Rogue-like

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Replicated screenshot of the eponymous computer game Rogue

As Rogue-like refers to a subset of the computer role-playing games , by procedurally generated level, the lack of charge is a memory object in death of the play character (so-called. Permanently death , permanent death) and often by tiler or text-based map and turn based in play are. These games are called rogue-like because their structure, style and gameplay are based on the computer game Rogue developed at the University of Berkeley (California) in the 1980s . In the 2000s and 2010s, mixed forms that only pick up individual elements of the rogue-like genre and leave out others became popular, especially in the indie games sector. These games, which are often referred to as rogue-lite , are mostly procedurally generated game worlds and permanent death one, while, for example, role-playing elements give way to components from other genres, such as strategy or platforming .

features

Rogue-like shares the game principle with the role-playing game. The game character is defined by properties that have numerical values. The essential elements of the game are exploring the game world and fighting with its inhabitants; The outcome of the fights is usually determined by the property values ​​of the game figure and those of the respective opponent. The fights usually do not take place in real time, but rather turn-based. H. The moves of the player and the respective opponent alternate. A background story or game plot, as is common in role-playing games, is optional for rogue likes. The game world is divided into layered levels , which in turn are usually divided into rooms connected by corridors, comparable to a floor plan of a high-rise building. The levels are usually generated procedurally; Occasional levels with a fixed structure or static bases are owed to the course of the game in question. Often levels form a so-called dungeon .

history

Development history of well-known genre representatives up to the early 2000s

In the early days of the genre, the plan of a level was shown from above using ASCII characters. The alphanumeric characters served as graphic elements as in the distantly related ASCII art . The lack of graphics and sound was initially due to the technical possibilities in the 1980s. Most of the games are and were developed as part of non-commercial leisure projects. The minimalist style is deliberately retained, partly for aesthetic reasons, but partly for pragmatic reasons, as the effort for sound and especially for graphics is very high. Instead, the focus of development is on tactical role-playing systems and adventures. The minimalist presentation of the games often contrasts with their complexity.

technology

In the early computer game rogue likes based on Ascii graphics, each character represented the content of a field:

  • @ for the character, the adventurer
  • a – z, A – Z, 0–9 for various monsters
  • -, |, +, <,>,. for walls, doors, stairs, terrain
  • as well as other characters for objects, e.g. B. $ = gold,% = food,) = weapon
Exemplary representation
 ------   -   wall
 | .... | 000000############ # Dark corridor
 | .... | 000000# 0000000000# . Illuminated area
 |. $ .. + ######## 000000000# $ Gold coins
 | .... | 0000000# 000000--- + --- + A door
 ------ 0000000# 000000| ..... | | wall
00000000000000# 000000|.! ... | ! A magic potion
00000000000000# 000000| ..... |
00000000000000# 000000| .. @ .. | @ The adventurer
000---- 0000000# 000000| ..... |
000| .. | 0000000####### + .. D .. | D. A dragon
000| <. + ### 0000# 000000| ..... | < Stairs up
000---- 00# 0000# 000000|.? ... | ? Scroll, often magical 
000000000###### 000000-------
Raster graphics in the game Dungeon Crawl Stone Soup

For many game variants there are also graphic sets that replace the letters and special characters with small raster graphics . This makes it easier for beginners to orientate themselves in the game. As a rule, you can choose whether you want to play the game in the classic ASCII representation or with one of the graphic sets. The traditional representation is, however, viewed as an independent art form. It also has the advantage of allowing complete freedom of player imagination and is preferred by most experienced players.

control

Classic rogue likes are often controlled using the keyboard; most commands only require one letter, e.g. B .:

  • Moving and fighting: arrow keys or numeric keypad or vi keys (hjkl etc.)
  • o - open : open the door
  • i - inventory : View the list of items you have carried
  • u - use : to use an object
  • r - read : read scroll, book, etc.
  • z - zap : use magic

If necessary, such a command is followed by a selection menu for the direction or the desired object.

Other features

The plan of the dungeon is usually rebuilt procedurally with each game . The descriptions of many objects are also randomly rearranged so that they have to be identified again. This creates a new, unique adventure with every run.

The system for rules, the attributes of the hero and monster is often based on Dungeons & Dragons , but there is a lot of experimentation in this genre.

The so-called permadeath system is very typical for the genre . The score is only saved when you exit the game and deleted immediately after you continue. After the character dies, only one entry remains in the leaderboard, traditionally known as a graveyard . Backing up and restoring previous game states in the event of death is generally frowned upon and is sometimes made more difficult by technical measures.

Representatives of this genre (selection)

Play with elements of the genre

Games that use elements of the genre (mixed forms):

Games inspired by rogue

Web links

Individual evidence

  1. Rainer Sigl: Infinitely replayable: The ten best rogue-lites. In: The Standard . August 10, 2019, accessed July 8, 2020 .
  2. Ethan Hawkes: What Separates a Roguelike from a Roguelite? In: Hardcore Gamer. July 6, 2013, accessed July 8, 2020 .
  3. ^ Mark R. Johnson: The Use of ASCII Graphics in Roguelikes: Aesthetic Nostalgia and Semiotic Difference . In: Games and Culture . tape 12 , no. 2 , 2017, ISSN  1555-4120 , p. 115-135 , doi : 10.1177 / 1555412015585884 ( sagepub.com ).