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thenonbinarydetective · 5 years ago

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MID Overview/Review

Ok so I redid it because tumblr broke the first one. Luckily, it gave me the oppurtunity to fix some of my grammar/spelling mistakes.

It’s actually even longer than before.

I’m thorough what can I say?

besides please read this it took a while.

· On the menu’s Extra Section there’s a trailer for Nancy Drew and the Hidden Staircase (2019). A movie that came out way before this game which is kinda funny

· The movement is a little janky, to put it in professional terms, it’s a little fast and jumpy. It took a bit to get used to the navigation.

· The problem with the movement really jumps out in the end in the tunnels. I could barely get my cursor around the Hardy Boys or even Mei.

· Also in the tunnels, if I went slightly off trail the game would FREAK out. I wanted to look around the tunnels and maybe get a bad end but our Sleuths but I couldn’t look around without being yelled at.

· This happens in other mini games and puzzles, whenever you mess up the characters make a snarky remark in your direction. Every. Single. Time. It would be funnier if it was only on a few occasions but it was every time I “messed up”.

· The graphics were obviously terrible. They also were variable…Somethings looked kinda okay and somethings looked awful. Like the quality changed from time to time. Sometimes even in the same frames. Frank, graphically, looks better than some of the other characters. When he and Joe stood next to each other, they almost looked like they didn’t belong in the same game. This goes for some of the other characters too.

· I don’t get why Frank was always in that pose? Everyone else stood awkwardly but admittedly it was a bit more normal. They stood with their hands towards their hips like how people typically do. Although there was a few times where people just grabbed their wrists for no reason.

· As someone who loves mythology and folklore (and pretty much anything that can be tied to into those) it was really cool to see the Malleus Maleficarum or The Hammer of Witches in the game. I wish it actually had more use in the game and maybe helped in some way. I know the book did some terrible things but it is an interesting read. As I do own a copy of it.

· Also my birthdate was used on the puzzle. Which was cool. It’s fun to be born on special dates. Except my birthday isn’t part of the solution but that’s okay.

· There’s a couple times where Nancy(and Frank) starts talking about clues or reading things out loud before I got the chance to look at them which was super annoying.

· The game crashed multiple times while playing

· The closer look at the clues was nice but was only okayish for me. It didn’t always work that well. Besides I’ve seen other games with the same function that worked smoother.

· I’m not a big fan of the new chat format. I prefer the old way. In this new format a lot of the dialogue options were getting cut off or the option didn’t fully describe what Nancy was going to say so I didn’t know what I was choosing.

· The text boxes were a bit buggy and there were times I couldn’t click on some of the dialogue options.

· The cutscenes were slow and the game had WAY too much talking. There was more talking than gameplay. The game was honestly just walking and talking

· I liked the text messages, they were fun and cute but they didn’t add much to the gameplay

· Lots of objects were clipping into each other

· Loading screens were always glitch

· The audio was off a lot of times. There were times when I could barely hear the characters over the background music or ambience sound. In Austria, I called Ned and Carson and I wouldn’t have even known they were speaking if not for the subtitles. Even after lowering the music and ambience sounds specifically and I still had this issue.

· Also Ned’s voicemail has changed. Did he make up with his sister?

· There were a lot of spelling and grammar mistakes. Almost every other written thing (books, pamphlets, and notes) had some kind of mistake. Hotchkiss’ book is one example.

· There were times when the pop-up text box was harder to read than the written thing. Not all the paragraphs were spaced out far enough in the boxes but were fine on the written thing.

· No “Can’t check that off yet.” The Checklist was unusable by the player. Unlike every other game. It did it automatically which wasn’t fun. I liked using the checklist.

· The game was so linear that I couldn’t really look around or do my own thing. When one thing was down you were immediately shuffled to the next thing. It basically made the checklist unnecessary.

· Terrible Animation. People moved for no reason. Just stuck in the same cyclical animation over and over and over again. They were pretty janky and awkward. Joe was the worst for me, he was constantly twitching on the screen. Frank was stock-still in comparison. No one else was that bad.

· Many of the mouth movements did not remotely match what the characters were saying. Sometimes nonexistent.

· Everyone’s EYES ARE SO WIDE. IT’S LIKE THEY DON’T HAVE EYELIDS. THEY’RE SO OPEN.

· The Parry’s curtains glitch in the sink. There’s a few plants that look weird, they had a neon glow on them. Olivia’s hands are always clipping through her robe and hair. In Moosham Castle there is a thing that’s inside a table. Both the Hardy Boys’ feet (and maybe other characters) were entirely in the ground at times. There were plenty of other problems like that.

· If I looked around a certain way while everyone’s talking at the Parry kitchen table Frank’s entire body disappears with the exception of his neck and watch.

· Some of the windows had a view of the town outside but other windows have this shine that you can’t see through.

· I’m not thrilled about the bystanders. Only the protest guy really helped. Over all they didn’t add to the game or help me at all.

· Dr. Hirst’s silhouette was kinda weird

· Also why did the game start in Austria??? That’s just weird? I thought we were just gonna start with Deirdre calling us but whatever

· I really hate the needless and honestly misplaced drama. Why couldn’t we talk to Ned and why haven’t we talked to Ned. It really pissed me off. Why would you put this directly after Ned’s whole “I Love and Support- This Could Basically Be a Proposal” Speech in Sea of Darkness? It’s just super off

· Not to mention the fact that the “Francy” moments in this game felt super forced. I don’t like what it does to their characters too. It feels like Ned isn’t trusting Nancy, which is crazy because he trusts her with his life. Frank is the more awkward Hardy Brother but that was ramped all the way up. Also Nancy completely ignoring Ned? What? They don’t feel like themselves here. It’s just off. This tone should’ve been brought in so soon, chronologically, after SEA. It’s out of place.

· Who was the female voice that was in the phone call with Ned? That was never answered. Was that a drama plot that was unfinished? Why not take it out of the game if you’re never going to resolve it? Why start an unnecessary relationship drama that’s both half-assed and unfinished?

· It’s kinda weird how in the end Nancy leaves the Parry house and calls Ned and we can hear her side of the conversation but not his. She’s just talking to herself.

