The Two Diablos: D&D, Game Mechanics, and Design Philosophy PART FOUR

The first two articles in this series dealt with the differences between Diablo II and Diablo III, two of my favourite computer Action RPGs. The third post discussed how the systems clash between the Damage and Primary Attribute systems and the Itemization system and how Blizzard had to work hard to fix the gameplay contract, namely a game based exciting loot drops that provide the primary means of customization.

In this post I talk about another gameplay contract: namely that of the sequel. D3 is the sequel to D2 in the franchise, but many players point to other games as spiritual successors, and some even feel that the story line in D3 does not mesh at all with D2. But that is jumping ahead of myself. There is an even more basic question that must be answered here:

How much does a sequel owe to the original?

I will admit that I was pissed off that D2 did not have the same classes as the first iteration of the game. My initial complaints, however, were drowned in a Tsunami of awesome new features, combined with reverence for the original game that I knew and loved. D2 was more or less everything I loved about D1, but with better systems and a sweet skill tree to boot. Once I understood the new classes, I saw why they did away with the old. It was pure evolution.

Many people feel that a sequel to a beloved game should stick to improvements on existing systems and save the real innovation for new things (like the skill trees, set items, and sockets added in D2) and not rock the boat too much.

Others are obsessed with originality, and feel that every iteration of a game, even a sequel should strive to be new and different. These critics fear the stagnation that comes with sticking to a tried and true formula.

Both sides have a point, of course. If a sequel strays too far from the original it risks offending fans, on the other hand stagnation seems to be the order of the day with AAA games like Call of Duty and Assassins Creed turning out very, very similar games at a yearly rate.

In the end, a sequel should strive to stay true to the original but it must also try to make improvements in the series.

Is Diablo III a true sequel to Diablo II and why do I keep referencing D&D?

While I love D3, it is not a true sequel to D2, and I feel it breaks the gameplay contract by straying too far afield. D3 changed too many core systems and has an entirely different feel to character creation, leveling, story, and even the role that items play. While it doesn’t bother me, I can see why it upset a large number of people who loved the older games.

I am a huge fan of Dungeons and Dragons. I don’t play the game much anymore, I prefer homebrew systems, although I still own books from every edition. Nonetheless, D&D opened up the world of role-playing games for me, and kindled my interest in fantasy, so I love the game. (For the record, I think 5th ed D&D is a great edition for new players and nostalgia driven fans, but that is a different tale.)

Most of the editions of D&D follow a very similar evolutionary pattern, with relatively changes with each new version of the system. Obviously some players preferred the older editions, but as a whole each one felt like a natural progression from the last; even if you did not like where that progression went, you could still see where it came from.

Not so with 4th edition D&D. 4th was a major departure, leaving behind tried and true systems in favour of radical new ideas like encounter and daily powers, healing surges, and so on. Gone were the days when the fighter was defined by being the guy with the high attack value and multiple swings. Interestingly 4th ed also introduced the idea of each class having a primary attribute that mattered more than anything else on all their powers.

Sound familiar? There is no direct connection between D3 and D&D 4th but the design philosophy is very similar. Let me break it down:

  1. Fear of sub-optimal character builds: Both D&D 4th and D3 are afraid that a player might gimp their character by building it wrong. This is where the primary attribute and damage mechanics prevalent in these games come from: they are meant to prevent a player from playing a barbarian who puts all his points in charisma and is not as effective as a strength based barbarian.
  2. A desire for “smooth” gameplay experience and power curves: the statistical analysis that goes into both game is pretty impressive — it has to be because bucking the curve in either one results in a character that is either too weak or game-breakingly powerful. In D3 this is handled by allowing the player to shift difficulties, while in D&D 4th it is up to the DM to be aware of it. Because these systems are so tightly wound around having a certain character efficiency at a certain level they require special systems to cope with outliers. A good example is in D&D 4th where campaigns without magic items must compensate characters with special bonuses to hit and damage so that they can keep up with the expected curve. In D3 they replaced the old normal/nightmare/hell difficulty progression with player selected difficulty, which gives an entirely different feel to the game. When I say replaced, I mean it: D3 originally had a normal/nightmare/hell progression system (with a new level, inferno tacked on… badly) but it scrapped this in favour of a player controlled system, partly to compensate for outliers. In D2 players who bucked the power curve could simply progress at their own pace, but this is a less effective control in a game where DPS is so rigidly defined.
  3. Rigidity of Design: This is the real kicker. Both D&D 4th and D3 are rigidly designed games. Their basic systems are not flexible at all. In creating a polished, balanced experience they have filed off some rough edges that actually had real design purpose in their predecessors. A good example of this is levels in D2 versus levels in D3. In D3 Levels mostly act as a control — unlocking new powers and determining what level of gear you can equip. In D2 Levels were a core framework, directly determining how powerful a character was by offering precious skill levels and attribute points. As a core system levels advanced beyond the difficult of most areas in the game, allowing even the most casual of players to eventually conquer a difficult area by leveling up. A corresponding example would be hit chances in D&D 4th. Prior to 4th the fighter classes enjoyed a much higher attack bonus than other classes, allowing them to reliably land melee attacks, even on higher level creatures. Mages and Rogues were compensated with other abilities such as massive damage spells or exceptional skills and positional attacks. In 4th everyone has very similar damage potentials, hit chances, skill levels, and the general utility of spells just disappears. Most of the flavour and a lot of the flexibility are ground off in order to satisfy design goals of smooth play, balance, and safe builds.

The Gameplay Contract of Sequels

Ultimately a player expects a sequel to be faithful to the original. IP aside, D3 is as guilty of being unfaithful to the original design as 4th edition is. Both games are good in their own right (yes, some people like 4th, get over it), but just play differently than their predecessors. The design philosophy is simply too different. Both D&D 4th edition and Diablo III were influenced by the reigning king of fantasy games at the time: World of Warcraft which needs the systems that they embrace (builds, smoothness, rigidity) to handle the needs of a very different player base.

D2 and D3 are both Isometric Action RPGs with cool randomized loot, but that basically describes the genre that Diablo built. Many games that have been created since are evolutions of D2 while if I took away the name and the visuals I doubt you would recognize D3’s pedigree. The game’s systems are radically different and thus it is easy to see why some people who truly love D2 just feel betrayed by the sequel, even though it is a really fun game. It just isn’t faithful to the original, is it?


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