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Trauma (styled as TRAUMA) is a graphical adventureinteractive fiction game developed by Polish-German programmer Krystian Majewski as part of a thesis project, and released in August 2011. The game is based on a woman that has suffered a physiological trauma, and has been languishing in several dreamscapes while unconscious and hospitalized. The player resolves these by using both point-and-click and gesture-based actions to move about the dreamscapes, composed of photographs with digitally altered features, to complete a certain task. Each dreamscape also contains several alternate conclusions and a number of hidden photographs that provide hints towards these alternate conclusions in other dreamscapes. Along the way, parts of a backstory are revealed through a narrative voice.

The game was nominated for, but did not win, several independent gaming development awards in 2010, including the Grand Prize at the Independent Games Festival. Trauma, though short, has been stated to provide a compelling, emotional environment, aided through its graphical and musical assets.

Gameplay[edit]

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Trauma is a graphical adventure game, presented as four different dreamscapes in the opening menu. The game is introduced by full motion video of the game's narrator becoming hospitalized in a car crash, and speaking to herself to understand what has happened to her. After selecting a dreamscape, the player is presented with the game's main interface, generally a single photographic image, with some digitally altered features. By moving the cursor around, the player can see dim images of adjacent areas or images of the same area but from a different angle. This gives the effect of segmented panoramic photography in certain areas of the game. Clicking on these images when they appear will take the player to that next image, thus allowing them to 'wander' through the dreamscape.

The primary goal of each dreamscape is told to the player at the onset of the dreamscape, such as lifting a sphere off a teddy bear or catching up to a ghost-like figure. As the player moves about, the female character narrates facets of her thoughts and provides hints of what to look for. Within each area are nine Polaroid photos to be found; several provide information on using gestures to also navigate the landscape, such as turning around from an object or backing away; these gestures are needed in certain cases to reach specific areas. The player also learns of a unique gesture that interacts with a specific object in the dreamscape; for example, a gesture that mimics the circling of water down a drain is used to trigger an event when the player sees a drain, which can open an additional path to explore or reach one of the dreamscape's conclusions. These gestures, though only shown in one dreamscape, apply across the game, and may be used to reach one of the three alternate endings for each dreamscape.

The player is challenged through tracking in the game's menus to complete every possible ending and to locate every Polaroid photograph. When the player has completed all the endings to a dreamscape, they are given a 'photo tracker' that tells them how close they are to unfound photographs within the dreamscape as they move about, making it easier to complete this collection.

Development[edit]

Trauma is the work of Polish programmer Krystian Majewski which he started as part of his university thesis project in 2008.^[1][2] Initial development began in 2007, with the first level completed in 2008 and used in the presentation of his thesis. Though Majewski aimed to have submitted the completed game for the 2009 Independent Games Festival, personnel commitments held up development. The final game was mostly complete by the last half of 2009.^[1] The game was developed in Adobe Flash using the Papervision3D engine and ByteArray gesturing system.^[1]

Majewski was inspired by the photo-realistic look of the game Samorost, and used his own photography to create the dreamscapes.^[1] The locations used were inspired by his childhood memories of dark lonely places such as hospital hallways and railroad stations in foreign countries.^[3] He had originally tried to create his own spherical panoramas using a homemade tripod constructed from Lego bricks, but opted instead to use Photosynth technology to stitch the photographs together.^[1] The gesture-based system was inspired by the onset of Nintendo's Wii and DS units at the time of the game's creation. Majewski, in incorporating a lightpainting effect to show the results of the gesture, found the style to fit naturally with the photographic approach.^[1] The game's music was composed by Martin Straka, who was brought aboard early in the development process.^[1]

Majewski purposely designed the game to be short. He compared players to tourists, a previous connection that Cyan Worlds used to describe players in Myst. To this end, he created puzzles that were 'simple and pretty straight-forward', creating an alternative to the usual interactive experience of graphical adventure games with difficult puzzles to solve.^[1] Majewski stated that 'If you stay longer it's because you are interested, not because you got stuck'.^[1]

