Critical analysis of the games of the genre "hidden objects"
Today, the world is filled with a huge variety of games - from the most simple and peaceful to the most sophisticated and cruel. Many genres - choose for every taste! But, sadly, it will sound, modern games are degrading and falling apart before our eyes. No, not in terms of graphics, visualization, special effects, of course, but in the idea itself. After all, the idea will determine the plot, characters, events and other elements, which are then implemented using all the same techniques of graphics, music, video, etc., using modern approaches and algorithms.
In this article, we will discuss such a genre of games as “hidden object” (there are also other names, for example, “I am looking for”, “hidden objects”, etc.). Or, more simply, about quests, as they used to be called a few years ago. After all, the word "quest" from ang. “Quest” means “searches”, therefore, this is their basic (native) genre, from which they took most of the characteristics. But, apparently, they took it badly, otherwise the situation would not be so deplorable. Well, now everything is in order.
The main and main purpose of such games (referring to the “hidden object” genre) is to CONSISTENTLY go through the chain in advance of prepared and designed HEADS to get the main prize - wealth, fame, love, a slap from a jealous wife (yes, this also happens , but rarely). As Indiana Jones said: “Fortune and glory ... Here I come!” (Wealth and fame ... I am coming to you!). This scheme teems with intrigue and nontrivial development of the plot, which just captures the spirit! I specifically identified three main words to explain what was happening with real examples.
Let's start with the word "consistently." It alone says that there is no unexpected turn in the process of passing the game, and there can not be! Everything goes according to a well-defined plan, that is: neither a step to the left, nor a step to the right, but an even step forward.
')
Next is the word "in advance." That is, no spontaneous action in the game occurs and cannot occur. Everything is determined in advance. This applies to all dialogues, alternations of events, betrayal by close friends (which just infuriates and bothers with the repetition of the game), supposedly “sudden” missing things from your pocket (Thursday came, it rained outside the window, and I AGAIN lost the keys to the car) and etc.
And finally, the last word "puzzle". In games of this genre, puzzles surprisingly do not fit in with the plot in absolutely no way (and even if only slightly, not by much)! Monotony is simply amazing! Because looking for a dog's paw in a pile of useless and recycled garbage is NOT a puzzle, it is the work of a snooper, a scavenger, a bum, but not a player! There is no need to think logically (a ham glued to the ceiling is an obvious example of that in a plate where it should not be lying).
Taking into account all the above information, the process of "pseudo-passing" of the Hidden Object game can be described by the following simple sentence:
"Having collected all sorts of objects and solving all sorts of puzzles - use them in all sorts of places using the method of" sequential search "
I want to note that for the passage of such a game dialogues, video games and other tips are absolutely NOT NEEDED! As for the method of "sequential busting", it is to consistently try to "apply" all inventory items in a particular situation (for example, to light a candle on the table, you need to use matches, although there can be a lighter on the same table , but in the game it is NOT PROVIDED to use it, but if you use some other object instead of matches, then nothing will turn out and the player MAY BE, he will tell you about it if he has not lost his tongue in the previous room). Believe me, this does not take much time, since the player usually has about 10-20 items.
This proposal with an accuracy of 100% describes the passage of any game of this genre (it is also suitable for quests). “Simple, cheap and cheerful!”, - as E.V. Petrosyan.
It is also very illogical and unbelievable, when objects somewhere "disappear" from inventory after use! This is an obvious gray mare delirious with diabetes ... Take for example a match! This subject is almost IN ALL quests and games of the "hidden objects" genre ... One of the most needed items! But why does it disappear after the 1st, 2nd, or 3rd use? Matches about 50 pieces in a box! You can also use matches at least 49 times!
