Roguelike
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Roguelike (or rogue-like) is a style of
Though
The exact definition of a roguelike game remains a point of debate in the video game community. A "Berlin Interpretation" drafted in 2008 defined a number of high- and low-value factors that distinguished the "pure" roguelike games Rogue, NetHack and Angband from edge cases like Diablo. Since then, with more powerful home computers and gaming systems and the rapid growth of indie video game development, several new "roguelikes" have appeared, with some but not all of these high-value factors, nominally the use of procedural generation and permadeath, while often incorporating other gameplay genres, thematic elements, and graphical styles; common examples of these include Spelunky, FTL: Faster Than Light, The Binding of Isaac, Slay the Spire, Hades and Balatro. To distinguish these from traditional roguelikes, such games may be referred to as "rogue-lite" or "roguelike-like".
Origin
The term "roguelike" came from
Gameplay and design
Drawing from the concepts of
Defeating monsters earns the character
The player generally has to explore the dungeon to reveal its contents, similar to a
Key features
What gameplay elements explicitly define a "roguelike" game remains a point of debate within the video game community.
Some players and developers sought a more narrow definition for "roguelike" as variations on Rogue introduced new concepts or eschewed other principles that they felt moved the games away from the flavor of what Rogue was.
The Berlin Interpretation defined nine high-value factors:[18]
- The game uses magicalitems may vary from run to run. For example, a "bubbly" potion might heal wounds one game, then poison the player character in the next.
- The game uses cheating; the developers of Rogue introduced the permadeath feature after introducing a save function, finding that players were repeatedly loading saved games to achieve the best results.[8] According to Rogue's Michael Toy, they saw their approach to permadeath not as a means to make the game painful or difficult but to put weight on every decision the player made as to create a more immersive experience.[21]
- The game is turn-based, giving the player as much time as needed to make a decision. Gameplay is usually step-based, where player actions are performed serially and take a variable measure of in-game time to complete. Game processes (e.g., monster movement and interaction, progressive effects such as poisoning or starvation) advance based on the passage of time dictated by these actions.[18]
- The game is grid-based. Gameplay takes place on a uniform grid of tiles. This is usually presented in an ASCII representation of the dungeon.
- The game is non-modal, in that every action should be available to the player regardless of where they are in the game. The Interpretation notes that shops like in Angband do break this non-modality.
- The game has a degree of complexity due to the number of different game systems in place that allow the player to complete certain goals in multiple ways, creating emergent gameplay.[18][22] For example, to get through a locked door, the player may attempt to pick the lock, kick it down, burn down the door, or even tunnel around it, depending on their current situation and inventory. A common phrase associated with NetHack is "The Dev Team Thinks of Everything" in that the developers seem to have anticipated every possible combination of actions that a player may attempt to try in their gameplay strategy, such as using gloves to protect one's character while wielding the corpse of a cockatrice as a weapon to petrify enemies by its touch.[23]
- The player must use resource management to survive.USGamer further considers "stamina decay" as another feature related to resource management. The player's character constantly needs to find food to avoid starvation, which prevents the player from exploiting health regeneration by simply either passing turns for a long period of time or fighting very weak monsters at low level dungeons.[24] Rich Carlson, one of the creators of an early roguelike-like Strange Adventures in Infinite Space, called this aspect a sort of "clock", imposing some type of deadline or limitation on how much the player can explore and creating tension in the game.[25]
- The game is focused on hack and slash-based gameplay, where the goal is to kill many monsters, and where other peaceful options do not exist.[18]
- The game requires the player to explore the world, and discover the purpose of unidentified items. In games featuring random generation, this must be done again every playthrough, as both the map and the appearances of items change.[18]
Low-value factors from the Berlin Interpretation are:[18]
- The game is based on controlling only a single character throughout one playthrough.
- Monsters have behavior that is similar to the player-character, such as the ability to pick up items and use them, or cast spells.
- The game aimed to provide a tactical challenge that may require players to play through several times to learn the appropriate tactics for survival.[18]
- The game involves exploring dungeons which are made up of rooms and interconnecting corridors. Some games may have open areas or natural features, such as rivers, though these are considered against the Berlin Interpretation.[18]
- The game presents the status of the player and the game through numbers on the game's screen/interface.
