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This sort of thing is common in the world of video games, where developers always have to think about how the player will approach a situation, not how the designer assumes the player will approach it. I launched a Twitter poll to see how far people were in the story about three weeks after Red Dead Redemption 2 was released. According to the poll, 19 percent of respondents had finished already, but 74 percent were still in the first half of the game.

More tellingly, 53 percent of the players who responded to my poll were still in the first quarter of the game. Red Dead Redemption 2 tests players in the first 30 hours, and it tests them especially hard in the first five to 10 hours. This section of the game is laborious, and many players are going to stop there and never continue. And neither should you. For instance, so many houses have little things wrong with them, and the way people learn to simply just deal with these flaws often boggles my mind.

You just have to push it hard. Or grab some powdered graphite for the lock?

You can get a sense of how video games operate by playing many different video games, which then gives you a sort of fluency in video game logic. This creates a situation in which strangers, for whatever reason, become very proud of how good they are at dealing with the challenges of what is often bad design.

They see it as a skill.


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Who can talk about video games? Who is allowed to review them? What gives people the perception necessary to understand the real issues that are plaguing an audience across the board? Or is that even possible? The earlier, uglier days when hyper-toxicity, misogyny, and shock humor were common and unremarked upon are seen as a time of innocence and good fun.

PDF Mrs. Morgan Rescues Two Senior Dogs! (Book Four)

Plenty of people consider themselves hardcore gamers without being guilty of this behavior, but they sure as hell are subjected to it anyway. And attempts to fight, challenge, or change this culture are met with intense vehemence and disdain. Because any response about how much you know or understand about video games just comes out as a defensive measure that feeds into tired preconceptions about how we engage with this hobby. And when you accept that reality, you accept the other reality that creating control schemes and user-friendly design is critical.

The fact that a hardcore user base will adopt a bad design scheme as a badge of pride to keep others out is a problem, not a benefit. The gatekeepers want to preserve their identity, while designers want people to play and understand their games. Those two goals are often directly at odds with each other.

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Someone from Rockstar eventually wrote to me, and I want to be clear that they were very kind and were trying to be helpful. The forest- and olive-green buttons from the beginning of this piece were perfectly clear. And the fact that the original Red Dead Redemption was so utterly beloved? Well, that leaves me with yet another big question …. Miyamoto remains famous for his innovation and his willingness to avoid trends, embrace failure, and ultimately find rousing success. And he brought the sensibilities of industrial design to everything he created. Miyamoto got straight to the point when he was recently asked how he does it.

You beat a level. You collect a power-up. You defeat a boss. You make your character better, faster, and stronger. The designer makes sure the difficult parts of the game feel challenging but not impossible, so that the rewards feel even more rewarding.

Almost every game is built upon these simple ideas. Miyamoto breaks down the first level of Super Mario Bros. He instead talks again about that feeling of accomplishment. He correctly identifies the fact that it is the purposeful creation of feelings that grounds us in a game, not a false commitment to overt realism. The enemies are a nightmare, the bosses are challenging, and the games are filled with dastardly traps.

Each one is designed to be difficult. The most important thing about that difficulty is that the controls themselves are actually simple and intuitive. And I could talk about the incredible design of these games forever. The enemies in the Dark Souls series evolve in terms of difficulty, and each monster or character you fight has its own series of movements and attacks. You need to constantly study new enemies you encounter to learn the perfect timing necessary to hit them before they hit you, and it usually only takes a few hits to kill you. The weapons you use require you to learn specific timing as well.

Heavier weapons are more powerful, but they take longer to swing.

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  • You need to make sure you have time to finish the attack before committing to the big hit. Precision, in both placement and timing, matters a great deal.

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    A few inches or a few seconds can mean the difference between a devastating attack on a boss and instant death. So these games are punishing in terms of difficulty, but that difficulty usually seems fair, despite the often cruel traps. But the developers of Dark Souls embrace death. You are resurrected at the last bonfire you used, and you have one opportunity to return to the place of your death and collect the souls you dropped.

    And since the designers of the series use failure and repetition to teach you how to actually progress, this happens all the time. The goal is for you to learn the positions of traps and to master your enemies, their attacks, and the timing necessary to defeat them.