In what way has the design of the FPS changed in the past ten years?
A while back I was lucky enough to be asked to talk about what had caught my interest in the 2009 crop of video games for a Brainy Gamer podcast. The thing that caught my eye at that point was the curious rejection of a particular brand of FPS that was prevalent on the Wii and DS. Due to the technical limitations of these platforms, a game like The Conduit mostly takes place in hallways and arena structures. You’re always in a never-ending bunker, sewer, or science lab in the game. Another example would be the FPS titles like C.O.R.E. or Dementium: The Ward, which are also mostly indoor experiences. What was curious was that all of these games are receiving average scores on metacritic. In my review of The Conduit I pointed out that it mostly played like a game from 2000 or so. The same could be said about the DS titles, their level design and gameplay immediately bring to mind the old FPS days of Quake or even Doom. The player runs about a maze-like space, fighting monsters as they go, and unlock doors and flip switches to progress. What’s odd is that in an industry whose love of nostalgia can drive sales and scores of games like Shadow Complex and Mega Man 9, why is that one particular game design of fighting through indoor mazes mostly rejected? In what way has the design of the FPS moved on in the past ten years?
From Star Wars: Bounty Hero via Gamasutra
This is not to say that the linear structure has been abandoned, just that it has evolved far beyond its hallway roots. A game like Call of Duty 4 uses what might be described as a theme park ride approach to level design. The player will usually move down a wide corridor with multiple setpieces that travel between more emergent encounters like the one Gaynor describes. A careful visual language, pioneered by Valve and earlier games, helps orient the player to what they should be looking at. In that post, Matthew Gallant explains how Valve will have a flock of birds take off from a key passage or item to catch the player’s eye. Ammo and health items are often also placed where they can seen to attract the player’s interest. The player is still inside a big artificial hallway, but it feels real because they can explore the stage while being guided by a trail of visual and ludic bread crumbs. Call of Duty games also accomplish this feat by imposing objectives (like put a sticky bomb on this tank) or just having endless enemies shoot at you until you hit cover. Although not quite a wheel & spoke level, these games are incorporating tiny moments of emergent gameplay.
What defines the modern FPS, as opposed to similar games from even a mere decade ago, is the ability to break outside a linear path. One of the best analogies I’ve read on this modern take is from Michael Licht’s Star Wars: Bounty Hunter retrospective. He compares brief bursts of player choice to soloing in jazz music. Licht explains, “When a Jazz musician plays, he has to follow the song as it is written for the most part. This is called "staying in the groove" and it's what gives identity to the piece. But during the song there are certain opportunities for that artist to express himself through solos. This allows for variation in the piece without a complete departure from the overall song and keeps things from getting too repetitive or predictable.” It’s the moments you cut the player loose that make the game meaningful in the long run.