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Within minutes of initializing gameplay in Black & White, it's readily apparent you're not looking at a clone of a typical good versus evil adventure or a god game. Mixing elements of empire building, resource management, life simulation, survival and brawling with complex strategies and tactics in a gorgeous fantasy setting seems too good to be true -- but that's exactly what famed Populous designer Peter Molyneux accomplishes in developer Lionhead Studios' first effort.
Rather than bombard you with gushing platitudes regarding the nearly uncontested beauty of the game, the focus here is on gameplay, style and innovation. While it's fun to play the supreme decision maker in games such as Afterlife and Dungeon Keeper, the unbridled enthusiasm of characters in Black & White simply takes your breath away. Rarely does a game immerse you so quickly and so completely in the fortunes or failures of its protagonist (or antagonist).
So much effort is eventually expended in molding your character into exactly the type of deity you want him to be, including personality, foibles and moralistic bent, you find yourself really caring what happens to him and fiercely defensive of any enemy who might presume to challenge his domain. All of this builds from a seemingly innocuous beginning as a god-in-waiting or rookie god, if you will.
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The plot is not, in or of itself, particularly new but does have a twist. You're in charge of getting things done not by a specific hands-on approach but through manipulation of your subjects, whether they're groveling, sniveling and cowered minions under your unrestrained and turbulent dominance or happy creatures entranced by your gracious kindness. The methodology behind this control is at the core of Black & White and it works on all cylinders. The environment is so convincing that suspension of disbelief is not a problem -- you are immersed in a luscious and live world teeming with entities begging for guidance from the start.
Usually games of this nature give you two choices: good or evil. Black & White, on the other hand, offers a third possibility. Some may think it just a sub-set of evil, but the unmistakable fact remains that you can mold your character to a level beyond evil -- pure unmitigated nastiness. There may be a fine line between evil and nasty but, in this case, nasty can reach a new level. And yet, with all the possibilities, success can be achieved and be just as sweet regardless of the path chosen -- scare tactics, rewards, cajoling, demands, beatings, threats, trust, starvation -- the options boggle the mind. Let your personal preferences soar and become one with your god.
The aspect of watching your character take on your own personality over time can't be overemphasized. While manipulating the populace is a means to one end (specifically the overriding game goal of defeating your arch rival Nemesis and his minions), how you handle your own creation is another facet of gameplay altogether and one just as rewarding, if not more so. Through subtle changes brought about by your ministrations, corrections and guidance, a complex personality emerges that will make you either proud of your progeny or downright upset if he fails miserably -- you'll take it personally.
Are there any clouds in the otherwise clear skies of Black & White? Some gamers may not like the somewhat limited creature combat setup, which basically consists of in-your-face, creature-to-creature, non-lethal slugfests incorporating special moves, agility, and the occasional miracle (synonymous with spells and magic in similar games). While effective at determining immediate confrontations, the combat interface is a bit awkward and creatures don't actually die -- they recover from wounds in their temple. These conflicts occur mainly in skirmishes and multiplayer sessions but are rare in story mode and are not to be confused with important combat in the macro-sense of destroying enemy villages, sacrosanct temples, inhabitants, and even resources to prevent expansionism by your opponent.
Story mode is consistent with similar games in the genre. Manage your village, construct buildings, produce or forage for resources (wood and food are the staples), and explore to discover mini-quests (in this case, scrolls) that can enhance your chances for success. While not overly challenging, the puzzles provide a means for increasing your arsenal of tricks and items. Gold scrolls, for example, are essential to story advancement.
What the game boils down to, though, is user preference. Fans of linear, do-this-to-accomplish-that goal-oriented adventures may be put off by the open-ended quality of gameplay, which is somewhat reminiscent of The Sims. Those who decry micromanagement in any form may be dismayed at the level of involvement required to keep the villagers from whining and complaining constantly. Still others may be turned off by the overabundance of defecation and puking sounds.
Regardless, the game has the potential to give each player a real insight into his or her own psyche. The name of the game is self-expression through the character you develop. Besides, the game is simply pure fun once the learning curve is behind you and offers an immense canvas on which to paint any god-like aspirations. Go forth, multiply and rule!
Graphics: Absolutely stunning and gorgeous graphics add to the belief that you're really a part of this fantasy garden of Eden. Fluid movement of characters, luscious backgrounds and general environmental settings are praiseworthy. Oddly enough, though, individual villagers are simply and undeniably ugly (by design perhaps?) and occasional clipping and overlaps occur.
Sound: Creature sounds, voice effects and general ambiance is of high quality, ranging from villager-speak to subtle audio clues as to what's happening around you. Humor, terror, death rattles, screams, streams, wind, life-affirming sounds and more create a wonderful mix of aural complexity that reverberates throughout gameplay.
