occurred I was disappointed it was not the opening of the game, it at least offers a stronger context for my actions than that provided initially and though the voice acting and script can be a little peculiar on the whole it was largely entertaining. The premise itself is one I have seen before though that doesn’t mean it is an uninteresting one. My fear is the given the nature of the “Hollow Children” either the player character, one of his squad, or the character he has come to Japan looking for will turn out to be one.
It is possible some of the specific control problems I have are because I have not understood the information the game has provided me, however if this is still the case on my third encounter with the opening sections of the game some of the fault must lie with the manner in which the gave conveys that information.
Some of the problems I have might change as I progress further in the game, something I fully intend to do exclusively because of the positive comments I have heard. If I was unaware of such comments I would have abandoned Binary Domain at some point during my second time through the opening sections; so far I see nothing that has made me want to continue, rather the game has been frustrating and overly punishing.
So many of the elements prone to cause frustration in a stealth game are not present in Mark Of The Ninja, the clarity and consistency of feedback is some of the best I’ve seen in the genre. The straightforward manner in which visibility, audibility and even memory (Both of the player character and non-player characters) is visually conveyed puts the stealth mechanics of games like Splinter Cell to shame. No meters or radar systems, all the information that’s relevant and useful is displayed exactly where it does the most good, in the world. The basis of visibility may be binary but that ensures your current visibility is always instant readable, as is the the safety of different parts of the level.
With a fluid move-set, building on Klei Entertainment’s previous Shank games and a variety of multi-function tools Mark Of The Ninja offers opportunities for experimental play both intentionally and improvisational. The former is supported by allowing you to observe the spaces you are about to enter without having to put yourself at risk. This can take the form of either peering through grates, looking down from hiding places on the roof or, during later stages using an augmented vision mode that brings to mind both Arkham Asylum‘s Detective Mode and the Crosslink Mode of Gunpoint. Able to parse the play space before you enter and with the initiation of encounters in your hands Mark Of The Ninja allows players to be pro-active, to plan out their route through a space before choosing to commit to action. Players can formulate a plan and then feel suitably smart and skilful when they successfully execute it.
Of course, that isn’t always how things work out, sometimes that guard turns around at precisely the wrong moment, or that jump doesn’t take you as far as you’d like and suddenly you’re standing in the light with a dog on one side and an armed guard on the other. At moments like this the move-set available and the tools you are carrying go from being means of executing your cunning plan to desperate escape measure, at least they would if the “Restart Checkpoint” option wasn’t often the most expedient way to resolve such problems.
The primary method by which different approaches are encouraged and rewarded throughout Mark of The Ninja is via points and leaderboards. Remain concealed while a guard passes by your location? “+200 Undetected”. Conceal the body of one of your unfortunate victims? “+250 Body Hidden”. Each level also has three bonus objectives, which can range from reaching a specific location undetected, to avoiding taking any damaged while traversing a trap filled room. Successfully achieving these bonus objectives grants seals that can be used to upgrade your abilities, as does finding the three scrolls hidden in each level. Being spotted by an enemy does not immediately cost points though it can make achieving some of the bonus objectives harder, however allowing an alarm to be triggered does immediately cost; a scarlet “-800” appearing in the top left of the screen. As well as needing to deal with the consequences of the alarm itself players will have to deal with the instant loss of 800 points from their total. When most individual actions grant between 200 and 400 points this can be a difficult loss to compensate for. That’s why whenever I see that “-800” I instinctively stab at the Start button and Restart Checkpoint. Despite the tools available being ones that I feel would allow me to resolve the problem presented by alerted guards and the alarm, the presence of a clear decrease in my point total is one I have trouble accepting. It feels like a much more definitive failure that it truly is, or needs to be.
The use of points to grade performance and to encourage certain play styles is not something I have a problem with in itself. Unlike Deus Ex: Human Revolution where the clear benefit offered by stealth stood in contrasted to the supposed freedom of approach Mark Of The Ninja is upfront about its nature as a stealth game. There are parts where the grading is handled well, specifically the 5000 point bonus for completing a level without killing anybody is something that has certainly motivated me to try. The difference between this encouragement not to kill and the discouragement from setting off alarms stems from the manner in which they are presented. The former is only referenced at the end of each level when the total score is being calculated. There is no “-5000” that flashes on screen when you perform your first assassination in a level. I can’t help but imagine that if there had been many more people would attempt a ghost run and quickly become frustrated.
Confusingly what feels like a more fitting solution is already present. In the post-level scoring screen there is a 3000 point bonus for not sounding any alarms. So there is both a direct penalty for sounding an alarm and a bonus that is only attainable if you managed to avoiding doing so. Does there really need to be the former? The encouragement to avoiding sounding alarms would still be present with only the post-level bonus. Recovery from failure can present some of the most memorable experiences in a game and moving the decision of whether to attempt to complete a section without setting off an alarm from the point at which it occurs to a point after recovery may have been achieved would grant the opportunity for these memorable moments to occur. Mark Of The Ninja has the mechanics to allow for memorable improvisational play, but the manner in which it grades performance seems liable to discourage it.