And the plots generally amaze with their stereotypes. A typical plot is as follows: a player (most often a girl of 20-30 years old) receives a letter from his uncle, either from some distant relative, or even from some Mr. N, where it is not important, in principle, what is written, but after reading this girl MANDATORY is sent to the place (like someone is dragged there by force) indicated in the letter (and I note that the letter is paper, not electronic, this is an axiom for quests!). There are two options: either the author of the letter meets her (which is rare in games), so the author of the letter is usually already dead in advance. Consequently, the girl does not find anyone there (which is not often used again), or she is met by a young handsome guy (the ending of the game is already clear - predicting, it turns out, is not so difficult), or an elderly butler (less often, but more likely) either a detective with a brilliant reputation who, well, is simply unable to find the missing body, and you have to help him in everything and everywhere, or not to say anything to him, because he himself never in his life guesses about your plans ...
The main idea of ​​the previous plot - some misfortune did not happen with the main player. Such a plot is still common, when some kind of disease struck the player himself, that he is either unable to move (even I don’t know such games), or went blind (there are no such games now), or lost memory (this is the most common option). And throughout the game, he "comes across" fragments from his past, after which he has visions, or banal hallucinations (a very common feature). And when a player gathers all of them into one complete collection, then he of the “type” is able to get through the final of the game (generally speaking, this is an erroneous opinion, as if it were not FORCED to collect all the “necessary” and “unnecessary” items on the bottom of the barrel, then no visions would not help him defeat the main evil).
All of the above disadvantages are observed not only in games of this genre, therefore it is necessary to make drastic changes, but to begin with, at least give meaningful answers to the following questions:
Thus, it is possible to describe this situation as follows:
I have a shovel, and I know where to dig. I just need to go and dig a hole to get the treasure.
All this is figurative, but the main meaning is preserved. And this sense adheres to the overwhelming number of games of the genre "hidden object". But after all, if you ask the question: “if I know where to dig, then what kind of search is this?”, The answer will be trivial: “no.”
Therefore, games in the "quest" genre, as well as "hidden object" should have the following MANDATORY properties:
Of all the games that I have ever played, only one “more or less” can be called a truly “real” quest (by the way, items in it do not MISSING after use). This is Dark Earth from Microprose, 1997. Despite the fact that it is already old and the graphics are not up to date, as for some reason it is now considered to be the criterion of a good game (although at the time of release, the graphics, sound, music, combat system and other components were rated at a high level and it was easy for weak computers), the storyline is a nonlinear chain of events that FULLY depend on the player and, despite the fact that there are only two endings, the options for passing (i.e. not just a permutation of the type, first talk to the doctor, and then look out the window, but meaningful th problem solving) enough to go through it several times, but this is not exactly simple, and easy sorting items with solving puzzles, there is not a ride.
And finally, I want to quote the words of one of the founders of this company (Microprose) - Sid Meier: “The game is a sequence of interesting choices.” It is necessary to adhere to the maximum and follow this direction. And if you already select a new genre, then you need to do it wisely and correctly.
In this article, we will discuss such a genre of games as “hidden object” (there are also other names, for example, “I am looking for”, “hidden objects”, etc.). Or, more simply, about quests, as they used to be called a few years ago. After all, the word "quest" from ang. “Quest” means “searches”, therefore, this is their basic (native) genre, from which they took most of the characteristics. But, apparently, they took it badly, otherwise the situation would not be so deplorable. Well, now everything is in order.
The main and main purpose of such games (referring to the “hidden object” genre) is to CONSISTENTLY go through the chain in advance of prepared and designed HEADS to get the main prize - wealth, fame, love, a slap from a jealous wife (yes, this also happens , but rarely). As Indiana Jones said: “Fortune and glory ... Here I come!” (Wealth and fame ... I am coming to you!). This scheme teems with intrigue and nontrivial development of the plot, which just captures the spirit! I specifically identified three main words to explain what was happening with real examples.