Enjoyment: Rarely is an immersion factor and identification with characters so prevalent as in Black & White. Creature manipulation is nearly honed to a science and small complaints like the combat interface, the unavoidable tutorial required for each restart, and somewhat excessive resource management for villagers (especially for only two resources) don't detract appreciably from the overall immersion of gameplay. You can be good, evil or as nasty as you want to be -- playing a god has never been such a fulfilling enterprise. Even the overall mouse-intensive interface can be adjusted to keyboard input if desired.
Replay Value: Even with initial gameplay, be prepared for some very long and intensive hours and the occasional restart as you learn the complexities of Black & White. The game demands literally hundreds of hours to completely explore and reap the benefits of total character creation and the multifaceted aspects of gameplay. Add the diversity of the main characters and the nearly unlimited permutations of possible gameplay to its sheer size and multiplayer aspects, and a long game life is guaranteed.
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Matthew Wiggins, chief army programmer at Black & White Studios has his head buried in a book called The Art Of Warfare On Land, brow furrowed in a state of absolute concentration. He's been reading the text for months, painstakingly dissecting each page, every diagram of war and subtle battlefield formation, before attempting to translate them into game code.
His dedication to perfection and accuracy is an embodiment of the ethos at the studio, a 43-strong team working 12-hour days (16-hour on Tuesdays and Thursdays) - each an essential cog in this creative machine of game development. The collective aim is to produce one of the most ambitious titles in history, god-game-come-RTS, Black & White 2.
Matthew's desk is our last port of call in an exclusive tour of studio and game, a journey led by gaming legend Peter Molyneux and studio head Jonty Barnes. During our stay, we visit every nuance, subtlety and groundbreaking idea within the studio's epic vision, in the process revealing a game of huge potential. If all of its ambitious visions are realised, Black & White 2 could well change the face of strategy gaming forever.
Anew Beginning
But back to now. Still far from finished, B&W2's distinct parts are already melding into a potentially breathtaking whole of revolutionary physics, graphics and freeform gameplay. Mistakes were made with Black & White - the epitome of a flawed masterpiece - and Peter and Jonty, in their determination to right these flaws, are listening ceaselessly to the views and opinions of the B&W community. Their goal is to bring you a game with almost infinite choice and personalised gameplay, yet one with instant accessibility too. A tall order indeed, even for this pair.
B&W2's fabric, its very essence is based upon cause and effect, with every action creating a reaction. As Peter explained before we began our tour: 'The core of B&W2 is for the world to change to reflect what you're like, and to look after your people and creature. The game will mould itself to you, depending on how aggressive or peaceful you are.' Even how you choose to treat your people will decide what kind of god you become and which paths you ultimately tread.
Blessed Are The Greeks
Your role is to play as the god of the Greeks, a people on the knife-edge of annihilation, forced to flee their homeland by the barbaric Aztecs who are led by power-hungry high priests intent on world domination. Cast out to sea with the remnants of your race, you embark on a voyage to 12 beautiful and diverse islands populated by the Norse, Japanese, Egyptians - and of course, the bastard Aztecs. Your reaction to this neargenocide will be completely up to you.
If you want, you'll be able to follow the path of 'good' and concentrate on building up a thriving metropolis. In doing so, you can have Helm's Deep-like defences, full of vast buildings and farms, and let the game and the enemy come to you. On the other hand, you can just go out and reap your revenge on the jfc enemy by building huge armies and waging all-out war.
The Laws Of Physics
But more on wars and battle tactics later, as our tour begins with a visit to the physics department. This is the one area that Peter Molyneux believes - more than any other - will shape the game and allow you to do things you've only ever dreamed of.
As with its predecessor, you'll control your on-screen actions via a giant omnipotent cursor-like hand, which use to pick up and manipulate any object in the world and cast a devastating array of spells. 'Imagine the ability to pick up and start to build things with your hand. The gameplay mechanics of that are almost infinite. Every object in B&W2 has its own properties: that's every tree, branch, pebble and rock, everything. This new physics system doesn't just apply to objects interacting with each other correctly, it also applies to their interaction with heat, light and water'.
Folding like a fat man punched in the gut the container collapses, ceramic splinters cascading to the floor, their descent merged with tumbling rocks and pebbles which ricochet off each other and scatter wildly across the ground. He repeats the process, again and again, each time the result different.
'Now imagine doing that at the top of a hill in order to start a giant landslide to attack a town below,' enthuses Peter. 'Or you may want to create a makeshift prisoner of war camp by putting people in one of these containers and half filling it with water. This means that the ones at the bottom are either crushed or drowned, and when you break it open, they all fall out correctly depending on whether they're dead or alive, wet or dry.'
Peter continues: 'You can be as destructive or creative as you wish. You can stack things, quickly and easily. You could create a barrier out of rocks and wood or any other object in the land, or make a giant seesaw with a plank and a stone, then put a rock on one end to make your own makeshift catapult.'
Hasta La Vista, Baby
Studio head Jonty Barnes interjects with an idea that came to him in a dream, in which he defeated Peter in a multiplayer game by freezing all his troops, then shattering them with rocks.