The game was originally released both as a standalone application, and a browser-based game. The standalone application could be purchased as a pay what you want model, or through the Steam platform. In October 2011, the game was added to the Humble Frozen Synapse Bundle, a charitable salesdrive.^[4]

Reception[edit]

Trauma received moderate reviews on its release. Most critics praised the visual appeal and interface presentation of the game, but found the game too short and unlikely to be appealing to most players.^[2]

Brice Morrison, writing for Gamasutra, identified that Trauma created a gameplay environment that would feel real to the player, aided through the use of photography and a simple movement interface. The environment was further aided through the subtle music that can 'keep [the player] on an uneasy edge, but not enough for [them] to consciously wake up to it'.^[10] Furthermore, Morrison praised the browser-based version of the game for minimizing the distractions normally associated with Flash games, and providing a way of luring the player to explore more of the game.^[10] Jason Johnson for Pitchfork Media considered the game to favorably leave the player with 'an unsettling feeling that you can’t quite put your finger on', lingering on the edges of 'solemn and chilling' and 'profound and inconsequential'.^[3]GameSpot's Kevin VanOrd was more critical of the voice actress used to narrate the game, calling her work 'emotionally distant', along with the 'aloof' writing that prevents the player from becoming entranced by the narrator's trauma.^[7]

Reviewers felt that the game, which can be fully completed in under two hours, could have been longer. Anthony Gallegos of IGN considered that once he had completed the full game, there was 'still so much more it could explore with its intense themes'.^[9] The game was identified as one that would not likely attract the normal video game player. Eurogamer's Simon Parkin recognized that Trauma relies on 'its ambiance and mystery to engage and entertain', a facet that most players do not seek, but considered that Trauma was successful in doing so. Jamie Dalzell of GameSpy likened the game to an art game, with limited target audience that will appreciate the game.^[8]

Trauma was nominated for, but did not win, several 2010 Independent Games Festival awards, including Excellence in Visual Art, Excellence in Audio, and the Seumas McNally Grand Prize.^[11] The title was also nominated as a finalist in the 2010 Indiecade awards^[12] and in the 2010 European Innovative Games Awards in the field of Innovative Application Methods and Environment.^[13]

References[edit]

1. ^ ^abcdefghiGraft, Kris (2010-01-26). 'Road To The IGF: Krystian Majewski's Trauma'. Gamasutra. Retrieved 2011-10-05.
2. ^ ^abTilley, Steve (2011-08-20). 'Artistic 'Trauma' a game-changer'. London Free Press. Retrieved 2011-10-05.
3. ^ ^abJohnson, Jason (2011-08-31). 'How Krystian Majewski creates something from nothing in 'Trauma''. Pitchfork Media. Retrieved 2011-10-05.
4. ^Zacny, Rob (2011-09-30). 'Frozen Synapse bundle receives some Trauma'. PC Gamer. Retrieved 2011-10-05.
5. ^'Trauma (pc: 2011)'. Metacritic. Retrieved 2011-10-05.
6. ^Parkin, Simon (2011-08-09). 'Trauma - Review'. Eurogamer. Retrieved 2011-10-05.
7. ^ ^abVanOrd, Kevin (2011-08-10). 'Trauma Review'. GameSpot. Retrieved 2011-10-05.
8. ^ ^abDalzell, Jamie (2011-08-09). 'Trauma Review'. GameSpy. Retrieved 2011-10-05.
9. ^ ^abGallegos, Anthony (2011-08-09). 'Trauma'. IGN. Retrieved 2011-08-09.
10. ^ ^abMorrison, Brice (2011-02-02). 'How IGF Finalist Trauma Evokes Atmosphere'. Gamasutra. Retrieved 2011-10-05.
11. ^'IGF 2010 Announces Main Competition Finalists'. Gamasutra. 2010-01-04. Retrieved 2011-10-05.
12. ^Caoili, Eric (2010-09-02). 'IndieCade 2010 Announces Finalists For October Festival'. Gamasutra. Retrieved 2011-10-05.
13. ^'European Innovative Games Award 2010 – the shortlist is complete!'(PDF) (Press release). [rankfurt Economic Development Board. 2010-09-28. Retrieved 2011-10-05.