· The phone friends were basically useless. If it wasn’t for the flashlight and the checklist I would say that Nancy didn’t even need her phone. And I guess talking to Damian Faulkner. 95% of the calls I made just went to voicemail. I want to chat about the case, talk to my friends, and get hints like we used to. I didn’t even know we could call Dr.Hirst about the ergot poisoning. I only found out on accident. I don’t know how many conversations I missed. Calling people used to feel important but here it doesn’t even need to be in the game it’s so useless.

· Just because this bugs me I don’t like the Hardy Boys starting their own detective agency. They began their work by working for their Dad. Who is a private investigator/private detective. Who runs a Detective Agency. Why would they start their own?? If you’re gonna make this a family business why not make it a family business? Right?

· May February, 1692 was an actual date they used. I think it was supposed to be February and they changed it to May. Earlier in the same note they used May so I’m guessing they didn’t properly finish the rest of the note.

· The lockpick game was visually glitch for me and the game itself didn’t work that great for me

· Joe’s hair makes him look like a fake blond lol. There are parts of his head (by the nape of his neck for example) that have brown hairs. Also some parts of his hair didn’t load properly on occasion and underneath was brown. Did he dye it?

· Which brings me to my next point. The hair was animated horribly. Frank and any of the other short and simple haired characters were okay. But probably only because they had short and simple hair. The longer haired characters were not as well animated.

· I randomly got double the Johnny Cakes when I made them. So Teegan and Olivia got extra.

· I will admit that making the Johnny cakes wasn’t the worst cooking minigame we’ve had in the games before.

· Frank getting the Frankenstein ones were a little obvious. It also didn’t feel as personal as the other ones oddly enough. We had a fun little dialogue about the design with everyone but Frank. He just got some cringey “I’ll eat these right away” kind of dialogue.

· I wish the truth serum was actually useful. Solving Tituba’s poem and going a bit out of the way to get the ingredients led me to believe it would be used for more than some “fun” dialogue choices. Joe and Deirdre are the only ones to use it. Which leads to some cute moments in which Deirdre admits she actually kinda likes and admires Nancy. I love her. Joe says he always tells the truth (no) so he doesn’t know how to tell if it works. I love him.

· Maybe it’s just me or the audio was off but Carson sounded different in Austria than he did in Salem.

· The use of the ergot poisoning was kinda of awesome. It’s one of the most popular theories on why Salem went bonkers and it was interesting to see it used to trick our favorite sleuths.

· The note to save Deirdre didn’t appear when I clicked on it. Frank (and I think Joe) reacted to it but it didn’t let me examine it. The bug fixed itself by closing the examination and clicking on it again.

· I love how the “ghosts” were handled. Especially them being hallucinations. My favorite was in the cemetery with the Hardy Boys and Olivia. The screen got kinda weird and everyone started to get worked up and really tense. They started fighting and you could see Abigail before they did. The build up to it was fantastic. The other scenes were cool too.

· The tunnels where the “ghosts” jumped out at every wrong (and sometimes right) turns while you’re desperately trying to escape the tunnels with Mei was pretty awesome. One of the jumpscares even got me.

· THERE WAS NO ENDING LETTER. She wrote a letter to Ned in the beginning but she never wrote a second one. Sure we sorta got to see how everything turned out at the party but it’s not the same. It doesn’t feel properly ended.

· I lowkey ship Jason and Mei. I could totally picture the two of them making out in those hidden tunnel rooms beneath Salem. Not just because I would too. This easily could’ve been another unfulfilled romance sideplot.

· Some of the books/notes really didn’t feel that helpful. I did learn some new things about Salem but I don’t feel we used the knowledge we gained properly in the game.

· The Jack O Lanterns were fun.

· The parallels between the Judges of the Witch Trials and Judge Danforth was a pretty interesting plot point. There definitely is a difference between accusing witches and accusing someone of arson when they were 9.

· Teegan’s guilt for both the shed and Hathorne house was something I didn’t really expect. It was a good plot twist. I can see how it was hinted earlier on by Lauren who says “Teegan likes to protect what’s important to her, sometimes that’s Mei.” Sometimes being the key word.

· The Hardy Boys being home-made ghost hunters was hysterical and adorable. I want them to have their own games soooo badly.

· I am completely on Joe’s side that we can’t prove that ghosts don’t exists, even if we can’t prove they do exist.

· I knew Alicia was the bad guy the second she started shit-talking Ned without knowing him. Only bad people don’t like Ned. He would never force Nancy to become a housewife, that’s not who she is and he loves her for who she is.

· I did “OK Boomer” Judge Danforth. He deserved it.

· I loved the little tidbits that we got of Frances’ and Lauren’s relationship we got to hear about. It’s really sweet.

· The comparison of Jason being a fast food cheeseburger with extra extra extra cheese and Ned being a home-cooked meal is perfect. Home-cooked meal is a great way to describe Ned.

· Either way they’re both snacks.

· Ok Jason’s ugly in these graphics but it was implied he was supposed to be hot.

· Jason could’ve been a true himbo but unfortunately he wasn’t

· TBH Ned, Carson, and Damian were the most attractive characters in the game. Only because they weren’t subjected to these graphics.

· I loved the Ghost Wavelength Spectral Analyzer 2.5 the Joe Hardy Guide to Amazing Finds but I hate the spectral analyzer itself. That mini-game was the WORST. It took forever!

· Alicia was straight up just gonna kill everyone. I’m doubting her biology knowledge.

· Also if you wanna raise kids in a more “modern” environment just freaking move. I know there was money in that real estate deal but there’s real estate in other towns.

· I love Deirdre. She’s really funny and kinda sweet. Even though she likes Ned (and maybe Nancy too lol) she doesn’t try to break them up or get between them. At least not anymore. She knows how much Ned loves Nancy. She even gave Nancy relationship advice. Which Nancy desperately needs because she terrible at this.

· This is just me but I kinda wish Nancy had an original idea for their vacation instead of just going back to Austria. Maybe let Ned pick this time because he’s the one who has to play catch up all the time and it’s only fair.

· Carson’s an adorable dorky dad and the only rich white man I trust. I’ve said it in my tweets and I will say it until I die. No one can take that away from me.

· This may be repetitive but I don’t like what this game did to Ned, Frank, and I guess even Nancy too. Ned knows about Frank’s feelings for Nancy. And now needless, useless, meaningless drama is gonna happen. I hate it I hate it I HATE IT!

