It's debatable if there's a "perfect" opening level out there. One that can set the tone, explain basic controls, introduce some of the key objectives and invite the player into what will hopefully an excellent distraction for the next 8+ hours of their lives. There are some that do certain aspects better than others, I could even list a few. We'll see where the night takes us.
TONE
Setting a tone is crucial. Take horror for instance. (Yes, the easiest to make an example of.) You start off in a seemingly abandoned mansion in the middle of nowhere with few supplies and no backup. It's also nighttime. And something just made a noise in another room. You're alone as well, just to top things off. All in all, the tension is going to be pretty high. You're suitably anxious about going into the other room and investigating. At the same time, you know the game won't reward you for standing about wetting yourself and crying.
Generally, that's how a survival horror game should start. You're on the back foot and trying to get your bearings while your brain tells you to save one bullet for yourself.
I think where it goes wrong is when someone thinks to themselves "Yeah, but what if you aren't powerless at the start? I want to kick some zombie ass! But in a graveyard because horror." That guy needs to learn that a setting isn't tone. It's the difference between Resident Evil and Doom. (Or Resident Evil and Resident Evil 6) Scary monsters: check. Environs devoid of hope: check. In Doom, you're tripping over ammo and health like a supply plane does a fly over every 20 minutes. In Resident Evil, however, you need to decide if the bullets you have will see you through to the next save point.
I'm not saying it should be all doom and gloom but feeling empowered should be fleeting and fragile. (See Top 10 Weapons - Colt Python. There are only a limited number of bullets in the whole game. Aim wisely.)
How the player is feeling is what's important. Fear of being helpless, alone and dying is what sets apart the best from the worst. You shouldn't be kicking doors in looking for trouble, trouble should be looking for you.
Generally, that's how a survival horror game should start. You're on the back foot and trying to get your bearings while your brain tells you to save one bullet for yourself.
I think where it goes wrong is when someone thinks to themselves "Yeah, but what if you aren't powerless at the start? I want to kick some zombie ass! But in a graveyard because horror." That guy needs to learn that a setting isn't tone. It's the difference between Resident Evil and Doom. (Or Resident Evil and Resident Evil 6) Scary monsters: check. Environs devoid of hope: check. In Doom, you're tripping over ammo and health like a supply plane does a fly over every 20 minutes. In Resident Evil, however, you need to decide if the bullets you have will see you through to the next save point.
I'm not saying it should be all doom and gloom but feeling empowered should be fleeting and fragile. (See Top 10 Weapons - Colt Python. There are only a limited number of bullets in the whole game. Aim wisely.)
How the player is feeling is what's important. Fear of being helpless, alone and dying is what sets apart the best from the worst. You shouldn't be kicking doors in looking for trouble, trouble should be looking for you.
TUTORIALS
The best tutorials are like the best thefts. You don't realise it has happened until it's too late. I may need to clarify. When a game is instructing you on how its controls work you want it done clean and fast. You don't want big info dumps you have to comb over to figure out why you're pirouetting instead of reloading. Nor do you want to be continuously told crumbs of information for the better half of the game, especially if you've already figured them out by being a diligent explorer. The worst example being finding an activity the game has told you-you can't do yet and waiting on it to graciously bestow such information, normally via a 5-minute cutscene in 3 missions time.
Ideally, you want it to fall under the guise of "Training". Thief: The Dark Project does a good job of this. It explains the effect of light and dark within the environment, how different surfaces react to movement speed and basic combat all within the context of being trained. Then it lets you go on your merry way. Castles, prisons and caves are no match for your ability to absorb a 10-minute education in sneakery.
I realise that every game can't put you through a boot camp, so to speak, but "Unlocked a new lore: Tutorial" every time the game wants you to learn something just feels lazy. You may as well read the user manual for the game. Oh wait, they don't do those anymore. Made myself feel old again.