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Peter looks impressed and makes a mental note, an example of the everevolving and open-ended development process that he both preaches and allows his team to practice. While the two jokily discuss their multiplayer prowess, Chris loads up a new level with a towering wall arching majestically across a valley floor.
Once again he picks up a boulder, and tosses it at the structure. But the wall holds firm. Instead, the rock shatters, its razor-like splinters dropping impotently to the grass. 'I bet you weren't expecting that, were you?' beams Chris with a hint of deserved smugness. 'Bet you thought the wall was going to crack didn't you?' I'm duly impressed. But it's time to move on and Peter and Jonty, now seriously considering the shattering troop idea, lead us on to another section of desks at the other end of the office.
Creature Discomforts
Anton Kirczenow and Sebastian Schoellhammer are Black & White Studios' 3D creature programmers. They're both clearly very passionate about their work, and on seeing us are already jockeying for position to be the first to show off their work.
On Anton's monitor, a titanic battle is unfolding between a gargantuan lion and a grey-haired wolf. The creatures, circling each other warily at first, suddenly spring into action, rolling along the ground as they battle for the upper hand. Their momentum slows and the regal lion is pinned to the floor by the now rabid wolf, which is viciously lashing out at its trapped prey, filling the air with a maelstrom of hair and skin with a barrage of ripping blows. But Peter wants to talk about the creatures' other abilities first, so Anton's demonstration will have to wait.
'In B&W you couldn't instruct your creatures, but now they'll obey your instructions,' begins Peter, settling down in a seat between the two men's desks. 'You can choose from a lion, ape, cow, wolf and maybe a tiger, each of which has their own unique characteristics. A massive fault with B&W was that you had to sit and watch your creature the whole time and wait for it to do something before telling it whether it was right or wrong. Now you'll be able to see a list of things it's done recently, and punish or reward it accordingly - even if it's done the deed ten minutes ago.'
A Quick Summary
Peter's in his stride now, furbishing me with golden nuggets of information on the subject of creature training, detailed enough to fill three previews. Here are the highlights. First off, there's 'the leash of mimicking'. You do a task, it does a task. Simple. Your creature can also learn by watching your behaviour, then act autonomously when it deems certain tasks need doing. Example? Your villagers run low on the game's only resource, ore, so it'll help to gather more. And if its actions satisfy you 'Oh Mighty One-Handed One', then you can place rewards in its all-new creature pen.
With Anton and Sebastian wanting to show us more, Peter is called away to an important call and Jonty takes over the tour, urged by his departing boss to tell me about the final new way of teaching your beast. 'There's a whole new mechanic called Blueprints. These teach your creature specific things, so you don't have to. These may vary from building a wall, repairing buildings or military tactics, such as using archers on high ground when it leads your armies.' With that, it's time to see Anton and Sebastian's amazing 'creature circus'.
The Good And The Ugly
Back to Sebastian, who's keen to show us his creation, a monkey. Presented on the screen before me is a giant ape, rotating. He shows off its bumpmapped textures, pointing to the leathery, horn-studded back of the maniacal creature that looks one banana short of a bunch. 'Even the scars will be bumpmapped,' he enthuses, injuring the beast so gaping gashes appear on its torso. I stare in disbelief, but with time running short, we have to move on again.
Return To End
And so we arrive at our final destination, the desk of Matthew Wiggins, head buried in The Art Of Warfare On Land. Looking up, he scrabbles to his keyboard to show us how he's putting theory into practice.
'Some of the game's bigger battles will feature thousands of troops,' says Jonty as Matthew lines up a column of troops two-deep and 50-long at the base of a hill. 'You've got siege engines too, like catapults to knock down enemy walls, but it'll take a very long time, just like in real siege warfare,' he continues, while Matthew brings up several groups of enemy foot soldiers, and places them into a variety of formations.
Watching from above, they look like tiny dots, an army of ants, not a group of baying soldiers. As if sensing my trepidation, Matthew explains how you keep track of whose troops are whose. 'Certain coloured bubbles encircle your troop formations, making it obvious from above which groups of warriors are yours and how they're faring in battle.' Without warning, he unleashes hell. Ranks of red bubbled formations surge towards the thin, green bubble-enwrapped column on the hill, slowing slightly as they hit the incline, their wedged set-up cutting deep and scattering the defenders.
Zooming into the action, we can see the massacre up close: individually modelled soldiers are scrapping for their lives as their swords cut into flesh and send out a cacophony of screams from the straining speakers. However, just like the fallen, we've run out of time.
It's six o'clock and Jonty, Peter and the rest of the team still have five hours of work ahead of them. Their tireless and undying dedication to the job, a labour of love, a way of life, clearly paying off from the results I've seen. As I bid my farewells, it's hard not to be impressed. Although it's still some way off completion, if Black & White 2 can deliver on its promises, it could well be as near to a life-changing experience as a game can get. Time, as ever, will tell.