· Just the relationship drama didn’t add a thing to this game. It was stupid. Especially because it was unfinished. It should’ve just been taken out.

· Joe looks 13 and way to skinny. He’s the brawn to Frank’s brain. Yes, he’s smart too and Frank isn’t weak. However, Joe is way stronger than him. If there has to be a scrawnier Hardy Boy, it’s Frank and we all know it.

· To quote Joe he’s got Man Strength™.

· Cause “Boy” is only part of the title, but Hardy Men doesn’t have quite the same ring to it.

· At times it feels like that the creators forget that Joe’s supposed to be smart too. There were times where it felt like they made him a total idiot. Though that could be personal too.

· Frank being a total Captain Obvious, perfect.

· They’re both puppies that got turned into human boys. Frank is just a calmer puppy

· Love that Mei’s going to Waverly but some of the other references fell flat. The Cat thing and the “I only smoke when I’m on fire” thing. It’s just not the same.

· Jason deserves the Not-As-Much-of-a-Jerk-as-You-Could-Have-Been Award.

· Mei’s a sweetie when she finally lets you in.

· The multiple endings seemed to have changed from different culprits to just what happens to Hathorne House and/or Teegan (I think). They seem to be pretty much the same. I did expect that as that has often been my experience with “multiple endings” games.

· I’m glad that both the Accused Witches and Lauren can get the house. It seems right for that to happen.

· Olivia’s pretty funny. I have a thing for eccentric characters. And it was funny how she tried to induct us into the coven at the end.

· The red/ginger hair superstition is a real superstition and I’m glad it was used. It’s for witches, werewolves, and vampires. Not just that gingers have no souls. (from the Malleus Maleficarum)

· If there is another game, I hope it’s the Nedcy vacation. And that we actually get to see Ned lol. I don’t get why he has never made an in-game appearance. It’s a little unfair at this point.

· Considering Emerson College is 39 minutes away from Salem and we still didn’t get him, I doubt it. Even though they mentioned both Salem and kidnapping Ned in Labyrinth of Lies.

· Also that the next one feels more like a Nancy Drew game.

· There’s no puzzles and there’s so much changed that it doesn’t have the same feel to it.

· This doesn’t feel like it took 4 ½ years to make. It feels like it took less than ½ a year. I can tell that things have changed because pretty much all the people who worked on it originally got fired. And that the Austrian game development company that took over everything (besides licensing) struggled to match the quality of the previous games.

· It definitely wasn’t beta-tested or was barely beta-tested. Quite a few beta-testers have come forward to say they didn’t get the offer to beta-test until September of this year. A month before preorder. Yikes.

· I know I got a little mean for some of the points but coddling the company by just saying positive things doesn’t help. They’ll get comfortable and give the fans worse things than this. I’m not an expert but I’ve played and learned enough games that I know some basics about how they’re made. It’s not easy but that doesn’t mean we should excuse things because of it.

· There’s been a lot of controversy with HER and Penny and this game and probably more. I’m not gonna get more into that besides mentioning that things changed because of this and not for the better.

· I probably missed somethings but whatever this is over 3000 words. I covered the basics and then some.

· This game is just a 2.5/5 for me

#nancy drew #mid spoilers #midnight in salem #ned nickerson #nancy drew games #herinteractive #frank hardy #joe hardy #the hardy boys #the hardy brothers #mei parry #teegan parry #olivia ravencroft #lauren holt #judge danforth #jason danforth #alicia cole #deirdre shannon #carson drew

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jesawyer · 5 years ago

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Unsolicited Opinions on Improvements for Mordhau’s Frontline Mode

In spite of not being particularly good at them, I’ve been a fan of competitive team-based, objective-oriented FPSes going back to Wolfenstein: Enemy Territory and Battlefield: 1942. When they’re good, they’re great. The thrill of victory/agony of defeat on map like W:ET’s Fuel Dump is hard to match in either a single player game or a standard DM/TDM environment.

When I saw that Mordhau was coming out with a team-based, objective-oriented mode (Frontline), I was thrilled. Mordhau’s combat is challenging and I always appreciate when something is...

There are problems with balance (HORSES) and, as with any online competitive game, the in-game chat being a vortex of brain-destroying negative energy, but the developers at Triternion have already discussed plans to address those issues. And while they’ve also discussed plans to look at Frontline, that’s not going to stop me, who has no experience working directly on team-based, objective-oriented FPSes (other than giving advice on Armored Warfare, I guess... ), from giving my unsolicited opinions on how Frontline could be improved as a mode of gameplay.

I’m an RPG designer, so if anyone reading this wants to dismiss these ideas immediately, feel free. Take ‘em or leave ‘em, baby!

Things I’m not Going to Address (Except Here)

It’s worth saying things that I’m not going to really dive into because I don’t think they’re problems with Frontline as a mode. First, weapon balance. I have opinions on how weapons and weapon costs are balanced in Mordhau as a whole, but I don’t think any Frontline map is made or broken because of overall weapon balance. Horses and firebombs are sort of the exception here, but Triternion has already acknowledged problems with both, so there’s no point to beating on that billhooked horse.

Second, in-game chat being a cesspool of idiocy. I mean, it absolutely is, but it’s also 100% unnecessary for playing Frontline. Because Frontline has a single conflict point at any given moment of the game, it’s really rare that any deep team coordination is required. And if the mode evolves to require better coordination, it would be better served by the existing voiced in-character quick bark system (which is not dissimilar in overall structure to Wolfenstein: Enemy Territory’s) than by requiring characters to type in / read text chat.

As a reminder, you can disable the chat log entirely from the options menu. In my experience, it is only an improvement.

Asymmetry

One of the first enormous hurdles to achieving good gameplay balance on any Frontline map is that every Frontline map has either asymmetrical map layouts, asymmetrical objectives, or asymmetrical map layouts and objectives.

It’s hard to un-ring the bell on these design decisions, but it’s important to recognize that when both the layouts and objectives are asymmetrical, it’s significantly more challenging for designers to achieve what feels like (to players) a fair set of challenges for both teams.

