Somberlain
Arcane
It's also cool that there isn't an invisible ceiling preventing you from going too high. You can actually easily get past a lot of the final level by jumping on top of all the wires and rooftops.
HR devs should take note, that's how you fucking design a level instead of having a route A (vent), B (strength aug) and C (EMP immunity aug).
You allow room for player creativity and emergent gameplay. You don't design a level around the tools that are at player's disposal, you design an interesting location and the player uses said tools to tackle it as he sees fit.
Of course the video also shows Corvo being overpowered as hell, it needs more guards (and better AI), more ways for enemy to counter Corvo's powers (such as overseers music boxes) etc. but when it comes to level design, it's hilarious how much Harvey Smith and Co leave the competition in the dust.
Dishonored does have the OBVIOUS PIPES and mouse holes lining corridors, though. I think people give DX:HR too much of a hard time about this. With yellow outlines around every vent, everything becomes much more obvious than it was in the original Deus Ex, even though both games had vents criss-crossing levels.
It's not solely about the access to conveniently placed vents, though. The reason DXHR was sub par compared to its predecessor wasn't because vents were everywhere, but because it suffered too much from "choose between path A or B" syndrome, to the detriment of what real emergent gameplay. Dishonored did not fall into this trap.
It's not solely about the access to conveniently placed vents, though. The reason DXHR was sub par compared to its predecessor wasn't because vents were everywhere, but because it suffered too much from "choose between path A or B" syndrome, to the detriment of what real emergent gameplay. Dishonored did not fall into this trap.
Like I said, I think people are exaggerating this. I'm seeing it as an inevitable outcome of the game's levels being more cramped than the original DX's (Invisible War had even smaller levels and, what a surprise, was even worse about it), not as some intentional design decision. When everything is smaller, of course the paths are going to be more obvious.
But again, Dishonored avoids falling into the trap by simply removing from its game design anything that could create said trap in the first place. You can't have "paths" when your protagonist can just teleport anywhere he wants, so the game HAS to do something else entirely. Which is, I guess, turn you into a superpowered badass who can teleport through entire levels in seconds, but can kill enemies in various cool ways if he feels like it.
What I'm saying is that it's easy to be "emergent" when you've largely given up on the notion of physical obstacles from the get-go.
It's also cool that there isn't an invisible ceiling preventing you from going too high. You can actually easily get past a lot of the final level by jumping on top of all the wires and rooftops.
maps that were full combat.
very linear
just straight rehashes of previous maps
HR walled in their levels on a very restricting way, say for example you have to infiltrate a warehouse, most of the time, you can't walk around the place, check the backyard, try to go over the roofs, the whole place is blocked off with stuff and the whole place looks like a very restricted videogame level while on Dishonored, especially on the DLC, the building you have to infiltrate is on the center of the map and you can walk around it seeking for an entrance. The places on Dishonored feel like real places while HR were videogamey places that tried as hard as they could to herd you into the places the level designer wanted you to go on the order he wanted you to go.It's not solely about the access to conveniently placed vents, though. The reason DXHR was sub par compared to its predecessor wasn't because vents were everywhere, but because it suffered too much from "choose between path A or B" syndrome, to the detriment of what real emergent gameplay. Dishonored did not fall into this trap.
Like I said, I think people are exaggerating this. I'm seeing it as an inevitable outcome of the game's levels being more cramped than the original DX's (Invisible War had even smaller levels and, what a surprise, was even worse about it), not as some intentional design decision. When everything is smaller, of course the paths are going to be more obvious.
But again, Dishonored avoids falling into the trap by simply removing from its game design anything that could create said trap in the first place. You can't have "paths" when your protagonist can just teleport anywhere he wants, so the game HAS to do something else entirely. Which is, I guess, turn you into a superpowered badass who can teleport through entire levels in seconds, but can kill enemies in various cool ways if he feels like it.
What I'm saying is that it's easy to be "emergent" when you've largely given up on the notion of physical obstacles from the get-go.
“Dishonored was a mish-mash,” says Smith. “We wanted to make a first-person immersive game in a fantasy world with some stealth features; it was a homage to games we’d made before or loved. But, halfway through, we were only just figuring out what it was. The map, the calendar, the religion the culture – it felt really good starting the new project just knowing that stuff. On top of that we were thinking, well, our swordfighting could have been a little deeper, our stealth could have been more reliable with better feedback, and our UI was slapped together at the last minute. Just at every level there was something to deepen or extend or think about longer.”
“If you play as Emily it’s all new – she has her own set of powers, her own assassinations and animations, so she feels different, she feels like a finesse character. In the video, we show a power called Far Reach [a teleportation abaility] which can be upgraded in different ways, and it changes your flow through the world and your mobility. Just on a video game level, moving through the world feels different. But if you play Corvo, it’s all this classic stuff, it’s the rat swarms, it’s possession, it’s stopping time – he feels more heavy and brutal, he’s an older guy.”
“We argued about this on Deus Ex,” says Smith. “Some members of the team felt that each building should split, and that in one hallway all the locked doors and encounters and conflicts are all related to sneaking; then there’s a hallway here that’s all related to hacking, and another up here that’s all about fighting. The other half of the team, me included, said ‘no, what we should do is intermix those things so there’s a fluidity as you get to each situation: you can decide, am I going to deal with it this way or that way, or do I need to bypass it because I’m not skilled in that area?’”
“I hate to use the term realism, but we look at every place to see if it’s plausible. Does it have a history? How does the guard in this room get to work? We’ve built levels before and then looked at them and said, ‘Really? The guy starts here on the terrace, then has to get to the dock, and he needs to walk a mile and up ten flights of steps? That doesn’t make any sense’. We approach it very plausibly but it’s very interconnected – you see the tower you need to get to, but your path will be different to mine.”
For Smith, the key is all about making player choice the defining experience of play. If it’s a cosmetic or trivial element that is quickly forgotten or proves irrelevant, it’s not a choice. He talks about the games he’s looking forward to – XCOM 2, Fallouot 4, No Man’s Sky – and sees that element in all of them. “The common thread seems to be, most of the time, you make decisions and you can succeed or fail or have an interesting experience or not based on the decisions you make,” he says. “The more that’s true the more I like it. I like lonely self-paced experiences, I don’t want a game to be room-hallway-room-hallway-explosion – that’s not interesting to me.”
Almost fell asleep playing dishonored.
Almost fell asleep playing dishonored.
Yeah. Shame there isn't much cutscenes and ebin dramatic dubstep moments, right?
We'll see about that.Well reading that it seems that she is just a contract and has no overwhelming influence on the story except some npc and random dialogue.So there is nothing to worry about except the average writing which was also in the original dishonored.
TMS: Favourite character you’ve written for and why?
Ellison: Emily from Dishonored 2 because she is a cool-ass lady and ruthless assassin who doesn’t take any shit from anyone.
TMS: How did you end up where you are today?
Ellison: I think it’s not really to do with talent, although I do believe I have some … rather I think it’s a combination of
1.Privilege...