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Complicated Controls for Simple Games

Imagine this scenario. You are playing your favourite multiplayer first person shooter war killing game. It doesn’t matter what the game is as long as it has guns and shooting and explosions and scoring based on these things. You’re in a team deathmatch and time is running out. Your team, the red team, is down by a single kill and there’s only a few seconds left. You are entrenched behind a barrier, short on ammo. That’s when you notice three members from the blue team coming your way. They don’t know you’re hiding there; you are in a perfect ambush situation. Unfortunately, you don’t have enough ammo to take them all out and you know that if you were to jump up and start shooting you’d be shot down in an instant. If you get lucky you might get one of them, but the net result — one kill and one death — won’t help your team’s score much. You’d still lose.

You do, however, have a grenade. Better still, the blue team members walking towards your position are nearing an explosive barrel. Games such as these tend to feature such contrivances. You know that if you cook the grenade nicely and get a quick, accurate throw the explosion that you can create will take out two — if not all three — of the blue soldiers and/or aliens. That will be enough for a victory. Time is running out. It’s now or never.

You prepare for your moment of triumph, tightening your grip on your controller, and throw. Or, more literally, you press the input command that lets your on-screen character throw a grenade. However, unlike most games of the genre where it’s as simple as hitting a trigger button, this game requires a complex scheme of inputs. To throw a grenade, you need to press down, down-forward, forward, down, down-forward, forward, then X and Y and RB at the same time. You input the command, your heart starts beating, adrenaline starts pumping, you are ready and primed to jump out of your seat in victorious celebration!

But instead of throwing the grenade, your avatar jumps up, revealing his position, and starts screaming obscenities at the blue team, flailing his arms profusely. In an instant all three of the enemy players open fire filling your with more lead than a Chinese made toy. You die. You watch as the camera rotates around your corpse giving you a prime view of one of the blue team survivors crouching over your face, as players of such games tend to do. The time runs out. Your team loses by two kills. The switch on your microphone is set to mute as you loudly question the actions of the game to yourself with the always apt “WHAT THE FUCK?”

This first person shooter doesn’t exist. Can you imagine the backlash if it did? Controls like this in such a competitive and highly reactive genre would be dismissed in an instant. No one wants such a vast roadblock between intent and action in a game. It adds nothing but an added level of obfuscation, complicating what is, already, a tactical and twitchy genre.

So if this would be so unacceptable in a shooter, why is this tolerated — and accepted — in Street Fighter IV?

If you answer: “because it’s part of the skill of the game” or “it’s always been this way and it doesn’t make sense to change it”, you are wrong. There has to be a better a way.

COMMENTS

Lucas writes (April 24th, 2009 at 23:04):

I would imagine it would have something to do with amount of challenge and forethought required by the first-person shooter space and the fighter space, as well as making sure that players are mentally engaged and challenged by the game. The FPS has enough going on in the environment to keep the player engaged, while the fighter isn’t really so complicated, so it has to add in some difficulty to make things interesting. (This is assuming that players enjoy having to consider a bunch of variables at once and like being challenged.)

In an FPS, the player has to be thinking a lot. The space is complicated, three-dimensional, and full of things that make it challenging to pull off actions. In your example, you mention a bunch of the things that the player has to keep in mind while playing: the position of their character in 3D space, the direction their character’s gaze in the 3D space, their character and team attributes (score, health, armour, ammo), and all the stuff in the environment (distance of enemies, number of enemies, barrels, walls, etc.). and plan their actions (bank the grenade off the wall to hit the barrels). The challenge of pulling off an action in the FPS is in the world: planning to use a grenade, what wall to bank it off of, etc.

In the 2D world of “Street Fighter”, the space isn’t as complicated. Players still have to deal with position, distance, and timing, but the space is 2D, and only two screens wide. Also, the results of player actions (punch, kick, jump, block) aren’t as complicated or as hard to predict as those in the FPS world. In order to keep players interested, the designers added in these hard-to-execute moves and combos. Now the player has to keep in mind their character’s special moves, as well as long strings of button presses. In the fighter, the challenge is less in the world and more in the player’s ability to memorize and execute moves.