On maps where the layouts are close to symmetrical (e.g. Mountain Peak), it’s important to ensure that the final stage objectives feel like they require a similar amount of time, effort, and focus to complete. Of course, Mountain Peak’s final stage objectives don’t require a similar amount of time, effort, and focus to complete, so whether your team wins or loses once pushed back to their final spawn can feel like a tooth-and-nail struggle (pushing the ram to red) or like you suddenly lose out of nowhere without even seeing the final objective fall (burning tents in blue).

To compare these two objective types, we can look at how they work in games like Overwatch or W:ET. The ram at red is like an Overwatch payload and other than the fact that it moves, it’s not much different from flag objectives in Frontline. Blue players stand around the ram and it moves -- unless red players stand in the area and/or kill the blue players in the area. Unlike an Overwatch payload (or the train car on W:ET’s Rail Gun), the defending team cannot reverse the direction of the ram once it starts moving. They can only stop it (reclaiming their nearest flag will also halt forward progress). The ram is easy to track and players from both teams can try to dogpile onto it (or the nearby flag).

In contrast, the tents that blue has to defend are spread out over a relatively large area. A single red player can throw a torch and light up a tent and there’s not much blue can do to stop it. Of course, red can just forget to do it, which is a real and separate problem, but all of these problems contribute to making the final objectives feel massively different in terms of the effort and coordination required to accomplish them.

It would probably be easier to change the objectives on Mountain Peak than to try to use map layout as a balancing factor. On maps like Grad, where the layout is so totally asymmetrical, making the final objectives more symmetrical could help a lot. Even if both red and blue had to destroy three carts, the layouts of the final objective zones are so fundamentally different that the experience would be inherently different. And that’s really the goal, right? That it feels different winning as blue than it does winning as red? I believe most players would rather have symmetrical objectives that feel more balanced for each side than to have asymmetrical objectives that feel massively lopsided in execution.

Map Refinement

This is related to asymmetry, but is a separate issue. There’s a lot that could be edited out or changed on each of the existing Frontline maps to make gameplay more enjoyable. A relatively minor, but significant, change on Taiga’s layout made a huge impact on the viability of blue taking the central flag. There are two types of map refinements that are important: large scale and polish.

Large scale issues are things like Grad’s subterranean dungeon. I would argue it doesn’t need to exist at all, but a reasonable argument could me made that having another path into the castle is valuable for red. Still, it could be cut in half in terms of overall complexity/size and it would still accomplish the same goal.

Another large scale issue is the distance of blue’s spawn from the center of Crossroads relative to the distance from red’s spawn. Blue’s is quite a bit farther away and their path is obstructed far more than red’s. Additionally, red horses can (and do, nonstop, every match) run circles through blue’s spawn. I don’t think it’s unreasonable to expect that the base spawn of each team should be blocked from continuous horse access.

In general, looking at each team’s spawns relative to the capture point between them, consider if each team has a similar burden to access the capture circle in terms of distance, obstruction, and vulnerability to enemy harrying tactics (i.e., prior to even entering the circle). If they don’t, address those as part of large scale map changes.

Polish issues are things like the myriad small collision hangups that exist on almost every map. E.g. on Crossroads, overhead clearance between the ground and stairs in the central fort, the chunk of debris on the ground just around the NE corner of the base of the central fort, and red’s ramps over the palisade wall. Making movement collision accurately model every bump and nook and cranny produces frustrating experiences for players. Smooth out the collision to produce walking surfaces that don’t stop player movement because of minor, almost imperceptible height differences. If smoothing the collision out makes it differ too much from the world geometry, change them both.

Catapults, Trebs, and Similar Instant Death Machines

Speaking personally, I don’t think these add any value to Frontline. When I get killed by one of them, 3/4 times I had no indication that danger was imminent and in many situations there was nothing I could to avoid death. E.g. on Grad, it’s easy for red to launch catapult shot over the wall into the smithy, giving even players who are looking in that direction less than half a second to react (i.e., realize they will die) to the enormous stone sphere as it crests the wall.

If these siege weapons continue to be a part of Grad, Camp, and other maps, please give players an audio/visual cue - regardless of where they’re looking - that death is inbound.

Airstrikes and artillery in W:ET are preceded by colored smoke and distinctive sounds that give players a window of opportunity to get out of the way. I’m not saying there should be smoke where they will land, but a better audio cue would go a long way to making siege weapon deaths feel less random and arbitrary. Yes, silent death from a catapult is realistic, but it’s obnoxious from a gameplay perspective and can instantly change an objective from being threatened to being completely cleared.

Better Audio Cues

Players have a difficult time focusing on Frontline. It’s just human nature. There’s a reason why Overwatch focuses everyone toward a single payload that they stand on.

Wolfenstein: Enemy Territory used voice of god-style announcements to indicate when major map-critical events were occurring and to tell players what they were supposed to be doing. At the start of Fuel Dump, the Axis announcer says, “Don’t let them construct the bridge! Construct the command post!” When the Allies construct the bridge, the announcer yells, “Bridge constructed! Destroy it!” The announcer keeps track of every major game state and constantly reminds the players where they stand on the map. When dynamite is planted on an objective, everyone in the game is made aware of it and it focuses their efforts on defusing it / ensuring it goes off. Critically, there is a window in which the defending team can rush to the objective and stop / reverse what has been set in motion.

In Frontline, when enemies are attacking a flag, players on the defending team don’t get an audio cue until the tide has turned in the attackers’ favor. But by that point, if a player is not already involved in the defense of the flag, it’s unlikely that they can reach the flag in time to make a difference. Better and more audio cues about the state of an objective would help focus players more on the objectives than they currently do (not much).

Audio cues can also apply to player-initiated barks being broadcast across the team. Yes, spam can be a problem, but muting players should be an easy process in any competitive online game. Mordhau already has a robust set of voice barks, but they’re only heard in proximity to the player and most of them aren’t useful in any practical sense. Being able to yell for help isn’t that appealing when it’s limited to a 15′ radius around you and everyone in that radius can already see someone feint morphing a maul into your face.

However, being able to call for help or reinforcements and having it broadcast to the team with an on-screen indicator of your location or the nearest active objective -- that could be quite helpful. Arguably one screen of the commands could be reorganized to only and always be team-wide barks: Hold, Follow Me, Help, and Charge. Need Healing or Need Repairs could also be added to the list.