Let's start with the word "consistently." It alone says that there is no unexpected turn in the process of passing the game, and there can not be! Everything goes according to a well-defined plan, that is: neither a step to the left, nor a step to the right, but an even step forward.
a situation when a player is in the hall of a two-story house and wants to go up to the second floor, then nothing will come of it, because first, according to the PLAN, you need to look at the ALL first floor, so the character will say either: “I’ll go up later ...” or keep silent, maybe even slightly coughing, or going upstairs at the beginning of the game will be a blocked zone ... and it doesn't matter if the house is burning, an earthquake - we still inspect the first floor without panic ...
')
Next is the word "in advance." That is, no spontaneous action in the game occurs and cannot occur. Everything is determined in advance. This applies to all dialogues, alternations of events, betrayal by close friends (which just infuriates and bothers with the repetition of the game), supposedly “sudden” missing things from your pocket (Thursday came, it rained outside the window, and I AGAIN lost the keys to the car) and etc.
if you need to take an ax in the corner of the room, then it will lie there, regardless of whether it is REALLY needed to move forward and the player can even ask himself this question: “Why did he give up to me? To kill someone? ”, Since in 80% of cases it is absolutely incomprehensible, why really take this or that object. And if you do not take it, then at least burst, but you can’t pass the other way, even if the player suddenly doesn’t want to take it ...
It’s trivial to cut the rope to fit the same hunting knife or garden shears that ALREADY HAVE in the player’s inventory, but it was determined in the game that it was necessary to cut the rope EXACTLY with an ax ...
And finally, the last word "puzzle". In games of this genre, puzzles surprisingly do not fit in with the plot in absolutely no way (and even if only slightly, not by much)! Monotony is simply amazing! Because looking for a dog's paw in a pile of useless and recycled garbage is NOT a puzzle, it is the work of a snooper, a scavenger, a bum, but not a player! There is no need to think logically (a ham glued to the ceiling is an obvious example of that in a plate where it should not be lying).
the situation when a player must collect ALL fortune-telling cards scattered in a small room filled with cobwebs, mice and other bacteria and pass them on to a fortuneteller - absolutely illogical and unnatural ... why did the fortune-teller scatter them before the player entered? Wanted to pay attention to her? Or, maybe before the arrival of the player to her room, the hurricane quietly crept up and scattered all the cards? Then why are the other things on the ground? And the fortuneteller is not blown away? All this absolutely makes no sense!
Taking into account all the above information, the process of "pseudo-passing" of the Hidden Object game can be described by the following simple sentence:
"Having collected all sorts of objects and solving all sorts of puzzles - use them in all sorts of places using the method of" sequential search "
I want to note that for the passage of such a game dialogues, video games and other tips are absolutely NOT NEEDED! As for the method of "sequential busting", it is to consistently try to "apply" all inventory items in a particular situation (for example, to light a candle on the table, you need to use matches, although there can be a lighter on the same table , but in the game it is NOT PROVIDED to use it, but if you use some other object instead of matches, then nothing will turn out and the player MAY BE, he will tell you about it if he has not lost his tongue in the previous room). Believe me, this does not take much time, since the player usually has about 10-20 items.
This proposal with an accuracy of 100% describes the passage of any game of this genre (it is also suitable for quests). “Simple, cheap and cheerful!”, - as E.V. Petrosyan.
It is also very illogical and unbelievable, when objects somewhere "disappear" from inventory after use! This is an obvious gray mare delirious with diabetes ... Take for example a match! This subject is almost IN ALL quests and games of the "hidden objects" genre ... One of the most needed items! But why does it disappear after the 1st, 2nd, or 3rd use? Matches about 50 pieces in a box! You can also use matches at least 49 times!
And the plots generally amaze with their stereotypes. A typical plot is as follows: a player (most often a girl of 20-30 years old) receives a letter from his uncle, either from some distant relative, or even from some Mr. N, where it is not important, in principle, what is written, but after reading this girl MANDATORY is sent to the place (like someone is dragged there by force) indicated in the letter (and I note that the letter is paper, not electronic, this is an axiom for quests!). There are two options: either the author of the letter meets her (which is rare in games), so the author of the letter is usually already dead in advance. Consequently, the girl does not find anyone there (which is not often used again), or she is met by a young handsome guy (the ending of the game is already clear - predicting, it turns out, is not so difficult), or an elderly butler (less often, but more likely) either a detective with a brilliant reputation who, well, is simply unable to find the missing body, and you have to help him in everything and everywhere, or not to say anything to him, because he himself never in his life guesses about your plans ...
