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Hi, this is Mark Brown with Game Maker's Toolkit,
a series on video game design.
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A few months back I played Broken Age - the
point and click adventure from Double Fine
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that raised 3 million bucks on Kickstarter,
and became so bloated that it was released
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in two halves, almost a year apart.
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I generally enjoyed Broken Age's first half.
It's funny and charming, and I liked both
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of the main characters. There's Vella, who
is an unwilling sacrificial offering to a
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monster. And Shay, who wants to break free
of his mollycoddling parents.
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But when the second half came out earlier
this year, I started to find puzzles that
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had some seriously troubling design.
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Like the puzzle where this grabby hand is
obsessed with boots:
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VELLA: Wow! It really seems to like boots.
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But doesn't seem to care about Vella's shoes:
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VELLA: It doesn't seem interested in me, or my clothing.
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Or the one where these girls say they need
food, but Vella just won't give them this
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taco pill:
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VELLA: I don't wanna touch that pill until I know
what it is. Could be space poison.
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Or the puzzle that you solve by doing absolutely
nothing, or this baffling knot puzzle that's
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more like a Rorschach test.
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And then there's the puzzle that almost made
me quit me the game for good.
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There's this bit where Vella needs to figure
out the right pattern to sew into this space
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scarf. But the correct solution is not somewhere
else on the spaceship.
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It's not in Vella's story at all - it's actually hidden
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deep within Shay's story.
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That's despite the fact that in act one, there
are zero puzzles that rely on information
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gleaned from the other kid's story. And despite
the fact that you're never told to expect
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such puzzles in act two. And despite the fact
that these two kids don't know each other
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and can't communicate with one another in
any way.
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Its unfair, unreasonable, and - I say - poorly
designed.
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Which is par for the course with point and
click adventures, right? These games are filled
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with pixel hunting and moon logic and impossible
conundrums.
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Like the notorious puzzle in Gabriel Knight
3 where you have to use masking tape and maple
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syrup to turn cat hair into a fake moustache,
so you can impersonate a guy who doesn't even
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have a moustache. You have to draw some facial
hair on his stolen passport with a marker pen.
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Yes, point and click adventures had stuff
like. Stuff that was indefensibly dumb. But
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I don't think a few bad apples should doom
an entire genre.
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Especially a genre that has given us
some of the best stories in gaming history,
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and definitely some of the best jokes. A genre
that moves at a different pace to many others,
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and offers more grounded, Macgyver-style puzzles
than the sort of abstract fare you find in
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a game like Portal or Antichamber.
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So, instead of always beating on stupid point
and click puzzles - which would be easy, because
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there are a LOT of them - let's look at some
golden rules that can be used to make a good,
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responsibly-designed puzzle. Maybe we can
help save this genre from the scrap heap.
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Rule one is to provide clear goals.
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Before you even get to the puzzles, players
need to know what they're doing. They should
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always know what their short and long term
goals are, so they know which puzzles to solve,
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and have the motivation to do so.
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In bonkers comedy Day of the Tentacle, for
example, we know that our long term goal is
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to get stranded time travelers Laverne and
Hoagie back to Bernard's time in the present.
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BERNARD: Well, hurry up and bring them back.
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DR. FRED: I will, as soon as I get a new diamond. Then
all your buddies have to do is plug in their
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respective chrono-johns and...
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BERNARD: Plug them in?!
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Which means Laverne needs to get into the
basement
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LAVERNE: I can see Doctor Fred's old lab, and his generator is still there. Gee I could really use that
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power.
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And we know this means getting into that grandfather
clock and past that purple tentacle, which
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is our new short term goal.
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This might seem obvious, but you'd be surprised
how many adventure games mess this up and
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leave players directionless, trying to solve
puzzles for no good reason.
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LucasArts would often give multiple goals
at the same time, so players can go work on
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something else if they get stuck on one of
the puzzles.
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MAUREEN: The front forks are wasted so you'll have
to get some new ones. And someone stole my
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welding torch. And last but not least, I patched
up your ruptured gas tank but you're out of
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fuel and I don't have any.
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BLUE TENTACLE: Entrants will be judged in three categories: best smile, best hair, and best laugh.
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SOPHIA: You'll need all three stones if you want to
find Atlantis.
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BEN: Where am I supposed to find all this stuff?
MAUREEN: You can hack it, tough guy.
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Rule two is signposting.
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Once a player starts working on a puzzle,
the single most important thing an adventure
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can do is provide clear signposting.
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Anybody who says that adventure games are about
trying to guess what's in the designer's brain,
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obviously isn't paying attention. The best
point and clicks are littered with clues that
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tell you what to do, often by looking at objects
or talking to characters.