Of course, it could also be the level of realism one expects of the game’s world. Long arbitrary sequences of button presses are okay when dealing with comic-book—like characters in a goofy arcade game, but they seem out of place in a more immersive simulation of the physical world (even if you happen to be carrying a rocket launcher in that world).

Maybe it’s because fighters originated in the merciless, quarter-hungry arcades (which wanted to encourage you to try again and again to master the game), while FPS games came from shareware computer games (which didn’t profit when you fucked up a move, only when you liked the game enough to purchase the full version).

n0wak writes (April 26th, 2009 at 17:04):

In the fighter, the challenge is less in the world and more in the player’s ability to memorize and execute moves.

I don’t buy this at all. Maybe — maybe — in a button combo crazy game like Tekken, but not for Street Fighter. The moves are pretty much standard across the board, with only two to four special moves per character. The skill with Street Figher IV is not about memorizing every permutation of button presses and combos, but about mastering the few moves you do have. And more important to execution of those moves is timing. Half the game of SFIV, if you watch tournament videos, is psychological — knowing what the opponent is likely to do, psyching him/her out, countering. That’s all part of mastering the game: knowing what links to what, what move cancels what, etc.

Being able to pull off an ultra combo 100% of the time doesn’t mean you’re good at Street Fighter (doing it blindly will leave you wide open to counter attack), it just mean you are dexterous at input schemes. Being competitive at Street Fighter involves a lot more than that. So why sabotage that with an unnecessary layer of awkward controls?

As to your last point, PC FPS’ always had the benefit of having a 100+ key input at their disposal. Street Fighter only had 6!

Lucas writes (April 28th, 2009 at 00:04):

I agree that Street Fighter is more about “execution and timing,” and would add “less about orientation in the simulated space.” In an FPS, the world is already pretty hard to play in, and that has a lot to do with working 1) in a 3D space (Descent vs. Doom) and 2) having a first-person view in that space (Doom vs. Smash TV). Again, assuming the designers want to maintain a certian level of cognitive engagement with the player, if the 2D space isn’t as hard to move around in, something else has to take up the slack. Street Fighter doesn’t require so much navigating, orienting, and camping, so it instead requires more careful timing, execution, and countering.

Which, uh, may have something to do with long combos—but I’m not sure I’m arguing that any more. They’re a way of making things harder to execute, so…

(What would be the opposite of long combos? Quick time events? You’d just approach the other fighter and, when their face flashed orange, smash on B to punch?)

Me, I’ve never been very good at fighting games, and I find memorizing combos a challenge. To me, learning moves is like learning to use an institutional phone system: a bunch of arbitrary button sequences that I can never remember when I needed them.

You’re right about the difference in controls too.

Aubrey writes (May 8th, 2009 at 17:05):

Good topic!

There’s plenty of strategy to consider in both FPS and 2D 1 on 1 fighters, it’s just that the complexity is weighed more in the world in one, and more on the character interface in the other.

As to the question “why to inputs have to be so complex?”, I got a couple of points, maybe.

One thing I think that’s missing in this discussion is that there’s something nice about the kinaesthetics of (some) fighting game moves – like nailing a solo on a guitar and being amazed at your fingers producing those notes without even thinking… but i think that’s more post rationalization on my part.

In a lot of cases, the special moves in SFIV are able to work alongside the more standard attacks, such that throwing a medium kick in half way through a gesture for a hadouken results in a combo. These were born of emergent mechanics/exploits in the earlier versions of sfii, and their natural progression into insanely in-depth, frame perfect combo requirements feed a reward-schedule for a player’s desterous mastery.

So, in world of warcraft, you grind for artificial skills, items and spells in parallel with other skinnerian treats. In streetfighter 4, you’re simultaneously grinding the strategic, psychological and tactical (i.e. accurate button mashing) reward structures.

While I agree, simplifying the controls to basically just 1-button wouldn’t necessarily damage the psych or strategic game play, there would be no tactical aspect left. I’m not saying it would necessarily be worse (you could toootally do a turn based street fighter!), but it would feel a lot dryer when there’s zero sense that you could use someone’s low-level fuck up to take the advantage.

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