External links[edit]

Close Combat is the name of a series of real-timecomputer wargames by Atomic Games. In the Close Combat series, the player takes control of a small unit (platoon or company sized) of troops and leads them in battles of World War II from a top down2D perspective.

History[edit]

Close Combat was developed as a computer game version of the acclaimed Avalon Hill board game Advanced Squad Leader (ASL). The primary consultant for the morale model was Dr. Steven Silver, a specialist in combat-related trauma. Atomic Games had already developed several games for Avalon Hill, such as Operation Crusader, and Stalingrad. However, with Avalon Hill embroiled in a financial crisis that would ultimately lead to its demise, Atomic Games took what work they had completed, severed ties with the board game franchise and completed the game's development for Microsoft. The first three Close Combat games were notable, at the time, for being among the few games published by Microsoft. The final two games in the original series were, however, published by Strategic Simulations, Inc (SSI).

Close Combat I and II were distributed for both Microsoft Windows and Apple Mac OS. Later versions were released for Microsoft Windows only.In 2005, Atomic Games was bought by Destineer. Destineer licensed the game to Matrix Games to develop three more Close Combat titles. Matrix Games hired first CSO Simtek and later Strategy 3 Tactics to develop these titles.

The five original Close Combat games were real-timecomputer wargames, with a top-down perspective and two-player capabilities. Each was set in a different European theatre of the Second World War. Each game included a mixture of infantry and armoured units, whilst the later games also included artillery, mortars and air support. Although viewed from a top-down perspective, the later games modelled terrain elevation, and included buildings with multiple floors and viewable sides. The overall tone emphasised realism, and modelled the emotional or physical state of the soldiers and equipment which included, panicked, berserk, burning, incapacitated, pinned and many others.

Games[edit]

Gameplay[edit]

The game contains a number of gameplay elements:

• Mental condition: Close Combat used a psychological (morale) model for each individual combatant. The combatant's morale would be affected by factors such as being near officers, being supported by other units, being under fire, taking casualties, and being left without orders. Troops would be Stable when they were in no danger; Cowering when pinned down by enemy fire; or Panicked when surrounded by dead comrades, wounded or near enemy flamethrowers. The use of a psychological model made certain tactics, common in RTS games where the units will follow suicidal orders, impossible in Close Combat. For example, attempting a 'rush' in Close Combat would result in units seeking cover, refusing to obey orders or even deserting.
• Experience: In Close Combat, reserve units or newly replaced troops would fire and move more slowly and be more likely to panic. Because of this, they would be unlikely to prevail against veteran troops. This is unlike most RTS games where all troops of a particular type act similarly.
• Ammunition levels: The game also modelled the amount of ammunition each unit possessed. Troops in a heavy fire-fight would quickly run out of ammunition. Once out of ammunition they would resort to bayonet fighting, or surrender to any enemies that approached them, although they could also scavenge weapons or ammunition from fallen friendly and enemy soldiers. This is in contrast to most RTS games, where units have unlimited ammunition supplies.
• Scavenging: Starting from the third installment in the series, soldiers that expended all ammo could be moved into close vicinity of dead soldiers to take their ammunition. If no ammunition was present at times they would pick up whatever weapon the dead soldier had. Enemy weapons could be picked up as well. However, enemy ammo cannot be scavenged by itself.
• Physical state: In Close Combat, troops could be Healthy; Injured by enemy fire (in which case they would move and fire more slowly); Incapacitated if enemy fire caused the soldier to be unable to fight; and finally Dead. This is in contrast to most RTS games, where units fight and move regardless of their closeness to death.
• Stamina: In Close Combat, troops could be Rested; Winded after exerting themselves, in which case they would move slowly until they were rested again; and Fatigued, after prolonged exertion, slowing them down for the rest of the battle. This is in contrast to most RTS games, where units do not tire.

