A Solution for Difficulty Curves and Power Creep

Most games portray you as a hero of some sort. A common trope is for the hero to be either inexperienced at the beginning of the game, or lack his equipment. This gives a reason for why the hero does not just plow right up to the main baddie and kill him at the beginning. In any case, a lot of games suffer from a strangely shaped difficulty curve. The game starts out fairly easy as the player learns the ropes, then the enemies get harder. Finally, you max out your stats and the game begins to get easier again.

Granted, the best games suffer from this less, but a lot of games have trouble with this type of power creep. Spore is a prime example of a ridiculously easy endgame (the space stage was essentially a sandbox). Some developers solve this by making enemies more powerful as the player progresses. This can work in games where, for instance, the enemy starts to realize just how much of a threat you are. In open-world games like Skyrim, though, this makes little sense.

Yahtzee, of Zero Punctuation, mentioned in one of his Extra Punctuation an inkling of an idea for a game that is designed with this problem in mind. I have taken the liberty of gripping the nebulous concept by the horns and fleshing it out.

The game is based around the power suit you wear. It is a magnificent piece of High Technology. Unfortunately, this means that nobody is quite sure how it works. The machining of the piece is much too fine to replicate, in any case, which means any replacement parts have to come from other pieces of High Technology, which are few and far between.

At the start of the game you escape from the main fortress of the Bad Guys with some sort of Valuable Item (perhaps information). You raid the armory and steal the suit before plunging yourself deep into the wilderness around the citadel. You spend the game running from a cadre of pursuers, trying to make your way to the border. At every encounter with an enemy, it is up to you to protect your suit as much. Each blow is physically simulated and, depending on where you place armor, where the hit was, how hard it was, etc. a component on your suit has the potential of breaking. Parts also wear down over time.

The most critical part of the game is deciding how to keep your suit in working order. Some systems are critical, like the pneumatics that let you move (damage to arm parts may impair aiming speed, damage to legs may reduce speed or jump height, etc), and some are dispensable, like weapons. If a critical system receives a hit and becomes in critical danger of breaking down, you have to stop and either fix it with any spare parts you find, or scrap a non-critical system on your suit to get the essential parts.

This meta-game with the suit solves the problem of power creep. You are at maximum power at the beginning, but enemies are also at the greatest density. Slogging through the wilderness and fighting enemies wears your suit down, so by the end you are barely limping along. As time goes on, you have to choose which weapon or system to scrap for parts. This means that you get a sample of all abilities at the beginning, and can keep the ones that best suit your play style. One of Bioshock’s biggest problems was that there was no incentive to try new plasmids. I’m sure the majority of players just improved the starting set, because buying new powers was too much of a liability.

I like the idea of having the game being mostly free-world. You can choose the best path through the different types of terrain to avoid encounters. Cold environments, wet environments, and sandy environments all have different types of wear and tear on the suit. Roads are easy to traverse (meaning less food consumption and lower likelihood of suit failure) but are more likely to find troops on them. Towns and other population centers are more likely to hold supplies (food and maintenance items are critical for survival) and spare parts, but the citizens will raise the alarm if they see you, and there are likely to be troops in towns.

The catch is that any alarms you raise will alert the search parties to your general presence and means a higher chance of encountering troops. Same goes for any military engagements in which an enemy scout or survivor escapes. The game is part stealth (avoiding conflict), part tactics(managing the suit, choosing your world route), part combat (winning conflicts you get into). At the end, instead of a boss fight, you have a final battle at the border of the kingdom as the search parties converge on your position and a friendly militia comes down from the other side of the border to help you across.

Map Design

I’ve always been highly interested in creating levels for games. Computer games enchant people with their story, gameplay, and graphics. Some designer created everything I see in it. It would be incredibly fun and rewarding to wield the same power as the game designers.

Ever since I was a little kid, level design has occupied me as much, if not more than, the game itself.
I started out with games that came with easily accessible editors. Strategy games such as the Age of Empires (and Age of Mythology) have drag and drop editors accessible from within the game. Command and Conquer: Generals has an easy-to-use editor, accessible through its root directory. As I grew older I began to experiment with triggers more, crafting a crude story or giving a gratifying gameplay experience.

Most of these maps were for single-player games, with one exception. I would often hang out at my friend’s house and invite he and his siblings to compete in map-making competitions. We would take the turns crafting Super Smash Bros. Brawl maps, with a rather short time limit. The we would play a quick match on it. The best would get saved and played often. I made quite a few enticing designs in those sessions. My levels created unique gameplay situations that weren’t achieved in the default maps.

My attention slowly fixed on a new game. While I had been familiar with Halo: Combat Evolved for a while, it suddenly occurred to me that I could create single-player levels with story as interesting as the game’s campaign. I looked into it and discovered Halo: Custom Edition. I got involved in the community, and tried my hand at non-drag-and-drop map creators. While I didn’t know it at the time, Halo’s utilities are extremely obtuse. I never had much success in creating my own levels, although I experimented with new kinds of enemy formations and scripting on pre-existing custom multiplayer levels, although I met with little success in the latter. I had an entire 5-part campaign planned out, including overhead sketches, concept art, the beginnings of a 3D model (although I was still a newbie at modeling), and enticing characters. Needless to say, it never got off the ground. To this day, I dream about how cool it would have been.

A step up from Brawl, but a step down from Halo, came Halo 3 Forge. Although it was purely multi-player and was not very powerful, Forge let me create a blend of the epic Brawl maps I had forged and the Halo campaign I had brawled with. I would Forge until my friends got tired with me (I am a PC gamer to the heart, and don’t own any consoles). The recent Halo: Reach called me back to that, although the Reach Forge was so much more powerful that I never had the time to truly explore it.

After Halo, I discovered the Orange Box. Boy, did that open up a whole new world to me. I soon after discovered the Source SDK and began to explore the glorious world of Source map-making. To this day I have a campaign planned out for Half-Life 2 that follows a rebel operative as he subverts Combine operations in the American heartland. The only thing that disappointed me about HL2 was the limited capacity for storytelling (no first-person dialogue, cutscenes, or interaction). TF2, on the other hand, tells a great story, despite being purely multi-player. I am in the starting stages of figuring out how to bring a single-player story experience to TF2.

In addition to Source, Steam let me find Crysis. The Sandbox2 editor truly lives up to its name. I spent hours in that editor, sculpting tropical islands and scripting helicopter fights, beach assaults, and stealth insertions. The great thing about Sandbox2 is that it was extremely to pick up, requiring only a few tutorials from someone like Xanthochori. Crysis 2 with Sandbox3 was disappointingly more complex.


To check out some videos of maps I’ve made and other videos (I’m also into video production), see my YouTube channel.

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