Point Scoring and Display

Even players who elect to play Frontline are often awful at actually focusing on the objectives. A lot of players go into it as though it’s TDM. How many times have you seen Crossroads end and the losing team has a proud player at the top of the leaderboard with a 50:3 K:D due to running down the enemy team’s spawn with a horse for the whole match?

K:D is a fine metric for success in DM or TDM, but it’s not the point of Frontline -- at least, it isn’t when it’s away from the objectives. I think there are a variety of changes that could be made to scoring and to the display of scores to help focus people on the objectives.

First, killing and, arguably, dying on or near an active objective should be weighted as more valuable than killing random enemies 75m away from an active objective. Players currently accrue points for neutralizing and capturing an objective, but if the needle isn’t moving, they don’t earn any points for fighting on the objective. This discourages proactive defense and doesn’t motivate attacking players to push fights into the objective unless the odds are already heavily in their favor.

Damaging blockades (with anything other than firebombs, anyway) and repairing them are tedious, often dangerous activities that arguably do more to aid/hinder access to the objective than killing an individual unit. Since firebomb damage is being tuned, it may be worth considering increasing the score bonus for damaging or repairing blockades to encourage more players to prioritize taking down barriers before entering melee with people in the general vicinity.

For Frontline, consider highlighting score in a lighter color (vs. K/D/A) and either adding additional stats (healing, capture, and repair/destruction score contributions) or only showing the player’s K/D/A (no one else’s) to de-emphasize the importance of K/D/A. I’ve seen a lot of posts online where players post screenshots of someone “scandalously” at the top of a Frontline scoreboard with a poor or mediocre K/D/A. Yes, it’s not DM/TDM, it’s Frontline. The point is ostensibly about pushing objectives and helping your teammates do that. The way points are scored and displayed should emphasize that, with K/D/A only being one element.

Supply Boxes and Their Placement

I have pretty mixed feelings about deployable objects in games of this type, but rather than advocate removing any of those things, I’m going to suggest rethinking the inclusion of supply boxes and, if they stay in the game, where they are placed. Supply boxes are the easiest way to build ballistae and for that reason, where they are placed can have a huge impact on the defensive capabilities of the team controlling the space around the supply boxes.

If the developers’ intention is that ballistae should be used mostly defensively, supply boxes should be placed primarily away from central objectives, and not close to lines of sight that point toward central objectives. This promotes back-and-forth gameplay across the center, rather than entrenching the dominant team’s position at the center.

Transparency and Tuning in Objective Capture Mechanics

It’s not currently obvious to most players how the capture mechanics on an objective work. What changes the objective from Attacking to Capturing? What ratio of attackers vs. defenders are required? Some UI changes could help highlight exactly what’s happening.

Finally, I urge the developers to think about the timing of captures and how that works with spawning mechanics. It’s common for a defender on an objective to die, be unable to respawn before the objective is considered “Losing” and, after respawning, be able to reach the objective before it is fully captured by the enemy.

Is this the desired pacing of objective captures? I would guess that something more forgiving is desired. Once an objective is “Losing”, if it’s technically impossible for respawning defenders to reach the objective in time to prevent it from being fully captured, it can be extremely frustrating. Tuning the pacing of objective captures can help make the back and forth feel less hopeless, more satisfying.

Thanks for reading.

#video games #game design #mordhau

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zuka-themed-username · 6 years ago

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z-t-r: Phantom 2018

Phinally! (sorry - but I spiced it up with some stage photos this time, creds to eternalyjun/searching the tags)

I had the absolute supreme pleasure of seeing Snow Troupe’s Phantom twice during my trip to Japan in November. I had arrived with a ticket for an opening day s-seki seat in Takarazuka, but during my travels a wonderful fan club was able to provide me a b-seki seat the following morning, and holy smokes am I glad I saw it twice. I don’t know why I thought I could handle an s-seki seat - the sheer force that is Nozomi Fuuto is completely overwhelming that close up - but it was nice to not have to use my opera glasses!

For all that Thunderbolt Fantasy/Killer Rouge was my favorite show I’ve seen live, Phantom was the best I’ve seen in Japan. In terms of technical execution and emotional power this show takes the cake. While I was a bit surprised they would have Phantom near Elisabeth as they can be seen as tonally similar from a distance, I see now why they were not concerned.

Quick spoiler-free plot summary: Christine Daaé (Maaya Kiho) is an aspiring opera singer out on the streets of Paris selling her new hit single ‘Melodie de Paris’ when she is discovered by Philippe (cast A - Ayanagi Shou) who tells her to go to the Paris Opera House to meet the general manager Gérard (Ayakaze Sakina). When she arrives she finds that he has been ousted by Alain (Asami Jun), though circumstances allow for her to stay and meet the new prima donna/Alain’s wife Carlotta (Maisaki Rin). Carlotta allows her to stay, where the Phantom (Nozomi Fuuto) hears her beautiful voice. He hides part of his face behind a mask (and has a Black Angel-esque cohort) because of Tragic Reasons but still becomes her singing teacher, and she eventually gets the starring role in the upcoming production of “The Fairy Queen”. Due to Shady Circumstances something happens to her voice and The Phantom is Not Pleased. All hell breaks loose, and yes, a chandelier falls in a really neat way. There’s a whole lot of drama, and then a startlingly peppy finale as with all two-act zuka shows.

As with my other reviews this will be a total scattershot of notes and impressions. Spoilers will be indicated with a “[s]”. However as this is a show that’s been performed many times, feel free to ask me more detailed questions if they’re not answered here! And yes, you’ll want to buy the DVD/Blu-Ray. If not I might finally figure out streaming and show it.

[s] Right off the bat: in comparison to the 2004 version, Daimon (Nozomi) does not kill the gentleman (Joseph - thanks @daimongumi!) in the beginning. He instead does the tasteful tumble. The moment the set rolls out you see that there is not space for him to stumble down a set of stairs and be stabbed. The Phantom is instead shocked and horrified.

- The start of the show has an elaborate video projection during the overture (including the show curtain shown above). It does a nice job of establishing the extensive catacomb system under the Paris Opera House. I do wonder though if it was used to shorten what I call the “visual overture”, where the Top Star does a dance or some sort of interpretive performance to music at the top of a show as otherwise the plot does not require them on stage for quite some time. While Daimon is a triple threat I’d definitely put dance at #3 - and frankly I’m all for shortening the extensive moody Phantom & co. dances if it allowed her to conserve lung power for the real focus - her kick ass voice! A bit more on this later.

