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A term used in many and strategy games to describe attacks or other effects that affect multiple targets within a specified area. For example, in the role-playing game, Dungeons & Dragons, a fireball will deal damage to anyone within a certain radius of where it strikes. In most tactical strategy games artillery weapons have an area of effect that will damage anyone within a radius of the strike zone.
Area of effect can also refer to spells and abilities that are non-damaging. For example, a powerful healing spell may affect anyone within a certain range of the caster (often only if they are a member of the caster's ). Some games also have what are referred to as "aura" abilities that will affect anyone in the area around the person with the ability. For example, many strategy games have hero or officer units that can improve the morale and combat performance of friendly units around them. The inclusion of AoE elements in game mechanics can increase the role of strategy, especially in s. The player has to place units wisely to mitigate the possibly devastating effects of a hostile area of effect attack; however, placing units in a dense formation could result in gains that outweigh the increased AoE damage received.
Point-blank area of effect (PBAoE) is a less-used term for when the affected region is centered on the character performing the ability, rather than at a location of the player's choosing.
A pre-recorded demonstration of a video game that is displayed when the game is not being played.
Originally built into s, the main purpose of the attract mode is to entice passers-by to play the game. It usually displays the game's title screen, the game's story (if it has one), its high score list, sweepstakes (on some games) and the message "Game Over" or "Insert Coin" over or in addition to a computer-controlled demonstration of . In Atari home video games of the 1970s and 1980s, the term attract mode was sometimes used to denote a simple screensaver that slowly cycled the display colors to prevent phosphor burn-in while the game was not being played. Attract modes demonstrating gameplay are common in current home video games.
Attract mode is not only found in arcade games, but in most coin-operated games like pinball machines, stacker machines and other games. Cocktail arcade machines on which the screen flips its orientation for each player's turn in two-player games traditionally have the screen's orientation in player 1's favour for the attract mode.
A common term in video games for the option to continue the game after all of the player's have been lost, rather than ending the game and restarting from the very beginning. There may or may not be a penalty for doing this, such as losing a certain number of points or being unable to access bonus stages.
In s, when a player loses or fails an objective, they will generally be shown a "continue countdown" screen, in which the player has a limited amount of time (usually 10, 15, or 20 seconds) to insert additional coins in order to continue the game from the point where it had ended; deciding not to continue will result in the displaying of a screen.
The continue feature was added to arcade games in the mid-1980s due to arcade owners wanting to earn more money from players who played for longer periods of time. The first arcade game to have a continue feature was Fantasy, and the first home console cartridge to have this feature was the Atari 2600 version of Vanguard.:26 As a result of the continue feature, games started to have stories and definite endings; however, those games were designed so that it would be nearly impossible to get to the end of the game without continuing. Salen and Zimmerman argue that the continue feature in games such as Gauntlet was an outlet for conspicuous consumption.
In more modern times, continues have also been used in a number of free-to-play games, especially mobile games, where the player is offered a chance to pay a certain amount of premium currency to continue after failing or losing. An example of this would be Temple Run 2, where the price of a continue doubles after each failure, with an on-the-fly of the game's premium currency if required.
An analogy can be made to the reload time and firing rate of weapons. For example, a machine gun has very fast firing rate, so it has a very low cooldown between shots. Comparatively, a shotgun has a long cooldown between shots. Cooldown can be used to a weapon such as a turret-mounted machine gun having infinite ammunition, since it can only sustain continuous fire until reaching a threshold at which the weapon would have to cool down (hence the term) before it could be fired again.
In design terms, cooldown can be thought of as an inverted 'casting time' where instead of requiring a wait time before using an ability, cooldown may replace casting time and put the wait after the ability is activated. This creates a new dimension to the balancing act of casting speed versus power: "lower cooldown, faster cast, but weaker strength" versus "higher cooldown, slower cast, but greater strength". This mechanic is integral to such games as World of Warcraft, where cooldown management is key to higher-level play and various abilities deal with cooldown (for example, cooldown reduction or immediately finishing cooldown on certain abilities). From the technical point of view, cooldown can also be used to assert control over frequency of cast in order to maintain a fluid and ping. For example, in the game Diablo II, cooldown was added in the form of a patch to several graphically and CPU-intensive spells to solve the problem of extreme caused by players spamming (ie: repeatedly casting at cast rates) these spells in multiplayer games.