The main idea of ​​the previous plot - some misfortune did not happen with the main player. Such a plot is still common, when some kind of disease struck the player himself, that he is either unable to move (even I don’t know such games), or went blind (there are no such games now), or lost memory (this is the most common option). And throughout the game, he "comes across" fragments from his past, after which he has visions, or banal hallucinations (a very common feature). And when a player gathers all of them into one complete collection, then he of the “type” is able to get through the final of the game (generally speaking, this is an erroneous opinion, as if it were not FORCED to collect all the “necessary” and “unnecessary” items on the bottom of the barrel, then no visions would not help him defeat the main evil).
All of the above disadvantages are observed not only in games of this genre, therefore it is necessary to make drastic changes, but to begin with, at least give meaningful answers to the following questions:
- How many modern games use nonlinear algorithms for generating and defining events? (I am afraid that there are very, very few)
- How many endings are prepared for games? (Usually, there are two of them, but there can even be one, so it is absolutely impossible to lose)
- How many players is the game intended for (not to be confused with the network game, this means how many characters one can play the game in turn)? (For one, and this only player, in general, it is impossible to change, that is, the guy he will remain a guy in the computer)
- What level of freedom does a player have? (usually, the player is severely limited in actions and transitions, which is detrimental to the overall game background and fascination in general)
Thus, it is possible to describe this situation as follows:
I have a shovel, and I know where to dig. I just need to go and dig a hole to get the treasure.
All this is figurative, but the main meaning is preserved. And this sense adheres to the overwhelming number of games of the genre "hidden object". But after all, if you ask the question: “if I know where to dig, then what kind of search is this?”, The answer will be trivial: “no.”
Therefore, games in the "quest" genre, as well as "hidden object" should have the following MANDATORY properties:
- The player should NOT REPEATED and especially IN ADVANCE (even guess) where to dig, only then the searches will be exciting, interesting and informative! (desire to re-pass the game - a vivid example)
- The random factor is one of the fundamental tricks of a truly interesting game! (in games of the genre in question is very, very rare)
- The player is not Schwarzenegger, he CAN'T bring out in the inventory at the same time and a bucket of water and a heavy statue and a ladder, which then will still break
- The player is not Copperfield, he MUST NOT disappear items from the inventory after using them until he throws them away or somehow gets rid of them.
- The player must CAM define the goal (task) he wants to achieve and then all his actions will be aimed at achieving this goal! (situations where the player does not understand why he should break open some drawer of the table or have to take it incomprehensible why some figurine SHOULD NOT be in principle, there must be conscious motivation before this, and not because he wanted to flip it and expose it to no avail)
Of all the games that I have ever played, only one “more or less” can be called a truly “real” quest (by the way, items in it do not MISSING after use). This is Dark Earth from Microprose, 1997. Despite the fact that it is already old and the graphics are not up to date, as for some reason it is now considered to be the criterion of a good game (although at the time of release, the graphics, sound, music, combat system and other components were rated at a high level and it was easy for weak computers), the storyline is a nonlinear chain of events that FULLY depend on the player and, despite the fact that there are only two endings, the options for passing (i.e. not just a permutation of the type, first talk to the doctor, and then look out the window, but meaningful th problem solving) enough to go through it several times, but this is not exactly simple, and easy sorting items with solving puzzles, there is not a ride.
And finally, I want to quote the words of one of the founders of this company (Microprose) - Sid Meier: “The game is a sequence of interesting choices.” It is necessary to adhere to the maximum and follow this direction. And if you already select a new genre, then you need to do it wisely and correctly.
Source: https://habr.com/ru/post/210948/
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