The Phantom pushes away the haters (I’m all three musumeyaku)

- There were amazing / borderline excessive projections whenever the Phantom was onstage, and I guarantee they will not show up well on the recording. I can only hope they do not wash out costuming and lighting. I feel like they were supposed to be tendrils of darkness, though as they were projected light it looked instead a bit like vines. When Daimon was wearing the sage green lounge wear later it was especially noticeable. Again the image doesn’t do it justice (but can we appreciate this shocking apple green color?)

Another set of Incredibly Insightful and Deep Notes directly from my intermission scribbles:

- “Carlotta is hilarious”

- “Maaya Kiho is perfect”

- “Nozomi Fuuto is perfect”

- “tiny organ”

- “hella candles”

and lastly,

- “shady swag Willy Wonka”

which works better with a crossing the silver bridge gif but for now:

Anyway back to more fleshed out thoughts:

- To the clown and the jester in the far back of the stage during Melodie de Paris: thank you.

- More specifically, there are about five “rows” of Parisians on stage during Maaya Kiho’s introduction, and there was one performer in the far back right dressed like a jester. They started out juggling. Kind of. There was another civilian with them pretending to be entertained. They juggled for about five tosses, then headed offstage. “Ok,” I thought, “let’s see what else is happening.” I looked to the far left and there was a terrifying old-school clown clowning around. I was impressed with the costume and the commitment but quickly looked back to the right. The jester had returned. With a pillow. And was spinning it like a basketball. Just like a regular couch pillow with tassels. Spinning it on her finger until it started to wobble, then she’d reset and try again. It was riveting.

I have so many questions. Did jesters do this? Are you supposed to be juggling the whole scene? Why did you exit the stage and not just bring the pillow with you at the start? Did this change every night? Whose pillow is this? Are they ok with you spinning it like that? Where did this come from?? How -

(By then the scene was ending, and thank goodness I knew the plot otherwise I would have been completely lost. Also thank goodness for seeing the show twice, as Maaya’s voice is a golden treasure and if I had been too distracted to listen to it I would have been quite upset with myself.)

- Asami Jun as the new, slightly skeevy general manager of the Opera House is a joy. I had so much fun watching her be so into Carlotta, shooing people away or making a path for her wherever she went. He showers her with compliments and is utterly distraught when he misspeaks. I can’t imagine what Ayanagi’s interpretation would be like, as she was so fantastically sincere as Philippe, but I’m glad they will have a chance to stretch themselves as actors, since there’s really only one solo song between the two roles if I am remembering correctly.

- There were two musumeyaku Phantom followers and it was nice way to break up the choreography. While I am still not 100% convinced that the followers as a whole are incorporated effectively (I would like to see more interaction between the Phantom and his followers outside of setting them up to make mischief), they executed some interesting choreo well.

- One thing that really struck me throughout this production is how well Takarazuka as a whole is able to create worlds on their stage, through the simplicity / complexity of having a ton of background people onstage telling silent side stories. Sometimes sheer volume works, as with large city scenes (here Paris, also Guys & Dolls’ New York City), but also in any number of smaller cafe or club scenes. While painstaking measures are taken to ensure it does not interfere with the Top Star or Top Musumeyaku, it is still motion on stage that can draw the eye away (*ahem* jester). I would like to highlight my second favorite set of background characters, the prop guys in “Home”, as an example of how tricky this balance is. Plot Happens and Christine finds herself with some laundry and some music backstage in the opera house and begins the setup for her big solo turned duet, “Home”. Maaya is near the front of the stage, to the right in a light spotlight. Behind her are 4-5 sets of 2-3 people representing different segments of the opera company. There are dancers, some folks around a piano (I think), costume folks, and two guys on the far left checking props - our Spear Guys. They are all doing some light tasks amongst themselves. When Maaya begins singing, they all stop, except for the Spear Guys who are still joking around. As the song continues, they freeze and another group begins moving. This repeats until each group has had a silent solo, moving about behind Maaya until the huge Phantom set piece rises from the stage. The first time I saw the show I was seated on the far right - prime Maaya placement (thank you!!), but also lined up to have the Spear Guys right behind her. The second time up in b-seki it was not nearly as distracting as I could see the 15-20 feet between them and Maaya, but they still didn’t stop at the start like the other groups. I don’t think for a second they missed their cue two days in a row, but I do find it interesting that the direction does not have the entire stage freeze for Maaya’s intro. I wonder if that would be more distracting - to have 10-15 people suddenly stop moving and then have small groups begin moving, so they instead try to smooth out the transition with our Spear Guys. Or perhaps they wanted to highlight that she’s not a big deal yet as a laundry girl, despite this being a big song, so they don’t emphasis it as much with total stage isolation.

I don’t know why this specific thing stuck with me, perhaps I just wasn’t used to “Home” being staged instead of just an audio recording. But I won’t let this more intensive thought on direction make me forget to mention that: I sincerely hope no one gave Daimon any direction after opening night in regards to her facial expressions whenever the Phantom hears Christine’s voice. Idk if new tumblr will allow the gifs, if y’all pick up what I’m putting down.

- A quick side note: the sets and costumes feel refreshed and much more intricate. I’m somewhat surprised they were able to load the huge set pieces just four days after Castle of the White Heron. Huge shout out to the Takarazuka Theater Stage Crew/Staff.

- This goes without saying but Daimon and Maaya’s voices were flawless. I have a note that “Nozomi actually out-sung the ensemble”, which, duh? Her voice + microphones? I wish I could remember what I was going for there.

- There’s a song contest in act one, and frankly I think they should make the song the ensemble has to sing the actual contest. Boy does that song not translate well. It’s incredibly fast and while Snow Troupe does their best it’s legitimately impossible to follow. I need to see rehearsal footage to see ensemble folks just be like, “whelp this is fastest I can go, how are you doing?” and the shrugs in response. And then Daimon being like, “well I had a to practice a bunch but when I did it over a decade ago-” *nails it*

[s] When Christine faints from, idk, finally having a chance to follow her dreams and then promptly being poisoned, and the Phantom ‘sweeps her off her feet’ to his underground dungeon palace (with way too many candles - I assume candle maintenance is what the followers do most of the time), it was more of a ‘1 - 2 - hngh” on the Phantom’s part. I heard that it was very quickly taken out and I can attest that it didn’t need to happen if Daimon was going to hurt herself. Also I like that it gives Christine the tiniest bit more agency if she has to stumble through the mirror with him instead of being completely unconscious.

