Obsidian Entertainment’s Tyranny is a modern take on the classic role-playing-game genre of isometric games. Unlike most games where players follow the footsteps of the traditional hero, Tyranny takes place on the fantasy world of Terratus, where the evil overlord Kyros has all but taken over the many continents and countries of the world. The player takes up the mantle of a Fatebinder, one of Kyros’ highly ranked agents who is tasked to restore order and maintain Kyros’ rule throughout the world. Following the previous CRPG kickstarter success Pillars of Eternity, Tyranny’s gameplay and graphics is built upon the same engine with a greater emphasis on player choices and consequences.
One of Tyranny’s biggest and most interesting departures from traditional CRPGs is the inclusion of Conquest Mode at the beginning of the game. Here, players are able to craft the history of the world and possible achievements of their main character during the beginning years of Kyros’ takeover. This allows for different dialogues, favorable or unfavorable actions from different factions, and various unique abilities granted by actions taken during the Conquest. This allows for a high degree of playability whenever the player starts a new game.
As mentioned before, Tyranny uses the same gameplay and graphics engine as the previous title, Pillars of Eternity. I found this to be a favorable factor when playing the game, as I was shown beautiful, handcrafted worlds and characters. The dark fantasy world of Terratus felt alive and heavy, with the use of Iron Age weapons, lore, and mythology. The phenomenal voice acting in the game helped draw me in to the world and made it more believable, and the writing style used in the text-heavy dialogue is usually worth taking the time to read through. The stories and sidequests are wonderfully written as well. Obsidian uses the term dark fantasy and uses it well; these stories included themes of rape, murder, and near impossible choices to make without all the facts available to the player. This also adds some semblance of reality to the game, as it is a bit of a parallel to our world, and what humanity itself is also capable of doing.
Tyranny’s gameplay follows the traditional roles of the CRPG genre. The game plays out with the player’s small party of characters, each with their own abilities, personalities, and histories to explore. The player’s character and his interactions with the world influences the party members’ expectation and opinions of him/her, which can lead to more dialogue options, special combat abilities, influence in the game world, and possible departure from the party if their opinions of the main character is low enough. Of course, each companion’s personalities are different, meaning certain choices and dialogue options will affect them differently; for example, saving a tribal child from slaughter may gain certain affection from some party members, and negative opinions from others. This allows for a sort of dynamic play style, as some players may try to play differently in a way they are not accustomed to, in order to keep certain party members available.
During combat, Tyranny allows for players to pause the game at anytime to allow position and slot different abilities for use. This gives players the ability to analyze the battlefield and discern the best tactical response to lead them to victory. Of course, environmental factors are available as well. Dousing the area with a water ability before using an electric ability will damage all objects in the area, as well as being able to set up traps and bait to ambush enemies with wildlife or spells. The game also includes different difficulties and modes to keep the game interesting, including traditional modes such as permanent death or no advice modes for more advanced players.
Tyranny is a well thought out and interesting CRPG developed by Obsidian Entertainment. Although the game does suffer a bit from trying too large of a departure from traditional CRPG games, Tyranny still holds well enough to be enjoyed by CRPG fans.
I recently said something in class about how narrative- or story-based video games haven’t developed much beyond branching events, and a someone mentioned open world games like Grand Theft Auto were very sophisticated story-driven games. Players could follow the main story-arc and finish the game, or they could focus on side-missions or no missions at all, if they want to.
I couldn’t express the missing potential of story-driven games at the time, but I’ll try now. Basically, interactive stories are still following the storytelling conventions of older media like movies and books. As they evolve, however, the old distinctions between “player,” “author,” and “character” will blur. The player of a game will not just take the role of a character in a predetermined story, but will increasingly be the author or creator of their own story.
For example, if we were to create a game based on a well-known story like Harry Potter, or Lord or the Rings, there are a few possible approaches:
Enable players to play the role of an established character (like Harry Potter or Gandalf) who goes through a story described in the books, or through a similar adventure within the narrative structure established by the books.
Enable players to create their own characters and go through a series of adventures within the established bounds of the books. This might be a sequel or a set of re-worked plots the player can choose from.
Enable players to control an established character or create their own characters and take them on an adventure that goes beyond a preconceived plot unanticipated by the game designers or authors of the original books.
This last item is what I mean by the potential of interactive stories. In a truly interactive game within an “open-world” setting, you might control Harry Potter to drop out of Hogwarts and become a master criminal. Or Hermione might become the first Wizard Queen of England. In a truly open-world framework, narrative choices can be mixed-and-matched the way physical objects in Minecraft can be combined.
Despite its vague definition, “Big Data” is all the rage in IT-related industries. Underscoring both the trendiness and elusiveness of the term, Forbes recently published an article entitled “12 Big Data Definitions: What’s Yours?” in which they say,
The widely-quoted 2011 big data study by McKinsey highlighted that definitional challenge. Defining big data as (#3) “datasets whose size is beyond the ability of typical database software tools to capture, store, manage, and analyze,” the McKinsey researchers acknowledged that “this definition is intentionally subjective and incorporates a moving definition of how big a dataset needs to be in order to be considered big data.” As a result, all the quantitative insights of the study, including the updating of the UC Berkeley numbers by estimating how much new data is stored by enterprises and consumers annually, relate to digital data, rather than just big data, e.g., no attempt was made to estimate how much of the data (or “datasets”) enterprises store is big data.