Though this is not addressed by the Berlin Interpretation, roguelikes are generally single-player games. On
Early roguelikes
Early roguelikes were developed to be played on
The player's character was nearly always represented by the @
character across text-based roguelikes, which had been chosen by the developers of Rogue to stand for "where you're at".[8] Other common examples would include $
for monetary treasure and D
for a dragon. Later games would take advantage of colour-based text graphics to increase the variation of creature types, such as a red D
for a red dragon that would shoot fire, while a green D
could indicate a green dragon that would shoot acid. Players would use the keyboard, using one keypress to enter a command. Sociologist Mark R. Johnson described these commonality of symbols and glyphs as semiotic codes that gave an "aesthetic construction of nostalgia" by "depicting textual symbols as aesthetic forms in their own right" and consistency across multiple roguelikes.[29]
With modern computer systems, users developed alternate means of displaying the game, such as graphical tilesets and Isometric-based graphical front ends, as well as interfaces that took advantage of keyboard and mouse UI controls, but otherwise still kept to the core tile-based gameplay.[30]
As computers offered more advanced user interfaces, such as
Rogue-lites and procedural death labyrinths
With computers and video game consoles capable of more advanced graphics and gameplay, numerous games have emerged that are loosely based on the classic roguelike design but diverge in one or more features. Many of these games use the concepts of procedurally generated maps and permadeath, while moving away from tile-based movement and turn-based gameplay, often using another gameplay genre such as
Many games with some of the Berlin Interpretation elements call themselves "roguelike", but bear little resemblance to the original Rogue, causing confusion and dilution of the term.[35] Some players of the Berlin Interpretation roguelikes disliked the dilution of the term, believing that in the 1990s and 2000s, the term "roguelikes" served well to distinguish games that forwent aesthetics to focus on depth of gameplay from games more comparable to interactive movies, particularly games that incorporated real-time gameplay elements which tended to reduce the game's complexity.[36] As such, the term "rogue-lite" or "roguelike-like" has been used by some to distinguish these games that possess some, but not all, of the Berlin Interpretation features from those that exactly meet the Berlin roguelike definition.[37] The phrase "procedural death labyrinth" has also been applied to such games, as they retain the notion of permadeath and random level generation but lack the other high-value factors normally associated with roguelike games.[38][39]
Rogue-lites favor short gameplay runs with victory conditions, in contrast to some traditional roguelikes that can be played indefinitely. The shortness of a single gameplay run in rogue-lites can motivate players to continually replay the game in the hope of reaching completion, making replayability a high-value factor in these types of games.
Several rogue-lites feature daily challenges, in which a preset random seed is used to generate the game's levels in a deterministic fashion so that each player will have the same encounters; players attempt to complete the game through those levels or otherwise get the highest score through online leaderboards.[44] Rogue-lites may also allow the player to enter the random seed directly as to be able to rechallenge the same set of levels or share a difficult set of levels with other players.
US Gamer further identified games they consider edge cases of being roguelikes or rogue-lites, as they are inspired by Rogue, and "that stray a bit further from the genre but still manage to scratch the same itch as a great roguelike". These include games such as the Diablo series, ToeJam & Earl, and Dwarf Fortress, the latter which retains the classic ASCII art-approach to gameplay as traditional roguelikes.[24][31] Ars Technica writer Richard C. Moss alternatively suggested that the term "roguelike" is less necessarily about any specific genre definition but instead the idea that "games can be deep, inventive, challenging, and endlessly compelling experiences through their rules and their systems alone".[13]
Subgenres within roguelikes
In considering the popularity of roguelikes that deviate from the Berlin Interpretation, the rogue-lites, some subgenres have emerged.