As much as we want to see your big shiny game world, don't be afraid to give us a tutorial level at the start. (Yes, one we can opt out of if we wish) One with character that people will remember for years, like when they find they need to give an example of a good tutorial level. Thief: TDP for instance.
(When I started this section I was going to use another game as an example but then the first sentence opened a door in the mind archives.)
I realise that every game can't put you through a boot camp, so to speak, but "Unlocked a new lore: Tutorial" every time the game wants you to learn something just feels lazy. You may as well read the user manual for the game. Oh wait, they don't do those anymore. Made myself feel old again.
As much as we want to see your big shiny game world, don't be afraid to give us a tutorial level at the start. (Yes, one we can opt out of if we wish) One with character that people will remember for years, like when they find they need to give an example of a good tutorial level. Thief: TDP for instance.
(When I started this section I was going to use another game as an example but then the first sentence opened a door in the mind archives.)
KEY PLOT POINTS
Imagine reading a book. (Actually, go read a book and hope it's better than the example I'm about to give) It starts with a character going into a shop, walking into the forest, killing some wolves, meeting the mayor, becoming king. THE END! Whoa, hang on. Is that what they set out to do? Was that shop a blacksmith? Were the wolves that much a threat to the land that vanquishing them somehow allows a small-town mayor to start dishing out crowns? This book clearly thought you would just enjoy the ride.
Off hand, the only games I can think of as guilty of not enough context are survival games.
Game - Survive!
Me - Okay, and then?
Off hand, the only games I can think of as guilty of not enough context are survival games.
Game - Survive!
Me - Okay, and then?
Game - There are zombies and wild animals that will kill you at any moment.
Me - So what? Do they have a boss I can kill? Is there a reason to defend myself and get from A to B other than...?
Game - Uh... em... Survive!
Game - Uh... em... Survive!
Amateur dramatics aside, a game needs to give a player a purpose beyond the basic. Unless your game is "Survive for a long time no questions just do it" you need to supply some motivation. Is that a tower off in the distance? An evil wizard lives there you say. More treasure than I could ever use? BOOM! Done deal. I'm there.
Mario keeps this simple. You know you have to save Princess Peach (possibly by reading the manual, it was a different time) and you only have one direction to go. So you keep heading right until Peach is in your arms. Easy peasy.
Most FPSs sort this problem by slapping an objective notice up on the screen. Having been given some exposition in the cutscene beforehand you have quite a good grasp on what you are doing and why. Call of Duty, not a series I normally give praise to, handles plot in exactly this manner. "Mission Briefing" then straight on to the how.
A good game can use your understanding of the plot to trick you. (I could have just said plot twist, don't know why I didn't) Star Wars: Knights of the Old Republic does so. Take my work for it. Also, play it.
Hopefully, this basic grasp of the facts can help would-be game designers. Even established game designers. Unfortunately, even nowadays games from Greenlight to AAA are failing in these basic principles. You need to grab a player's interest from the very start and gently guide (not coddle) them through a game world you've worked hard to create.
Mario keeps this simple. You know you have to save Princess Peach (possibly by reading the manual, it was a different time) and you only have one direction to go. So you keep heading right until Peach is in your arms. Easy peasy.
Most FPSs sort this problem by slapping an objective notice up on the screen. Having been given some exposition in the cutscene beforehand you have quite a good grasp on what you are doing and why. Call of Duty, not a series I normally give praise to, handles plot in exactly this manner. "Mission Briefing" then straight on to the how.
A good game can use your understanding of the plot to trick you. (I could have just said plot twist, don't know why I didn't) Star Wars: Knights of the Old Republic does so. Take my work for it. Also, play it.
Hopefully, this basic grasp of the facts can help would-be game designers. Even established game designers. Unfortunately, even nowadays games from Greenlight to AAA are failing in these basic principles. You need to grab a player's interest from the very start and gently guide (not coddle) them through a game world you've worked hard to create.
Who, what, why, where, when and how. Always ask yourself these questions when starting a game. If there's no obvious answer then there's something missing.
