Innovation of the Week: Alternative Solutions

We all know the satisfaction of discovering a unique way to overcome a challenge or to have our favorite playstyle be a valid option in a game. Even better if no one else had thought of the solution before us, perhaps not even the developers of the game! For this week, let's have a look at an innovation that in some ways ties into the previously tackled object interaction topic: alternative solutions to problems. Now, while using a different weapon or taking out parts of a boss or enemy in a specific order might technically qualify, for this post I'm gonna focus on games that went a step beyond and offered more distinct options like puzzle solving, stealth, sabotage, trapping, avoidance or negotiation. Or a combination of them. Basically these are the precursors and early examples of what some call immersive sims nowadays. These games tend to reward creativity, experimentation, attention to detail and thinking outside the box.

The first example is a bit tricky to pin down; the previously covered High Noon (Mainframe, 1970) technically counts, having multiple endings. Later versions of Star Trek (1971) give you more tactical options. But I've chosen to go with two 1975 RPGs for this post: First up is Dungeon, in which there is character creation where players roll for stats or pick between premade ones, and depending on these, different options will be available to them. For example, a spellcaster can avoid monsters that they don't want to be facing with invisibility spells or ones that reduce the random encounter rate, they can disarm different enemy types or level ranges of enemies with sleep, charm and hold person, and they can detect hidden doors. A cleric will be able to cast an assortment of buffing and healing spells, and a fighter can take on the enemies in melee combat. It seems all types can bash doors to get into rooms, where treasure is found (which is worth experience points in this game so you'll want as much as possible, however you'll need to be careful as you can't escape from a monster while in a room). At least, this is how it works in theory as some spells will always work, and the game favours some builds and spells over others. It's also wildly unbalanced and can put you up against way overpowered enemies on the first dungeon floor. As for other options, there is no diplomacy nor any non-monster encounters, and no stealth mechanics in the way we know them now.

Next is moria, a game that plays quite similarly except for being in first-person view, using different names for the stats and making players pick between premade builds. It stands out in two ways relevant to the topic - first, it features use-based stat progression like the later Dungeon Master, Quest for Glory and Final Fantasy II, letting players tweak their characters with every action taken as well as adjust things they don't like about their character over time by focusing on certain activities. Second, it allowed for network multiplayer gameplay where players can adventure separately or form parties of up to 10 (!) players, and where the game continues after a character dies. As you can imagine, this opens up new possibilities when it comes to tackling the dungeon, PvP competition and diplomacy. A very good thing since there aren't any neutral or friendly NPCs here either.

Other Notable Retro Game Examples:

Metroid (1986) - This early NES classic by Nintendo would provide a lot of freedom for players to take their own path through the game other than the intended or recommended one by the developers. This tends to be called sequence breaking nowadays and it's a feature that has stuck with the series for the most part. In Metroid, creative use of earlier weapons and tools (see bomb jumping) allows players to skip both the ice beam and the high jump boots and still beat the game. Or if they do get the ice beam, they can enter the final area much earlier than they're supposed to. A glitch-free playthrough can actually take under half an hour if you really know what you're doing!

Quest for Glory (1989) - The first game in this cult classic RPG/Adventure hybrid series by Sierra is a non-linear experience that also features various alternative solutions to problems, some of which won't be obvious to a first time player. For example, there's an alternative solution for the bird's nest puzzle which those stuck in "adventure mode" might not think to try - you can use the Flame Dart spell to burn the nest and it'll fall to the ground, letting you take the ring inside. The "Open" spell is one of three possible solutions for the Spore Spitting Spirea puzzle where you are expected to acquire the seed being juggled between the flowers. When used they will open up and the seed will drop to the ground. While both non-linearity and multiple solutions are actually in the King's Quest series tradition, Quest for Glory introduced three classes that change how the player can interact with the world (you can combine them to an extent), added various new ways to interact, dialogue trees, as well as non-random enemy encounters in hostile areas which can be avoided in two different ways. Quest for Glory also reacts subtly to many player actions by rewarding different amounts of points depending on what they do, and your final score also affects the ending. So for example, being inquisitive when talking to people isn't just a good way to figure out what to do.

Damocles/Mercenary 2 (1990) - This Open World game with a for its time complex physics engine has players start off initially stranded on the planet Eris with a non-functional spacecraft. A comet named Damocles is moving towards Eris, adding a time limit to each playthrough - players must both escape Eris and prevent Damocles from destroying it. The game expands its scope compared to the prequel, offering exploration of an entire solar system called the Gamma system, and there are multiple distinct ways to beat the game, encouraging players to find an alternative to the more obvious and destructive one. One of these involves manipulating planetary bodies to divert the Damocles comet.

