Pinball design - Part 4 - Grace periods

Grace periods are a large part of the pinball rule-set development time. I know it doesn’t seem that way but it’s true. I would put them 3rd in the list of time consuming pinball development areas. The top 5 would be: choreography, choreography conflicts, grace periods, device drivers, and finally the rules themselves.

In short a grace period is this. Some pinball feature / rule is available, and if the player does what the rule is asking for he will be rewarded, but you only have a limited amount of time to do it. If you succeed great you get the award. If the time runs out the game will seem to take away your opportunity. The light will go out and maybe even the music will change. Both indicate that your feature is no longer available.

BUT WAIT! What if the ball was flipped while the feature was available and the ball is now en route when the feature ends? Well when the ball arrives the software should remember that you had the feature available and give it to you anyway. This is a grace period; a period of time when you still can be awarded the feature even though the feature has gone away for whatever reason.

The first problem is when deciding when to show the total page. Often when a player finishes a timed event we like to show them how well they did for that event. We call this a total page. At first you would think that the total page would immediately show up when the event ends. Also the total page is important to add clousure to the feature that was running. The choreography could go like this: EVENT IS RUNNING 3 2 1 0 TOTAL PAGE and at the same time the music, background display, and lamps all change to reflect the feature has ended.

Now what about the grace period? The event ends and instantly you see the total page and then you score one more award during the grace. Now the total you saw is wrong. So should the Total page not come up until the grace period is over? But then you have akward presentation like this: EVENT IS RUNNING 3 2 1 0 music changes, display changes, lamps change A FEW MORE SECONDS then the total page. Lately this is how we have been doing it but I don’t like it that much.

Now there is the case where a grace period can restart the event. Imagine if you will you are playing a multiball like Battle Royal in Spider-Man. In Battle Royal you Super jackpot is lit by shooting each of the villain areas of the game. Then when you shoot the super jackpot shot you get an additional ball in play! Let’s say you have the super jackpot lit and you drain down to one ball ending the multiball. The super jackpot light goes out, but you shoot the shot during your grace peroid! The game will award you an additional ball into play and start your multiball up again! Cool huh?

In my current game, 24, there is a time in the game where you are trying to get someone to the hospital before they die. You have to make some number of shots or else they die. Let’s say you have one shot left and the time runs out and FLAT LINE! She dies. BUT then you make the shot during the grace period and it’s a miracle!

Anyway you can see that sometimes a lot of thought goes in to something as simple as grace periods.

Pinball design - part 3: Let the game birth the rules

There are always some chunks of rules that have to come from flipping the game.

After flipping a game for the first few times you begin to realize that certain sequences of shots are fun, just kinetically. Therefore it’s really clear to me that you have to build at least some rules around the player performing that sequence.

In Star Trek: The Next Generation it was clear from flipping the game that there needed to be a special rule for shooting the left orbit followed by the left ramp. Thus the Picard Maneuver was born.

Terminator 2 is an example of a game that was largely birthed from flipping. When Steve Ritchie, Doug Watson, and I first started flipping the whitewood, it was plain that shooting the left and right ramps back and forth should be a big part of the game. Shooting that whitewood for the first time was lots of fun because it has really good flow.

Clearly when you shoot either ramp the goal should be to then shoot its counterpart. Each alternating ramp shot would build a ladder of lights until you reached the top. Also it was more fun if you did it quickly. So I added incentive for shooting the counterpart within a few seconds with the million plus rule.

But what should happen then? PAYBACK TIME! At first payback time was only awarded on the ramps. The thinking was you got here from being in a groove and shooting the ramps over and over. The rub came when people would miss their first 5 MILLION ramp shot and then flail and not get control of the ball for a length of time. Then the time would run out. So again the rules were changed / created from flipping the game; we made it so you could collect Payback Time from more than just the ramps.

Today games are more complicated. A great deal of the design work is done in team meetings and on paper. We often don’t have enough time to let the game tell you what the main rules will be. Once we get a whitewood a large percentage of the core rules have to be somewhat thought out.

Although, it’s not a good idea to completely design a game without flipping it. If you start flipping certain shots or sequence of shots and it is not easy or fun? Then you are stuck you cannot put in the rules you have mapped out there.