[s] Speaking of which, Maaya’s approach to Christine. This is another tricky thing that I could write a short essay about. In this version of Phantom, (compared to Andrew Lloyd Weber’s The Phantom of the Opera where Raul, a Philippe-type, is immediately there to try and help with the creepy Phantom situation) Christine is much more isolated, and greater attempts are made to humanize the Phantom. We get the sad details of his birth, upbringing, and current situation, including the weird twist that Christine looks just like his mother. Another essay could be (and no doubt has) been written on that topic, however what I would like to focus on is that Christine is aware of all of this information. She’s aware of how he ended up with a “horrendously” disfigured face and why he is deeply ashamed to the point of violence if discovered. So when she uses her beautiful, angelic voice to convince him to take off his mask, sees his face, then runs off screaming, it’s truly heartbreaking. There are a million ways to play this scene and the character up to this point, but the unfortunate reality is that Christine has to run out of the grotto/garden in order to make it back up to the opera house (somehow, which brings up more questions) for the plot to proceed and for last 40-50 minutes to happen. Therefore the actress is a bit stuck. With that eventuality in mind, I think Maaya makes Christine as ‘modern/realistic’ as possible, in that she screams without too much fear, and her face is a bit.. flat? I don’t mean that in a negative way. I wouldn’t be surprised if she received a few notes along the lines of, “be sure to be really scared by his face” but wanted to treat Christine as a woman that could understand - or simply wanted to have the chance to understand - the man under the mask/scars, so her reaction both times almost looked like, “ok I’m screaming and running because the plot requires it but I’m here for you-” *and gone*. This is reinforced by the much stronger reaction she has when she realized she made a mistake and struggles to go back behind the mirror to him, and her polite but not very enthused duet with Philippe (side note: the Phantom walking up with flowers after that scene - a punch to my stomach). I don’t even think it’s out of true romantic love, but out of a desire to truly understand. For all that they come from different backgrounds, they do have the same goal of making beautiful music, and with this much less murderous interpretation of the Phantom I could root for them. This is in stark contrast to the 2004 version, where I was much more ok with the Phantom’s demise in the end.

[s] That all being said, Maaya’s voice in the song that convinces the Phantom to remove his mask is f*ing beautiful. I am legitimately tearing up just hearing the echoes of it in my memory. When the Phantom is alone and breaks down crying after tearing down the world around him (quite literally), he is perfectly centered on the stage and just so small. It’s an amazing bit of staging that tore out my heart. The use of religious-style themes as well is just crushing.

[s] Speaking of which, I can’t forget to mention the incredibly long but intense story of the Phantom’s upbringing with this gorgeous stained glass in the background:

[s] The suggestion of questionable morality by tilting it is clear and fantastic, the dancing and anguish throughout is just flawless. For all that it does not make me sympathetic for the weirdly young dad (yes yes struggs of being nibante and not senka), I could still get behind the raw emotion of it all, which is rare for me. The “Ave Mariiiiiiia” is now ringing clearly in my head as well and I’ll just say good luck buying the soundtrack because I already ordered every copy.

[~s] Not quite a spoiler but at one point the Phantom is in a boat with Christine and is wearing a standard suit with tails. Intermission hits and when we come back to to our seats the plot has not progressed and yet they went and Top Star’ed the suit to make it the intricate blue one shown in most of the promos. I chuckled a bit.

- This happens much earlier in the show but Carlotta’s song introducing the frenzied world of opera is so fun and amazing - I remembered it just now as if my brain was trying to lighten the mood for me. You could tell they really reveled in the lighthearted scenes and nailed all of the comedic shenanigans.

- Come to think of it there’s a lot of tossed paper, envelopes, letters, music, etc. that is wild yet contained, though there is a letter dropped from the ceiling that juuuust barely made it on stage on the second day. It fell in the slot between the lights and the orchestra pit and I hope there’s a day where a musician has to hand it to them XD.

- Despite the age of the show it felt quite fresh, and the staging did not feel nearly as stiff as say, Elisabeth. That being said, all of the Phantom’s emotional struggles had the same setup of powerful song into a moody dance (except the big rehearsal scene, which is still all dance, though modified). This makes sense given the previous set of Phantoms (Wao Youka, Haruno Sumire, and Ranju Tomu), but I think for Daimon flipping the song and dance would have been beneficial. It would have been a bit hassle in terms of structure and orchestration, for sure, but continuing to shorten the Phantom-centric dance segments in exchange for a smoother and higher emotional peak, along with extended glorious singing by Daimon (also because the Phantom is a composer, not a choreographer) would have been neat.

[s for a bit] And here I was about to go into the auxiliary musings without detailing Daimon’s approach to the character! It was, in short, exactly how Daimon would approach the role. A total cop-out description, but I still think the most apt, despite me being unsure of how she would approach it before I saw it. Daimon has a way of blending vulnerability and ferocity that is quite unique to her and on full display here. The Phantom as a character is emotionally stunted and traumatized. He has the full strength and rage of an adult that has been wronged, the anguish of an artistic teen trying to find his voice, and the naivety of a boy that has only been loved by a woman that was scorned by everyone else. It is quite messed up when you lay it all out, and yet it does not allow for violent acts such as physical/emotional possession of another person and straight-up murder. As I mentioned before, when I saw the much more intentional murder in the 2004 version I was engaged and impressed by the gutsy-ness of it. “A Top Star is a villain, wow!” The emotional appeal in the second half of the show for me fell flat, until the very end when Hanafusa Mari is cradling Wao because of the sheer power of their Golden Combi. Hence I always saw the role as one or the other. A Phantom that is a villain with selfish desires (2004) or a misunderstood artist that gets swept up in emotion and acts out (2006). Here I can see both existing simultaneously. When Daimon is sad and aching, she is sad. Make no mistake, she was crying, many people in the audience were sniffing - two people on the second day had like racking sobs they were trying to control. No doubt a result of having seen it live, it is difficult for me to look at the character as a whole and cast one final opinion - I’m thinking of core scenes and moments where the emotion - sadness or rage - is just so strong. That’s something I think, whether or not you’ll like it when you see it, you can’t deny. Daimon’s expressive face is conveying every emotion quite strongly. When she goes to kill Carlotta, (RIP, you suck for sabotaging Christine but damn do I love your attitude) the intention is quite clear. Carlotta messed with Christine, so she’s gotta go. It’s terrifying, the calm appearance and slow, methodical style at first. The only thing that makes it mellow out for me is the absurdity of the red outfit and mask. It’s clear he raided the costume department and/or worked on the outfit for sometime despite being so incensed the moment he discovers who is at fault. Regardless of that flash of comedy, the cold intent is classic evil scary Daimon that I wanted to see.