Moves and attacks in fighting games (like those from the Street Fighter series) are measured in animation frames (which may be 1/20th to 1/60th of a second per frame). Each move has a certain number of frames in which it is considered to be "recovering" before another move can be executed, which is similar to cooldown in concept. However, there is no player control over the character during recovery frames, and the character can not perform any movement or attacks until fully recovered. Because the character is vulnerable during recovery, strategic use of skills is necessary to make sure the opponent cannot immediately counter the player-character.
Ghost cars in racing games generally appear as translucent or flashing versions of the player's vehicle. Based on previously recorded lap times, they serve only to represent the fastest lap time and do not interact dynamically with other competitors. A skilled player will use the ghost to improve their time, matching the ghost's racing line as it travels the course. Many racing games, including Gran Turismo, F-Zero, and Mario Kart offer a ghost function. Some also have ghosts set by staff members and developers, often showing perfect routes and lap times.
A variation of the feature, dubbed by Firemonkeys Studios as "Time-Shifted Multiplayer", was implemented in the mobile racing game Real Racing 3. It works by recording the lap times of players in each race, and uses statistics from other players to recreate their lap times for the player to beat. These ghost cars can with the player and other vehicles, and are fully visible to the player.
Notable arcade kill screens include:[relevant? ]
This is different from games such as s (FPS), wherein the in those games are all standardized forms and the physical skills of the player involved are the determining factor in their success or failure within the game. In an RPG, a human player can be the best player in the world at the game, but if they are using a character build that is substandard, they can be significantly outplayed by a lesser player running a more-optimal character build.
A skill tree is called a "tree" because it uses a tiered system and typically branches out into multiple paths. A tiered skill tree will require a player to achieve certain skills before the next tier of skills become available. The player may be required to achieve all skills in one tier before moving on to the next, or may only be required to complete prerequisites for individual branches. Skill trees are a common tool used for in-game by game designers. Skill trees also offer a "game within a game" in which players are not only playing a video game, but their decisions on how they allocate points into their skill trees will affect their overall gaming experience.
The initial screen of a computer, video, or arcade game after the credits and logos of the game developer and publisher are displayed. Early title screens often included all the game options available (single player, multiplayer, configuration of controls, etc.) while modern games have opted for the title screen to serve as a splash screen. This can be attributed to the use of the title screen as a loading screen, in which to cache all the graphical elements of the main menu. Older computer and video games had relatively simple menu screens that often featured pre-rendered artwork.
In arcade games, the title screen is shown as part of the loop, usually after a game demonstration is played. The title screen and high score list urge potential players to insert coins. In console games, especially if the screen is not merged with the main menu, it urges the player to press start. Similarly, in computer games, the message "Hit any key" is often displayed. Controls that lack an actual "Start" button use a different prompt; the Wii, for example, usually prompts to press the "A" button and the "B" trigger simultaneously, as in Super Mario Galaxy 2 or Mario Party 9. often parody the style of the title that inspired them.
In most games, characters have one or more win quotes that they use indiscriminately, but sometimes special win quotes are used in special circumstances. For example, in The King of Fighters '94, each character has special win quotes against each of the 8 teams; in Street Fighter Alpha, players can choose one of four win quotes by holding certain button combinations after winning a battle; in Street Fighter III: Giant Attack, characters sometime use special win quotes if they finish the battle with a certain move; and in SNK vs. Capcom: Match of the Millennium, players can input their own win quotes in edit mode.
Some win quotes have characters break the fourth wall, such as Chun-Li's Marvel Super Heroes vs. Street Fighter win quote in which she suspects the game is set on the easiest difficulty setting; or are in-jokes referring to other video games, like Sakura's Street Fighter Alpha 3 win quote in which she says she prefers "street fighting to sparring in rival schools."
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