Pinball design - part 2: The distance from the start button

While designing features for a pinball machine you have to think of the big picture at all times. Two things you have to consider are: How hard is the feature you are creating while you are playing it? And: How hard is the feature to get to?

This is what I mean by “distance from the start button”. How long it takes someone to get to the feature after they push the start button and start the game.

This is all about the pacing of the game. You want the game to be deep but you do not want there to be long stretches of “work” to artificially deepen the game. You want the game to be action packed but you can’t let all the action get too bunched up. You have to design the game so that the pace of the game is good. You have to place the different features at good distances from the start button.

The pacing of the game is very important. Where it is most noticeable is in how hard the various multiballs in the game are to achieve, or how far they are from the start button. The closest one is for the Novices, another one further away as a challenge for the beginning players and a stepping stone for the intermediate players, another to give the intermediate players a challenge, and lastly one really far from the start button for the experts.

A great example of this is in the recent Spider-Man pinball machine. Spider-Man has Doc Ock which is only two shots to start. Further out is Black Suit, then Battle Royal, and finally Super Hero is really far from the start button. Well done Lyman.

Pinball design - part 1: The Silhouette of a Pinball Machine

Who plays our games? What I mean is what range of skill sets do the people that play our games have? Are they mostly novices or do they have some amount of skill? We have no means to do real research. So we mostly just guess.

Knowing who our players are is one of the first steps in knowing what game to design. How much of the game should be engineered for the novice, beginner, intermediate, expert, or Lyman?

My guess is people play our games first and foremost because they have the shape of a pinball machine. From a distance they have the silhouette of the game they know how to play on some level. I believe Pinball is like billiards, or darts, or bowling you have some idea what it’s about and you want to play it or you don’t. They are a form of entertainment but we are not a movie or bar band that people can passively participate in.

When I design a game I try and place emphasis on the beginning to intermediate player. I think it’s really important for the novice as well as the expert to have fun playing the game too. But I believe we should not bow down to the novice. We should instead make a game that intrigues the novice and pulls him in. Then after a few games the novice is no longer. In his place is a player on his way to being average. Yay!

The fear is that since a novice's skill is so low they will play once not achieve anything, decide that their original assessment was correct, pinball was not their “thing”, and not play anymore. So it is often argued that we should design to allow the novice to accomplish something every game.

I argue that an initial experience of a particular game is not one 2 minute game but a series of games. The goal then is after that series of games the player has learned enough about the game to want to play it again someday. I think it’s a mistake to design a game so that everyone every game sees every major feature.

There is one wrinkle in this line of thought. More and more games are being sold to be in basements. Most of which are people putting a Pin-table next to their bar and 60” flat screen for when they entertain guests. Guests will play pinball because it’s there even if they normally would not. They are novices that for the most part will not become a player but still need to be entertained.

..... A new begining

I wrote this article in 2003. I wrote it for Michael Schalhoub whom asked me to write a few articles for his book "The Pinball Compendium: 1982 to Present"

This is the story of The last few months at Williams and how I got my job working for Stern Pinnball Inc 1999.

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To talk about my start at Stern is to talk about the end of Williams. It was the worst day of my life, October 25, 1999.

Let’s go back to the beginning of the end. For years, every three months there was another potential layoff of engineering peoples. Being a publicly held company, every three months is another quarterly report and the stockholders expect profits or action. Pinball, and the whole coin-op industry in general, was declining from mid-1994 on. Why it was declining is a whole ‘nother story. Layoffs were like vomiting. It is so gut wrenchingly painful as it is happening, but afterwards you feel better. You think, “That sucked, but maybe it’s over now, maybe things will get better from here.” You force yourself to have faith in the leadership of the company.

The beginning of the end to me was sometime in 1998. It had been made clear to us that we had to do something or we would be out of business. Even then I didn’t believe it. We would have meetings to discuss different ideas people had. We thought what we had to do was change the face of pinball. Make it look so different that it would draw new interest.

Looking for the answer was very difficult. In my own way of thinking it was like there was this really big field. We knew the answer was buried somewhere in the field. Some of us were walking around with a spade shovel digging holes at random. Some were walking around waving a metal detector back and forth in front of them and listening to little beeps. John Popadiuk was the most visible. His team was digging a really big hole with one of those large yellow diggers. George Gomez was often seen walking in straight lines, taking evenly spaced steps and often nervously glancing at a parchment. Sometimes George would take sharp right turns and continue pacing out of sight. In saner terms, we didn’t know what we were doing but John’s team had the most viable idea.

Basically, John wanted us to change pinball to have a new style of cabinet with a monitor instead of a dot-matrix display. He had many more ideas and some of them still persisted into what became Pinball 2000.

In a meeting with Neil Nicastro (the president), we were asked if everyone was behind John’s idea. I knew that we needed to sell it to Neil. I knew that it was important for us to stand behind the best idea and see it through. George Gomez thought differently. I followed George back to his office and asked him “What the hell are you doing?” He told me that he thought what John was doing was not the answer.

Time went by and we were pushing forward with John’s ideas. Later it was learned that George and Pat Lawlor worked at Pats garage building a demo to show the rest of us. When they brought in their demo it was clear to all that that was it, that we were done searching. This demo became Pinball 2000 and we were saved. Someone that saw the demo later said we had just “bought pinball 5 more years”.

What followed over the next many weeks was amazing. We became a group on a mission. We were reinventing pinball from the ground up. Everything was scrutinized to find a way to improve on the way it was done. The most visible part of Pinball 2000 was the interactive video, but this was just the tip of the iceberg. Very few people outside our group appreciate this today.

Lyman Sheats led Keith Johnson and I to write the software for Revenge from Mars, the first Pinball 2000 pinball machine. We were writing a game on a new platform while the Operating System itself was being developed. This was no easy task. Revenge from Mars, the second game (Star Wars Episode I), and the OS were almost all developed at the same time. We learned tons of things while we developed them. The next couple models were going to make great strides towards improving the platform.

We premiered Pinball 2000/Revenge from Mars at the ATEI show in London in January, 1999. The show was a huge success. While I had very little to do with the Pinball 2000 design or its OS, I worked harder on Revenge from Mars than any other game previous. Revenge from Mars sold well, 2 to 3 times more than any recent game.

Pinball Expo ‘99 was October 21st through the 24th. For two weeks prior to Expo, Tom Uban, Lyman Sheets, and others worked their butts off to get one of the newest additions to Pinball 2000 ready. While we developed Pinball 2000, we created and maintained a wish list of stuff to enhance it. We planned to develop these ideas when we got the time. One item was a card reader. The machine could know who was playing if the player had a card and scanned it before they started. This would have enabled lots of other cool features to follow. It did help facilitate the tournament at the Expo.

When I arrived to work on October 25th, the Monday following Expo, I learned that Williams laid-off the entire pinball department. This was over 400 people, including 45 engineers. I was devastated.

Meanwhile, Gary Stern had recently made a deal with Sega to take possession of the pinball division he was already in charge of.

In the next few days after the lay-off, we were allowed to clear out our offices. I had ten years of miscellaneous pinball junk in my office, most of which I didn’t want anymore given my disposition at the time.

Jim Patla was in charge of overseeing the archiving of the department. When I ran into him, he told me that when he last saw Ken Fedesna, our General Manager, Ken told him he was surprised Dwight didn’t take his door. My door is unique. It is covered in Star Trek: The Next Generation back-box decals. Jim and I took Kens comment as permission that I could have my door. Jim wrote me a property pass for it and I took my door home. I plan to use it someday when I finish my basement.

We were also given interviews at Midway, our sister company. I was half sure I didn’t want anything to do with making games anymore, ever.

Headhunters called me every couple days. I went on a couple of interviews.

Several of us made a date to drive down to see Gene Cunningham. The plan was to start a new pinball company. For a short while this seemed very interesting yet scary.

I heard from my good friend Cameron Silver that Lonnie Ropp was looking for software people at Stern.

I was offered a job at Midway.

I called Lonnie and he interviewed me over the phone. He had a lot to say and talk about. He seemed to already know a lot about me. He asked me to come in for an interview early next week.

On Sunday we drove down to meet with Gene. On the way back I was torn about how I felt. It seemed too good with lots of unanswered questions.

On Monday I put on my one suit (a different one from my interview at Williams, honest!) and gathered my letters of recommendations from Larry Demar and Ted Estes along with resumes into my leather notebook. I went in for an interview with Lonnie and Gary Stern. It went really well. I was confident that they would make me an offer.

The Gene Cunningham plan turned south. I think I dodged a bullet there. In the end, my only real choice was to work for Midway and learn to do video games or work for Stern doing what I had been doing for ten years. I started work for Stern Pinball Inc at the end of November 1999.

Gary Stern is a good man. He is passionate, hard working, and cares about pinball. While today pinball is still on very shaky grounds I believe it is in good hands.

Dwight Sullivan
July 10, 2003

Junk Yard Story

This is the story I wrote to help explain some of the sillyness in the game.

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JUNK YARD.... The Story

"Nice Doggie!", I exclaimed. Where did this ugly dog come from? I was only looking at a beat up old toaster and the next thing I knew a mouth full of ivory spikes was chomping on my heels as I fled for my life.

"GRRRRFFFFF GRFF GRFFFFFF!" Snarled Spike.

"Maybe I have a Milkbone," it was lie. I rounded the corner and dashed through a large sliding gate. Spike was still coming, attitude and all. Dropping the toaster, I hurried to slide the gate shut as Spike's shadow grew all around me. CLANG! The gate closed and Spike was unable to stop in time.

Then I got a bad feeling as I heard laughter all around me echoing. "You're trapped in my junkyard. HA HA HA HA HA!!!" That must be CRAZY BOB, I thought. I'm going to have to build some kind of flying jalopy to get out of here.

The growls and snarls of Spike grew faint as I wandered deeper into the canyons of junk. I stumbled across a functional television set. Now, if I only had a weather vane I could create a radar device. I looked up and there was a weather vane sticking out of a telephone pole. Climbing on top of a stack of cars, I retrieved the weather vane. Using some extra wiring, I integrated the weather vane to the TV creating a radar device. It was time to test the device. I flipped through the channels on the TV. My choices were Christmas trees, time machines, fireworks, hot babes, junk, and Mean Dogs. I chose fireworks. Then I adjusted the tuner and bingo: the display showed me where and how close the fireworks were.

Just then I saw a hair dryer buried under some bicycle tires. I combined the hair dryer and the toaster creating a kind of toaster gun. Holding the gun I felt the urge to say 'feeling lucky PUNK!', but I resisted.

With new found confidence I made my way deeper into the labyrinth. I had a growing sensation. The sensation of being watched. Turning the corner I saw them. Down the alley, under a street lamp, hundreds, no thousands of rats were bubbling out of crates of fireworks. A sudden urge of stupidity swelled within me. I charged down the alley screaming at the top of my lungs and toaster gun blazing. As I reached the crates, I wasn't sure if it was toast or dead rats crunching under my shoes. I had a feeling that I would need these fireworks sooner or later.

I heard the distinct sound of water running. Climbing over stacks of tires I hid in the shadows and watched. A bare outstretched foot and a wet leg glistened in the moon light. She was taking a bath! I started to forget my surroundings when I heard a familiar yet loathing sound.

"GRRRRFFFFF GRFF GRFFFFFF!" Spike had a limited vocabulary. The bathing beauty leapt from the water naked and suds flying. I took a firm grip of the toaster gun, and a smile took control of my face.

"Somebody get this dog away from me!" She blurted. Leaping to my feet, I chased after them. FLANK FLANK FLANK, three pieces of toast whizzed past his head. I missed. I followed them to a small alcove. Locked in a figure eight, she was running for her life. I knew how she felt.

Crouching down I took aim. FLANK. Nervous, I shot too soon. The toast narrowly went between them. FLANK. This time I was successful! Spike, knocked down and away, the girl had time to escape. "Eat hot toast you scruffy old mutt!" I exclaimed victoriously.

That's when I had an idea. I tuned my radar device to the junk channel and calibrated it to search for a fan. I was lucky. There was a fan nearby. I tested the fan. I plugged the fan in and turned it on and the force blew me back against a wall of cars. The next thing I remembered was toast, dead rats, and small pieces of junk flying down the alley.

The bath tub still had her sweet smell. Digging the bike tires out I added them to the bath tub. I attached the fan to the rear. Using the fan as a means of locomotion and a rudder, I was soon tooling around the junk yard in my new jalopy.

I knew then that I would be able to collect all the junk I needed to finish this flying jalopy and go on many more adventures.

- J. W. O'Mally

WHO dunnit - TIMELINE

While we were developing WHO ? dunnit it was important to me to have a back story that we could all draw from mainly to minimize the the continuity errors. It was also important to me for all the characters in the game to have real reasons to want to kill all the other characters in the game.

So I made most of the team sit in Barry's office for hours till we came up with the following background story for the game:

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Characters:

TONY’S PALACE – Casino, The place it all happens.

Nick Spade Private eye.

Tony 38 Owner of the casino and very content.
Trixie 23 Works as a dealer, for Tony
Bruno 42 Tony’s bouncer/ body guard.
Victoria 34 Spider Lady from Europe.
Butler 53 Victoria’s Manservant.


TIME LINE:
1900
Walter, a young wealthy playboy, and Mia, wife of the English Ambassador have a fling. They conceive VICTORIA, a secret VICTORIA’S mother keeps. She doesn’t tell him before he leaves never to see him again.

1911
TRIXIE’S mom dies giving birth to her. Tex is forced to be a single parent.

1915
Walter comes to town, meets TONY, and they become partners. They start the W&T PALACE, a struggling casino. TONY then cheats Walter out of his half of the casino and Walter disappears.

1917
Walter returns to Europe to learn that VICTORIA’S mother has died and that VICTORIA has grown up in a boarding school. VICTORIA looks amazingly like her mother. Walter can only think of how much he loved Mia when he sees VICTORIA. Walter changes his name to BUTLER. He tells VICTORIA that he used to work for her mom and she hires him as her manservant. BUTLER, trapped by the memory of Mia, does whatever VICTORIA says. VICTORIA treats BUTLER like dirt… as she does most everyone.

1919
Tex forms a partnership with TONY and they create the T&T PALACE. This casino thrives and they become rich. TONY and Tex each get a tattoo on their arm that reads T&T PALACE. TRIXIE is 8 and has a crush on TONY. TONY and Tex are like brothers.

1922 MAY
BUTLER suspects the fate of all his daughter’s past husbands and encourages VICTORIA to go after TONY. VICTORIA shows up with BUTLER. VICTORIA and TONY have been lovers off and on for a couple of years. TONY still avoids her grasp. VICTORIA marries Tex, her third husband. She becomes TRIXIE’S stepmother. TONY doesn’t recognize Walter because BUTLER is the shadow of the man Walter was and looks 10 years older.

1923 JANUARY
VICTORIA and TONY conspire to kill Tex. The plan was: VICTORIA gets the money and TONY gets the CASINO. Tex overhears VICTORIA’S half of the conspiracy. When she hangs up the phone he roughs her up and threatens that if anything happened to him she would be sorry. BUTLER witnessed Tex roughing her up. Unknowing to VICTORIA or TONY, BUTLER sabotages the brakes of Texs’ car. Tex drives off a cliff. Car explodes. Body was never found.

Tex, injured and disfigured, makes it to an underground doctor/plastic surgeon. Tex is reborn as BRUNO. BRUNO has one agenda, to get VICTORIA for attempting to kill him. No one will get in his way.

TRIXIE, now 11, moves in with TONY. VICTORIA cannot be tied down with a child. TONY is the closest family that TRIXIE has. She resents VICTORIA for this and still has a crush on TONY.

TONY and VICTORIA each believe that the other did the brake job on Tex. VICTORIA and BUTLER leave for Europe in search of another husband for VICTORIA.

T&T PALACE becomes TONY’S PALACE.

1930
TRIXIE and TONY are lovers but TONY will not commit. TONY gives her a job at his casino. He keeps her on a string, never letting her get enough money to be free.

1932
BRUNO goes on a fact-finding mission about VICTORIA. He learns all about her and her dead husbands. He learns about her real father. He also learns about her relationship with TONY. He now suspects TONY and VICTORIA of “fixing” his brakes.

TONY, unknowingly, hires BRUNO to work for him. BRUNO wants to be close because he knows that sooner or later VICTORIA will show up, and he wants to keep an eye on TRIXIE, his daughter. TRIXIE has been his only reason to live on some dark lonely nights. BRUNO keeps a locker full of TRIXIE pictures and news clippings.

1934 (Yesterday)
BRUNO waits for the day he can extract his revenge on VICTORIA and TONY.

TONY thinks all is well and is ready to enjoy the good life that he deserves.

TRIXIE has finally learned that TONY is not to be trusted and she must do what it takes to protect her-self.

VICTORIA and BUTLER show up to try and snag TONY once more!