Aside from focusing on size and scope (“how big is BIG? What constitutes data?”), the practical idea behind “Big Data” is the systematic collection and analysis of disparate data-sets from a variety of sources in order to deduce quantifiable trends not apparent from any single data set. For example, collecting consumer purchasing information to deduce the political leanings of individuals in a given zip code. Or predicting consumer tastes based on what similar consumers purchased in the past. Essentially, Big Data boils down to making use of very large sets of data to make informed decisions about things that are difficult to directly measure.
Thus far, big data in the gaming industry is confined to online game publishers using online metrics to measure audience behavior. There have been some notable controversies as the gaming community suspects publishers’ primary concerns have more to do with Digital Rights Management than improving game performance. The last SimCity release was so mired technical difficulties that it poisoned the brand, leading to the triumph of a rival game, Cities: Skylines.
For now, rather than focusing on games employing real-world big data sets, or the data challenges and travails confronting game publishers, I’ll focus on games that simulate and manage very large collections of information.
When I think of “Big Data” games I think of either games that track large sets of information under the hood and present the user with a variety of control panels to manipulate that information, and games that begin with a small set of data and simple interactions that grow in complexity as the game progresses and the simple interactions accumulate in more complex combinations. Chess is the classic example of this second type of “emergent” complexity.
Upon starting a game, the first type of game’s myriad control panels and available options seem overwhelming, while the second type of game’s minimalist starting point seems simplistic. Generally speaking, the first type of game is “Data Heavy,” with a lot going on at the start; the second type starts with a blank canvas (or highly-ordered initial state as in chess) that gets progressively complex as units interact.
Varieties of Data Heavy Games
The most common types of “Data Heavy” games are so-called “4X” games and Business Simulation games. 4X refers to “eXplore, eXpand, eXploit, and eXterminate,” in which the player must manage limited resources to overcome opponents in zero-sum competition. Often taking the form of military or historic conflict, notable 4X games include the Civilization series and titles published by the Swedish company, Paradox Interactive: Europa Universalis and Victoria 2. According to Wikipedia,
4X games are noted for their deep, complex gameplay. Emphasis is placed upon economic and technological development, as well as a range of non-military routes to supremacy. Games can take a long time to complete since the amount of micromanagement needed to sustain an empire scales as the empire grows. 4X games are sometimes criticized for becoming tedious for these reasons, and several games have attempted to address these concerns by limiting micromanagement, with varying degrees of success.
Business simulation games, also known as economic simulation games or tycoon games, are games that focus on the management of economic processes, usually in the form of a business. Pure business simulations have been described as construction and management simulations without a construction element, and can thus be called management simulations. Indeed, micromanagement is often emphasized in these kinds of games. They are essentially numeric, but try to hold the player’s attention by using creative graphics. The interest in these games lies in accurate simulation of real-world events using algorithms, as well as the close tying of players’ actions to expected or plausible consequences and outcomes. An important facet of economic simulations is the emergence of artificial systems, gameplay and structures…
Because business simulations simulate real-world systems, they are often used in management, marketing, economics and hospitality education. Some benefits of business simulations are that they permit students to experience and test themselves in situations before encountering them in real life, they permit students to experiment and test hypotheses, and that subjects seem more real to them than when taught passively from the blackboard. They are also used extensively in the professional world to train workers in the financial industries, hospitality and management, and to study economic models (an association of professionals, ABSEL, exists for the sole purpose of promoting their use), with some simulations having in excess of 10,000 variables. Economic simulations have even been used in experiments, such as those done by Donald Broadbent on learning and cognition that revealed how people often have an aptitude for mastering systems without necessarily comprehending the underlying principles. Other games are used to study the behavior of consumers.
4X Example: Victoria 2
Victoria 2, as well as it’s American Civil War variant, A House Divided, is among Paradox Interactive’s collection of outstanding historical simulations. Because they all share the same framework, a player could begin a game in Crusader Kings II, which takes place during the 12th. Century, save the game and continue ruling your kingdom across all the subsequent titles, climaxing in 1930’s with Hearts of Iron. Which means the Holy Roman Empire or the Republic of Venice might become pivotal players in 20th. Century politics.
Business Simulation Example: Automation
“Automation is a car company tycoon game in which you design and build cars from scratch. It is you who designs everything from the very core that is the engine, over the chassis, to the suspension and the car’s looks. Several games have tried this before… but were able to merely scratch the surface… Rather than start at the dawn of the automotive era, the game begins in the year 1946, just after World War 2 and focuses on bringing modern engines, platforms and automotive concepts to market through the year 2020.”
Varieties of Emergent Games
Currently the most popular type of emergent game is the “open world,” or “sandbox” game where competition is de-emphasized in favor of experimentation and building. Minecraft and Sim City are primary examples. In these games, enormous complexity evolves from the interaction of thousands of individual units. This complexity is easier to manage, however, because the player is involved from the beginning in developing the structure. Much like a messy desk might look chaotic to an outsider, the emergent complexity of a sandbox game is intuitively organized by the player so end up knowing where everything is. As their edifice grows, the player often tweaks and adjust individual elements to create a pleasing whole.
Sandbox Example: Minecraft
Minecraft, the current game of the moment, is a great example of simple elements combined into astonishing complexity. Visiting friends in Massachusetts, their kids (age 8 and 10) were obsessed with Minecraft. They setup a Minecraft server with friends and cooperated in building elaborate castles, hideouts and dungeons within the game’s simple terrain. The game defines blocks of various materials (rock, lava, wood, etc.) with specific properties. Objects such as swords and axes help the player mine and collect the different material, combining them into new objects. The resulting possibilities continue to surprise and delight users.
The following videos show a very early version of Minecraft as a cave-exploring game, followed by a later version in which a player created an operational 16-bit computer within the Minecraft environment: