As part of a research project I was instructed to ask the lovely people of the gaming community what their opinions are on what the good and bad aspects of Survival Horror are, and so here I am, what are you thoughts on the matter lads?|
Story, Resources, Atmosphere, combat pacing, ETC
Edited by Hurdu at 10:17:22 29-04-2013
What makes and breaks a Survival Horror game
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Blerk Moderator 48,224 posts
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Tension. Or a lack thereof.
Too much ammo, for starters. Part of the tension is in knowing that you're unsafe, exploring new places with only a few rounds left in your gun.
imamazed 5,450 posts
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Essential: Tank controls, Ominous music playing slightly before loading times have finished, Low levels of ammunition, Unexpected changes in enemy layout
Preferable: Bad Voice Acting, Limited saves, Obscure door keys, Blocky Graphics, Outlandish Bosses
Unfavourable: Plentiful ammunition, Coherent plotlines, Freedom of movement and/or exploration
Loads of ammo definitely breaks it.
MrTomFTW Moderator 36,266 posts
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Controls: Tank controls worked well for Resident Evil, and were necessary due to hardware limitation but we've moved on since. There's no need to have such clunky movement. It doesn't raise tension, only frustration. Vulnerability can be expressed more effectively in other ways so drop that shit.
I totally called it.
Follow me on Twitter: @MrTom
Voted by the community "Best mod" 2011, 2012 and 2013.
Thanks for the feedback so far, I think I could manage the bad voice acting and keeping far away enough from a coherent story easily enough (;
None of this. This isn't scary, it's just funny.
EDIT: Pretty god-damn cool, though.
ANOTHER EDIT: I've changed my mind. Put this in.
Edited by Skeggers at 10:22:17 29-04-2013
DFawkes 22,046 posts
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I was just thinking about this the other day, mostly in regards to why ZombiU might be regarded as a survival horror (I do, but it's open to your own interpretation).
I think ammo (and other resource) scarcity is a big one for me. You're supposed to get enough to survive, not enough to kill an army of demonic/infected foes! If it's done right, even a weaker enemy becomes a threat if handled badly. At the same time, you still have to make it so you can handle it well, be it evasion or some other mechanism like those found in Clock Tower 3. Melee combat is usually acceptable as there's an element of risk/reward in getting that close to an enemy, but you can't make those attacks too effective.
Just my opinions, of course
I'd kick the living daylights out of the producers of Tipping Point - Ghandi
Poor camera controls and spawn positions. It's never fun to die from an attack you couldn't have seen coming unless you were Mystic Meg.
Audible cues ar one thing, but if you're too busy going shooty-shooty-bang-bang, they're very hard to miss. Getting fucked over repetitively by poor design has no excuse.
oops. Scary double post.
Edited by Murbal at 10:29:14 29-04-2013
Amnesia handled the feeling of helplessness well by simply cutting out the combat. You were completely vulnerable, having you either flee or die. The main problem with that game was a lack of diversity with the enemies. Once you'd figured out how they react in most situations it took a lot of terror out of the game. Thankfully that only happened for me near the end of it.
Quick saves or too many autosaves can break it too. There's little tension knowing a section is easily reloaded and retried. There needs to be enough incentive to stay alive at all costs.
Dead Island didn't punish the player nearly enough by dying and it wasn't tense because of it.
I think perma-death is a decent addition if handled correctly. Day-z is by far one of the tensest games I've played because of it. I have my heart in my mouth every time I'm looting in that game and I hear nearby gunshots.
Edited by Br0ken_Engli5h at 11:02:33 29-04-2013
quadfather 10,543 posts
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warlockuk 19,101 posts
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Too much survival, not enough horror. Also, no empathy.
I'm a grumpy bastard.
Are you any relation to Skeggsy, Skeggers?
Skeggsy. You must know Skeggsy?
Skeggsy man. Skeggsys. You must know him?
SparkyMarky81 527 posts
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I thought everyone knew Skeggsy. He is kind of a big deal...
jabberwoky 441 posts
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Capcom. They made and then broke a survival horror.
Syrette 41,792 posts
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Skeggsy, you old dog. How you been pal?
twelveways 3,490 posts
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A game where you play a 15 yr old girl in the crowd at Top of the Pops in the mid 70s. Terrifying.
JinTypeNoir 4,365 posts
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I think a good survival horror game should strive to be unfair, disorientating and frustrating; those are emotions that go well with fear. Lately, crafting a game that seems as fair, balance, player-oriented and smooth enough to deflect all possible frustrations seems to be the fashionable thing to do, but even in an unfair, frustrating game a good balance of playability will always see the players who are receptive to the idea through to the end.
In trying to bring some evolution to genre mechanics, I think a lot of survival horror games could look at Rogue and roguelikes for inspiration.
Steve_Perry 2,440 posts
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According to capcom - lots of fucking bullets.
FogHeart 910 posts
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Three cornerstones of survival horror: stressful combat, continual feeling of threat and isolation, and a harrowing story.
The scarcity of ammo and the need to sever limbs in Dead Space have the same thing in common - you need to handle the combat with high precision in a tense situation. If you don't shoot accurately you'll be wasting ammo, or your hits aren't effective enough. Most of the time the consequences of failure are a mauling at the hands of a mutilated creature, this invokes the primal fear of infection.
That's the paradox of the combat, that the nature of the enemy induces fright and panic just as you need a clear head and a steady hand. You are fighting your own impulses, and it's very stressful to do that.
But if you become over-familiar with the combat you are no longer frightened by the enemies and so become adept at the combat, so we kept seeing survival horror series that 'upped the ante' - more enemies versus bigger guns with more ammo.
Threat and isolation:
A great many of the most effective survival horror games ask that the player explore a large environment on their own. This is to invoke two more primal fears - of being lost, and of having no one around to help. The player must feel that they can come under attack at any time. Think of the rooms where there's a body that you haven't killed, or the warped world of Silent Hill, when you change over you know you'll come up against something.
It's also important to have certain places in the game where the player can feel safe. In Dead Space it's the tram, and the elevators. In Resident Evil it's the save rooms with their melancholic music. You need a contrast, a place where the player can 'let go' of their tension, otherwise they get burned out and can't keep feeling 'on edge'.
The harrowing story:
It's not enough to have a story where the protagonist comes across a lot of people who have suffered violent death. Often their deaths mean they join the ranks of the creatures that assaulted them, twin nightmares of insanity and infection. You often read or hear the backstory of characters affected in gruelling detail. Remember the keeper's diary in Resident Evil? "Itchy. Tasty." Or the ghost in System Shock 2 who crosses himself with a pistol, applies it to his temple and fires. Or the audio log of Dallas in Dead Space who kneecaps himself - both legs - so when he is infected he won't be able to kill anyone. Their stores have to generate conflicting emotions of sympathy and disgust.
It also helps if the protagonist is all that stands between some horrible fate and everyone - the spread of the T-Virus to the population, the infection of all the human race via the markers, Shodan recreating the entire universe according to her whim. So a lost, lone, powerless individual has to risk infection and insanity over and over in order to save an unknowing human race from its destruction. Now that's the pinnacle of survival horror.