Action roguelikes are typically based on combining gameplay of
Another type of roguelike subgenre is the
History
Early history (1975–1980)
The creation of roguelike games came from hobbyist programmers and
Roguelike games were initially developed for computing environments with limited memory, including shared mainframe systems and early home computers; this limitation prevented developers from retaining all but a few dungeon levels in memory while the game was running, leading to procedural generation to avoid the memory storage issue. Procedural generation led to high replayability, as no two games were alike.[49]
Concurrent variants
Though the term "roguelike" derives from the 1980 game Rogue,[50] the first known game with the core roguelike gameplay elements was Beneath Apple Manor (1978), written by Don Worth for the Apple II; Beneath Apple Manor is also recognized as the first commercial roguelike game.[51] The game, inspired by Worth's enjoyment of Dungeons & Dragons roleplaying, included procedural generation using a modification of the random maze generator from the game Dragon Maze, role-playing elements for the characters, tile-based movement and turn-based combat.[51] Though Beneath Apple Manor predated Rogue, it was not as popular as Rogue: Rogue had advantage of being distributed over ARPANET which many college students had easy access to, while Beneath Apple Manor was packaged and sold by hand by Worth either at local stores or through mail fulfillment.[51][52][53]
Another early roguelike whose development pre-dated Rogue was Sword of Fargoal (1982), developed by Jeff McCord starting in 1979.[48] The game was based on GammaQuest, an earlier title McCord had created on the Commodore PET which he shared locally with friends while a student at Henry Clay High School in Kentucky; the game itself was based on a Dungeons & Dragons campaign he had run himself in the prior years.[48] Before graduating and attending the University of Tennessee in 1981, he had started work on GammaQuest II, which required the player to navigate through randomly generated dungeon levels, acquire a sword, and make it back to the surface with that sword through more randomly generated levels. The more advanced computers available at the school, such as the VIC-20, enabled him to expand out the game further from the highly limited memory on the PET. On seeing the prospects of selling computer software, he eventually got a publication deal with Epyx, where they helped him to refine the marketing of the game, renaming it Sword of Fargoal, and giving him access to the more powerful Commodore 64, enabling him to use graphics and sound as part of the game.[48] The game was considered a success, and when it was ported to the PC in 1983, it out-shone Rogue's PC release the same year due to Sword of Fargoal's superior graphics and sound.[48]
Rogue
Rogue was written by
Rogue proved popular with college students and computer researchers at the time, including
Following evolution (1980–1995)
The popularity of Rogue led developers to create their own versions of the game, though their efforts were originally limited by the lack of access to Rogue's source, which was not released until BSD v4.3 in 1986.
While there are some direct variants of Rogue, such as Brogue,[59] most variants of Rogue could be classified into two branches based on two key games, Moria and Hack, that were developed in the spirit of Rogue.[60]
Moria-based
Once Angband was released to the public via
Hack-based
Hack would eventually be dropped in favor of NetHack (1987).[63] When Mike Stephenson, an analyst at a computer hardware manufacturer, took maintainership of Hack's code, he improved it, taking suggestions from Izchak Miller, a philosophy professor at University of Pennsylvania, and Janet Walz, another computer hacker. Calling themselves the DevTeam, they began to make major modifications to Hack's code. They named their new version NetHack, in part due to their collaboration over the game being done through USENET.[23] NetHack's major deviations from Hack were the introduction of a wider variety of monsters, borrowing from other mythologies and lores, including anachronistic and contemporary cultural elements (such as a tourist class with a flash-bulb camera inspired by Terry Pratchett's Discworld series)[67] in the high fantasy setting, and the use of pre-defined levels with some procedural elements that the player would encounter deeper in the dungeons.[23] Further iterations of the game included branching pathways through the dungeon and optional character-based quests that could grant the player an extremely useful item to complete the game.[23] Though the DevTeam released the code publicly, they carefully maintained who could contribute to the code base to avoid excessive forking of the vanilla game, and remain relatively quiet about suggested improvements to each release, working in relatively secrecy from its player base.[23]
Other variants
Not all early roguelikes were readily classified as Hack or Moria descendants.
Mystery Dungeon games (1993–onward)
Through 1993, roguelikes primarily existed in computer space, and no home console variants had yet existed. Two of the earliest-known attempts were Sega's Fatal Labyrinth (1990) and Dragon Crystal (1990), but which lacked the depth of a typical computer-based roguelike. Neither proved to be successful games.[72] There was also the 1991 Japanese exclusive Game Boy game Cave Noire from Konami, that centred on 4 distinct roguelike questlines divided into 10 difficulty levels.[73]
A primary difference between the Mystery Dungeon games and Western roguelikes following the Berlin Interpretation is the lack of permadeath – in Mystery Dungeon games, player-characters may die or become too injured, resetting their progress to the start of the dungeon, but the games typically provide means to store and recover equipment and other items from the previous run.[72] The Mystery Dungeon games were not as successful in Western markets when published there, as the target players – younger players who likely had not experienced games like Rogue – found the lack of a traditional role-playing game save system odd.[80][81][82][83]