What then I like about this is that we have three different situations with three different outcomes instead of just “too much emotion = murder”.

In 2004 we have:

someone saw the facial scarring -> murder

Phantom is not a fan of the new way the opera is being run -> murder

someone messed with Christine -> murder

In 2018 we have:

someone saw the facial scarring -> an accident/fall out of fright (This sets up better how “genuinely scary” his face is when Christine sees it. As an aside, his body still shows up in the glass case later on so I guess someone had to go find his body? I figure the followers had to draw straws, but that the Phantom would capitalize on it regardless is problematic.)

Phantom’s not a fan of the new way the opera is being run -> someone passes out from fright or overexertion during the Phantom panic?

someone messed with Christine -> oh shit, murder

This makes the murder all the more shocking, to the point of nearly being out of place, but the murderous intention comes not out of habit but because of love/infatuation with finding the voice of an angel/their mom. Which is a sentence I never thought I would type but here we are.

While it’s not as shocking on the meta level and can definitely be seen as making the character more tame, it also makes the incredibly long appeal to his tragic background less out of left field and a bit more of a situation to struggle with as an audience member. This does not excuse the dramatic trope of being shot and then having a solid 1-2 more hours of emotional appeals on the silver bridge, running about the opera house with the most incompetent guards, and entire song reprises before then being shot again, Andre on the Bridge-style. It’s a bit too long, and I wouldn’t mind switching the getting grazed on the side scene with the Phantom/dad reunion scene, if only so we could have a moment where not only does Gerard see his son get shot but is also seen by guards having talked to him, so there is more tension in the final moments. Not to re-write the script, but throwing in a bit of smugness from the guards to be like, “Nah, he won’t shoot his kid,” - then, “Father!”, then - *bang* adds perhaps a deeper shock to the bystanders? Or perhaps it’s 1 AM and I need to finish pontificating on something I saw just long enough ago to forget more interesting details.

Regardless, that aaallllll being said, Daimon’s Phantom is one that seeks to cover every base as strongly as possible. He is the saddest, the most anguished, the most angry, the most vulnerable and the most capable of cold and calculated revenge. Thus it could read as a bit overwrought or youthful, but I think it works with this greater shift in narrative that the Phantom lacks the emotional training one would get from having been raised in a more... conventional mask-free non-catacombs environment.

[end of s]

- On the finale: y’all, I was so exhausted. This show is so much. I’m never prepared for a mini revue after a two act show and this was no exception. It was fast. I want the script-lettered “phantom” sign in my house. The songs were upbeat and it was jarring. This scene happened:

and there’s a hip move (?) that was real sassy. My face was stiff from trying not to cry and still an eyebrow twitched in surprise. When the gif hits tumblr it’s gonna blow up. Get ready for Music Revolution is all I can say. It’s already better than Super Voyager.

A few auxiliary notes:

- People were cryyyying. A lot of sniffles. Two people actively sobbing on day two.

[s] On opening day during one of the final scenes Christine plays, if I remember correctly, a few notes of the “oh you are music” line on the piano and “revives” the Phantom for a final moment. Except kinda? It went up correctly but on the way down she didn’t hit the right note and ended up with a nice jazz remix. You better believe she had it right the next day but I loved the *note, note, wrong note. tasteful pause. a note that sounds like a venturing guess. a pause. another note aaaaand the scene continued* I love knowing that she’s actually playing those notes.

- I’m not surprised if they didn’t release the opening day curtain call speeches - Rika Masumi could not remember Gaston Leroux’s name (original author of The Phantom of the Opera - and fair, this show is so far from the book I’m surprised it has to be mentioned at all) and Daimon was trying to explain the cast split but got caught up in “ums” (which sounds like “eh”), which led to a funny bit where she was like, “you know, cast... eh... eh... ah, A!” (’A’ also sounding more like “eh”). Then there were two more curtain calls at which point Daimon was literally like, “buy the CD, buy some sandwiches and drinks... go home please” and then was like, “ok let’s do a phantom mask sign-off, everyone put your hand up like this” *hand up like the phantom mask* “ok with me, ‘Phantom...’” *audience repeats* Then Daimon pulled her hand away and said “maerou!” which literally is just like, “Phantom... is over!” I’m sure there’s a more elegant way to phrase it but people chuckled and starting packing up so I followed suit. I really wanted Maaya to speak but alas that’s not how things roll. If anyone has any insight on how she said she was going to approach the role (beyond, “I’m going to support otokoyaku”) please let me know!

I’m no doubt missing a whole bunch, probably will edit in the morning, and might add some comments if I remember, but otherwise this sums up my trip! So glad to finally have it all out there and finished. Can’t wait to hear people’s impressions of the Tokyo run!

#takarazuka #snow troupe #phantom #yukigumi #nozomi fuuto #daimon #maaya kiho #murder #i was dead #but in the good way not like *spoiler*#:o

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beccaland · 6 years ago

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Beccaland’s Bite-Sized Big Finish Reviews Big Finish Fourth Doctor Sale

Big Finish have got a sale on the first five series of the Fourth Doctor Adventures, plus some of the novel adaptations, until 30 August 2018. In order to facilitate your decision-making, I thought I’d give some quick reviews of the ones on sale that I’ve listened to, under the cut. Plus at the end of my post I’ve listed some of the ones I haven’t listed to, but am considering buying while they’re on sale; I welcome your advice!

Doctor Who - The Lost Stories: The Fourth Doctor Box Set

TARDIS team: Fourth Doctor and Leela