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So in Day of the Tentacle, if we talk to this
purple tentacle we get a nice clue that tells
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us how to bypass him.
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'TACHE TENTACLE: But no one gets to this clock while I'm here. And unless I have to go chase down some
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escaped humans, I'm glued to this spot.
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And if we chat to the guard looking after
the human prisoners, he says:
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GUARD TENTACLE: What are you doing for dinner? How about Club Tentacle? Ah, what am I saying, I can't afford
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to take out the trash let alone a classy babe
like you.
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So, maybe we should try to win the human contest,
then.
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'TACHE TENTACLE: Why, the grand prize is dinner for two at Club Tentacle.
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Signposting is like providing lots of little,
subtle goals for those who are listening and
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looking carefully.
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Too subtle and the clue can be missed, of
course. Too obvious and the player feels cheated.
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But get it just right, and the player is set
up for that all-important 'a-ha!' moment.
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That rush of blood to the brain when you
have a lead, and can start figuring stuff out.
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Poor signposting leaves players not understanding
the point of the puzzle. When Manny looks
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at this pneumatic message tube, he just says:
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MANNY: It's locked.
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Which might make you think you need a key
or to break the lock, when actually the solution
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is to slide a card into this slot.
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Trust me, even the most stupid puzzles, like
one about how it always rains whenever you
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wash a car, can be saved with good signposting.
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BERNARD: Some people think that washing one's vehicle will make it rain.
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THIEF: Oh?
BERNARD: Uh huh.
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THIEF: How about that?
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Rule three is feedback.
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A puzzle should help solve itself, letting
you know if you're on the right track and
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rebuffing you if you're not.
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If you try to do something that makes some
logical sense, it's utterly infuriating to
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hear some generic line like
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GABRIEL KNIGHT: Nope, those don't work together.
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MANNY: I don't really wanna do that
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So, instead, the player should get a explanation
of why that specific combination is flawed,
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and hopefully a small nudge towards the real
solution.
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LAVERNE: Stop chattering mummy.
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LAVERNE: The judges will think you're chewing gum. Oh this will never work.
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Follow those three golden rules and you should
end up with good puzzles. Puzzles where the
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player knows what they need to do, and has
a good idea of how to solve it, and is helped
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to come to the right answer.
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Puzzles that, if you look them up, make you
say "oh, I should have figured that out" and
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not "are you kidding me?!" Puzzles that feel
fair, and don't send the player rushing to
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GameFAQs or the LucasArts hint line.
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Of course, elevating a puzzle from good to
great is where the real creativity comes in.
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Play Day of the Tentacle when that promised
remastered version comes out, and solve the
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brilliant time-traveling puzzles that make
use of the three characters being spread across
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400 years of history to see how it's done.
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Tentacle is not perfect, of course. It requires
some real-world knowledge that not all players
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have, it's got a tiny bit of pixel hunting,
and if you don't listen carefully you'll miss
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the signposting altogether and can't always
hear it a second time.
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But if LucasArts was making it today (or,
making any games today), there are lots of
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modern conveniences that it could use to make
the experience even more palatable.
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Many games today let you highlight all interactive
objects to avoid pixel hunting. Telltale's
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early games have characters spill hints if
you fail to solve a puzzle in a certain amount
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of time. Sci-fi noir Gemini Rue has multiple
solutions to some puzzles and robot odyssey
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Machinarium gives away the answer, but only
if you can finish a mini game.
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While many blame the death of the adventure
game on these harebrained puzzles, others
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have claimed that it was the genre's inability
to evolve. 3D graphics only made the games
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more clunky, and the addition of extra mechanics
was rarely successful. They just couldn't
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keep pace with other genres, critics say.
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But I think there's lots of room for innovation,
and reason to return to this genre. Adventure
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game revivalist Wadjet Eye has games like
Resonance that turn your memories into inventory
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objects, and Technobabylon which lets you
talk to electrical objects while you're in
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a cyber trance.
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And even before the genre kicked the bucket,
games like The Last Express toyed with real-time
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adventuring, and Blade Runner encouraged multiple
playthroughs by randomly picking which characters
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would be a replicant.
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So there's plenty more for this genre to do,
and I for one hope it lives on. But it does
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need smarter, more player-friendly design
to shake off that stigma of being the genre
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of cat hair moustaches and nuisance goats.
Until then, it might never come back in any
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meaningful way. And I think that would be a shame.
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Thanks for watching! What's the worst puzzle
you've ever come across in a game? Tell us
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why it sucked so bad in the comments down below.
Also, please like the episode, subscribe on
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