Other Japanese role-playing games would incorporate random dungeon generation as part of their design, mimicking part of the nature of roguelikes, and were considered roguelike titles when published in Western markets. Such titles include
Continued development in Western markets (2002–onward)
Though new classical roguelike variants would continue to be developed within the Western market, the genre languished as more advanced personal computers capable of improved graphics capabilities and games that utilized these features became popular.[86] However, some of these new graphical games drew influence for roguelike concepts, notably action role-playing games like Blizzard Entertainment's Diablo (1996). Diablo's creator, David Brevik, acknowledged that games like Rogue, NetHack, Telengard and other roguelikes influenced the design of Diablo, including the nature of randomly generated dungeons and loot.[87][88]
Existing roguelikes continue to be developed: a sequel to ADOM successfully received
Growth of the rogue-lite (2005–onward)
The roguelike genre saw a resurgence in Western markets after 2000 through
The newfound success in rogue-lites is considered part of a larger trend in those that play both board and computer games, looking for "rich play experiences", as described by 100 Rogues developer Keith Burgun, that more popular titles may not always offer.[22] David Bamguart of Gaslamp Games stated that there is a thrill of the risk inherent in rogue-lites with random generation and permadeath, helping the player become more invested in the fate of their player character: "The deadly precariousness inherent to the unknown environments of roguelikes gives that investment a great deal of meaning."[103] Additionally, many of these newer rogue-lites strive to address the apparent high difficulty and ruthlessness that traditional roguelikes were known for, and newer players will be able to find more help through user-generated game guides and walkthroughs made possible through wide Internet accessibility.[103] Fabien Fischer offers that players have taken to independently developed rogue-lites as they have tired from "superficial gameplay, whitewashing spectacle, the content craze, and Skinner Box design" in titles produced by AAA developers and publishers.[104]
McMillen of The Binding of Isaac said that including roguelike elements into other game mechanics can be difficult due to the complex interfaces roguelikes tend to have, but eventually "it becomes an increasingly beautiful, deep, and everlasting design that allows you to generate a seemingly dynamic experience for players, so that each time they play your game they're getting a totally new adventure".[105] Procedural-generated world lets developers create many hours worth of game content without spending resources on designing detailed worlds.[22][102][103]
Examples of successful games that have integrated roguelike components into other genres include:
- Dead Cells, a roguelike incorporated with Metroidvania-style of platform games[106]
- deck building game[107]
- Crypt of the Necrodancer which uses a rhythm game-style approach in a roguelike dungeon[108]
- Enter the Gungeon which establishes roguelike progression in a shoot 'em up[109]
- Vampire Survivors, a minimalistic roguelike shoot 'em up.[110]
Hades, a roguelike action role-playing game, was built to strongly incorporate elements of non-linear narrative into the game, giving the reason for the player to continually delve into replaying the game, and helped to draw in players to the roguelike genre that otherwise had been put off by its high difficulty level before.[111][112]
Community
The roguelike genre has developed with the expansion of both classical roguelikes and rogue-lite titles, a dedicated fan community has come about to not only discuss games within it but to craft their own tales of near-death adventures or amusing stories in roguelikes.
See also
- MUD
- Random dungeon
- Roguelike deck-building game
- List of roguelikes
References
Citations
- Usenet: [email protected].
I would like to propose formally that a new hierarchy be created, namely rec.games.roguelike. This hierarchy would contain groups dedicated to discussion of rogue-type games.
- Usenet: [email protected]. Archivedfrom the original on January 22, 2011. Retrieved May 17, 2018.
It seems to me that we'd do a lot better taking all of the dungeon-adventure games, including ones that don't have their own newsgroups like larn and omega, and reorganizing them under rec.games.dungeon – recognizing the intrinsic similarities of all these games. It would make it a lot easier for people who like one of these games to find newsgroups about other, basically similar games, and would finally provide a home for all those random posts about Larn and other games of the same genre that keep popping up in rec.games.hack and other inappropriate places.
- ^ a b c Zapata, Santiago (November 13, 2017). "On the Historical Origin of the "Roguelike" Term". Slashie's Journal. self-published. Archived from the original on October 14, 2018. Retrieved October 14, 2018.
- Usenet: [email protected]. Archivedfrom the original on November 7, 2021. Retrieved May 17, 2018.
I would like to propose formally that a new hierarchy be created, namely rec.games.dungeon. This hierarchy would contain groups dedicated to discussion of rogue-type games.
- Usenet: [email protected].
Those people who agree on a name seem to favor "roguelike" as the least of all available evils.
- Usenet: [email protected].
With the large number of Roguelike games and variants in existence and in development, there are occasional discussions about programming problems such as dungeon-generation algorithms which are of interest to designers of several games.
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General and cited sources
- Craddock, David L (August 5, 2015). Magrath, Andrew (ed.). Dungeon Hacks: How NetHack, Angband, and Other Roguelikes Changed the Course of Video Games. Press Start Press. ISBN 978-0-692-50186-3.
External links
- Roguelikes at Curlie
- rec.games.roguelike Usenet hierarchy at Google Groups
- Roguebasin – The Roguelike information wiki
- @Play Archived May 15, 2019, at the GameSetWatch.
- Roguelike Roundup at Kuro5hin
- 7 Day Roguelikes