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Too Many Crayons

Posted by Amber Ahlborn



As I write this, I'm in a conversation that has me thinking about old games and how they were developed. The game that has prompted this moment of musing is Mega Man 9. I like what's been done with Mega Man 9 and the purposeful 8-bit approach, not because I care for the NES style but because I like the intentionally imposed restrictions. Sometimes, when the sky is the limit, sloppy design can result. I'd like to see more developers give their teams pet projects like this just to hone their skills and learn the value of efficiency.

Way back in the day, resources were pretty limited. Only so much space and processing power could be dedicated to music, graphics, and levels. Every element had to count. There was just no room for fat and fluff. Today's systems overflow with resources by comparison. It's like being handed a box of 120 different colored crayons. Sometimes, the desire to use every last color in the box, even those useless metallic ones, can overwhelm good artistic sense. A lot of games these days seem to have more spectacle than substance. They suffer from loose design and dead space.

For just one example, compare two Legend of Zelda games: Twilight Princess and Link to the Past. Looking at just Hyrule Field, LttP loaded every screen with something. There were caves and holes to explore all over the place, hidden in clever ways. There were foes to defeat and friends to talk to, mini-games to play and treasures to find. Hyrule Field was packed. In TP, Hyrule Field was more expansive than ever. It looked quite naturalistic and was pretty, but it was mostly empty. What's the point of having all of that space? Was it there just because the developers wanted to convey how epically large the world was? I'd rather have a game world that was small and packed with content than one epically empty.

I have the same problem with game length. Somewhere, at some point in time, somebody decided that for a game to be worth x amount of money it had to last at least x number of hours. This unfortunate thought spread like an outbreak of Yersinia pestis in a prairie dog town, prompting developers to start padding games. Again, I don't care about length, I want content. I'd rather spend my fifty bucks on three hours of densely packed entertainment than 30 hours of game play spread so thin you could see through it.

I like today's games. I'm not looking for a return to old school design. I do, however, feel that today's games can suffer from too many crayons, too much fluff and flash. The games of yesteryear hold a lesson in tightness of design that some of today's developers could stand to learn (or relearn). Maybe the occasional project that forced dev teams to work under 8-bit constraints would help them focus on what really counts.



Related Links:

End Game: The Necessary Evil of Boss Fights


Design Resurrection: How Capcom Finally Proved That It’s Game and Not Graphics That Matters

Gimmick: not a dirty word


+ DIGG + DEL.ICIO.US + REDDIT

Comments

Alex said:

Good call. Games like Twilight Princess are definitely going for a more "realistic" approach. But it seems that they've forgotten that the purpose of video games is to create something more interesting than day to day life, not something that is equally dull as day to day life. TP could have at least thrown a few octorocks on the field.

October 1, 2008 11:20 AM

Roto13 said:

I know what you mean about Twilight Princess. I love the game, but it was like it was taking that stupid RPG approach to Hyrule Field, making it a big empty wasteland between towns or dungeons. Majora's Mask was the opposite. Termina Field was a lot smaller than the Hyrule Fields in Ocarina of Time and Twilight Princess, but there were lots of little secret grottoes and things to find. Wind Waker was kind of weird in that sense. The world was massive, and there was definitely a lot of empty space. But every single spot on the grid had an island or a reef or something, and they all had something to do in them.

October 1, 2008 12:42 PM

Bob Mackey said:

I'm with you; I think the last generation jump was way too soon, and as a result, people are really just making the same games, except with a new *required* level of detail that drives up development costs.

October 1, 2008 2:08 PM

Amber Ahlborn said:

Naturally there are exceptions to what I talk about above.  I must give an appreciative nod to Super Mario Galaxy which managed to not only look impressive, but adopted a no fluff design approach by literally getting rid of all dead space and chopping the levels into little hot spots of dense content.  You didn't waste any time running around looking for something to do, you simply flew right into the thick of things.  Obviously this isn't a formula that would fit every game, but it worked brilliantly for Mario.

October 1, 2008 2:51 PM

About Amber Ahlborn

Artist, writer, gamer and DigiPen survivor, she maintains a day job as a graphic artist. By night Amber moonlights as a professional Metroid Fanatic and keeps a metal suit in the closet just in case. Has lived in the state of Washington and insists that it really doesn't rain as much as everyone says it does.

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John Constantine, our superhero, was raised by birds and then attended Penn State University. He is currently working on a novel about a fictional city that exists only in his mind. John has an astonishingly extensive knowledge of Scientology. Ultimately he would like to learn how to effectively use his brain. He continues to keep Wu-Tang's secret to himself.

Derrick Sanskrit is a self-professed geek in a variety of fields including typography, graphic design, comic books, music and cartoons. As a professional hipster graphic designer, his recent clients have included Hooksexup, Pitchfork and MoCCA, among others.

Amber Ahlborn - artist, writer, gamer and DigiPen survivor, she maintains a day job as a graphic artist. By night Amber moonlights as a professional Metroid Fanatic and keeps a metal suit in the closet just in case. Has lived in the state of Washington and insists that it really doesn't rain as much as everyone says it does.

Nadia Oxford is a housekeeping robot who was refurbished into a warrior when the world's need for justice was great. Now that the galaxy is at peace (give or take a conflict here or there), she works as a freelance writer for various sites and magazines. Based in Toronto, Nadia's prized possession is a certificate from the Ministry of Health declaring her tick and rabies-free.

Bob Mackey is a grad student, writer, and cyborg, who uses the powerful girl-repelling nanomachines mad science grafted onto his body to allocate time towards interests of the nerd persuasion. He believes that complaining about things on the Internet is akin to the fine art of wine tasting, but with more spitting into buckets.

Joe Keiser has a programming degree from Johns Hopkins University, a tiny apartment in Brooklyn, and a fake toy guitar built in the hollowed-out shell of a real guitar. He writes about games and technology for a variety of outlets. One day he will stop doing this. The day after that, police will find his body under a collapsed pile of (formerly neatly alphabetized) collector's edition tchotchkes.

Cole Stryker is an American freelance writer living in York, England, where he resides with his archeologist wife. He writes for a travel company by day and argues about pop culture on the internet by night. Find him writing regularly here and here.

Peter Smith is like the lead character of Irwin Shaw's The 80-Yard Run, except less athletic. He considers himself very lucky to have this job. But it's a little premature to take "jack-off of all trades" off his resume. Besides writing, travelling, and painting houses, Pete plays guitar in a rock trio called The Aye-Ayes. He calls them a 'power pop' band, but they generally sound more like Motorhead on a drinking binge.


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