Tactics[edit]

The factors above meant that the game required realistic military tactics, such as careful placement of troops in cover, ambush, advancing under cover and using terrain or smoke-screens to cover advancing troops. Effective management, such as keeping teams near their officers, not sending green recruits on assaults and maintaining fire discipline so as not to run out of ammunition were also necessary for the player to prevail.

Players also have to make effective use of combined-arms tactics to be successful in Close Combat. Infantry assault require support from machine guns, tanks, and mortars, to suppress enemy fire. Armor units also require screening from infantry units. Although they possess superior firepower, tanks are vulnerable to ambushes from bazooka or panzerschreck units, especially in close quarters such as a town or forest, where the ambushing infantry can wait to have a shot at a tank's vulnerable flank or rear armor. Tanks are also vulnerable to fire from concealed anti-tank guns, or ambushing tanks, which may wait to fire until the enemy presents his flank or rear.

Multiplayer[edit]

All versions except Close Combat: Modern Tactics offer only one vs one multiplayer. Modern Tactics offers three on three and Close Combat: Marines offers four on four, although these versions added more multiplayer ability.

Remakes[edit]

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Four of the five original games, A Bridge Too Far, The Russian Front, The Battle of the Bulge and Invasion Normandy have since been remade with new units and maps, updated graphics (maps and sprites) and sound, updated map editors, menus, as well as fixing the compatibility issues that the older iterations of each game had with modern operating systems. Each remake, with the exception of Last Stand Arnhem, also includes the original version of the game that can be played without any of the additions included in the remake.

Reception[edit]

Close Combat was commercially successful,^[1] with worldwide sales of roughly 200,000 units by 1999. Zabalaoui said that the game outsold Atomic Games' earlier efforts by around ten to one.^[2]

Like its predecessor, A Bridge Too Far achieved worldwide sales of roughly 200,000 units by 1999. Atomic Games' head Keith Zabalaoui said that the first two Close Combat titles each outsold the company's earlier games by around ten to one.^[2]

In the United States, Close Combat III sold 45,438 copies during 1999,^[3] and was the year's best-selling wargame.^[4]

The first five Close Combat games totaled 1.2 million units in sales by April 2004.^[5] By 2018, the combined sales of the series' 17 entries had surpassed 5 million units.^[6]

References[edit]

1. ^Coleman, Terry (October 1997). 'Does Microsoft Know Games?; Briefing'. Computer Gaming World (159): 307, 309.
2. ^ ^abBates, Jason (February 4, 1999). 'Close Combat: The Interview'. IGN. Archived from the original on June 13, 2002.CS1 maint: discouraged parameter (link)
3. ^Staff (April 2000). 'PC Gamer Editors' Choice Winners: Does Quality Matter?'. PC Gamer US. 7 (4): 33.
4. ^Dunnigan, James F. (January 3, 2000). Wargames Handbook, Third Edition: How to Play and Design Commercial and Professional Wargames. Writers Club Press. pp. 14–17.CS1 maint: discouraged parameter (link)
5. ^B2B Staff (April 2, 2004). 'Due nuovi titoli targati 'Close Combat' per Take2'. Multiplayer.it (in Italian). Archived from the original on August 23, 2004.CS1 maint: discouraged parameter (link)
6. ^Robinson, Joe (February 6, 2018). 'Matrix & GOG Are Bringing Back Close Combat'. Wargamer. Archived from the original on February 18, 2018.CS1 maint: discouraged parameter (link)

• Trotter, William R. Microsoft Close Combat – A Bridge Too Far: Inside Moves. Microsoft Press. ISBN1-57231-634-9.

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External links[edit]

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• Close Combat series at MobyGames

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