Ultima VI (1990) - In this Open World RPG, players have the freedom to do many things, both moral and immoral. For example, players can purchase a ship for exploration, or take a ruthless approach by eliminating the shipwright and stealing all their deeds. When it comes to puzzle solutions, there's one where the main character and his party come up on one side of a portcullis and there's a lever on the other side of it that you have to flip to raise it and make progress. If you don't have the telekinesis spell, the intended way to get past that portcullis, you can instead use Sherry the Mouse. The portcullises in the game were designed so that only Sherry could pass under them, and Sherry can also interact with the lever, letting the rest of the party through. Warren Spector, producer and director of Deus Ex, has said that watching a playtester discover this unintended solution was a formative experience for him as a game designer.

Fallout 1-2 (1997/1998) - Dating back to the original Fallout, the series is known for its open ended, post apocalyptic world and gory deaths during combat but it also allows for a high degree of player agency. Players can negotiate, bribe, detonate, sneak and/or lockpick their way through its many quests. The choices made throughout the game have far-reaching effects on the story, and it's even possible to beat the game as a pacifist (sort of, as you do end up convincing the villain to kill himself). Game designer Tim Cain explains all seven different solutions to one of the earlier quests in the game, "Rescuing (or not) Tandy", in this video.

Conquests of the Longbow: Robin Hood (1991) - Some would say this is still the best Robin Hood game and in relation to this topic, it is rather impressive even today. This is a partially non-linear Adventure game where most scenarios have several different outcomes, and which lets you decide if you want to play as a spotless hero, more of an anti-hero, a coward, a fool or somewhere in-between. You play as Robin Hood of course, leading a band of outlaws as a resistance force in an oppressed medieval Nottinghamshire with fantasy elements added for some additional flavor. Already in one of the first events where Robin Hood catches one of the corrupt sheriff's men trying to kidnap a peasant woman, there are four different outcomes. After confronting the guy, you can quickly draw your bow and take him out. The woman thanks you, your band takes care of the body and if you want to, you can give her some money (this is another Sierra game that keeps track of your score and where it has an effect on the ending). You can move straight up to him and kill him, but the hostage will be killed before you reach him. You can try to bide your time and come back to this screen later that day, but then another guy armed with a crossbow has arrived and will shoot you if you try something. Or you can just walk away and keep moving, not bothering with seeing what happens to the woman. In either case, either Robin Hood himself or (if he died) his band will comment on his actions, acting as a sort of moral compass in the game's world as well as some comic relief in the latter case. Later on there is even a quest with a total of 9 different solutions. The game will also keep going until the end regardless of your actions, unless Robin (or his love interest Marian) dies that is, which can happen in many different ways. The entire adventure spans thirteen days, and it's up to you if you want to make the most out of them, or just do what's required of you to progress the game, as well as the order in which you take on the possible missions for each day.

System Shock 2 (1999): This critically praised but commercially underperforming game combines survival horror with RPG elements in a sci-fi setting, experienced from a first-person perspective. Players choose from three classes (Marine, Navy or OSA Agent which are basically a Fighter, Technician and Magician) before beginning and by using gained items called cyber modules can enhance their character's abilities freely at certain terminals. As for alternative solutions, Navy players can hack into systems to gain access to more goodies, turn off alarms or even take over defensive turrets and use them against the enemies. OSA Agents can use psi powers (spells) to move objects towards them, become invisible, use a teleporter beacon to get away from sudden danger and/or make non-robot enemies fight for them. All classes can also boost their movement speed to take a few alternate paths, as well as grab every item to recycle it for money using a certain item or psi power. Getting creative with all of these abilities and carefully managing your stats and resources is pretty much required on default or higher difficulties to survive the nightmarish journey through a space station overtaken by rogue AI and collectivist, brainwashing aliens. Of course, the combat itself also allows for different playstyles through a variety of weapons with alternate firing modes and modding options, and an assortment of attack spells.

What are your favorite retro games that implemented alternative solutions, and what made them memorable? Do you appreciate the freedom to take on challenges in different ways, or do you prefer a more straightforward, linear path where you repeat parts until you can execute on that one correct pattern? Let's discuss and reminisce!