Mirror's Edge 2D/3D: Reflection, Review, & Repair pt.1

Before I got a chance to play Mirror's Edge on my PS3, I whet my curiosity for the game by playing the 2D version. After playing the 2D version, I discussed a few things with its creator Brad Borne. At that time I made some predictions as to what I thought would be the design features, or lack thereof, that would hold back the next-gen version of Mirror's Edge from greatness. Since then, I've played and beaten Mirror's Edge as well as dabbled in its time trial mode.

After spending over a week writing over 7.7k words for my feature 2D + 2D = 3D, I decided to take this great opportunity to compare and repair the game design between the 2D and 3D versions of Mirror's Edge. I will cover each game in the first two parts and then move on to the repair in the 3rd.

The 3D Mirror's Edge (3DME) is a fairly unique video game. From the main character, the graphics, the story, to the first person actions actions at the player's command, this game has carved out a unique space for itself. Unfortunately, the final product reflects the rushed culmination of a collection of neat ideas that were not tailored to each other. Somewhere between the obvious first person shooter design and the lack of quality platforming game design, 3DME ends up providing a hazy and fragmented gameplay experience that occasionally manages to focus on what little quality design it has.

Thinking of gameplay systems in layers is the best way to comprehend the complex dynamics that are at work. Since interactivity is at the heart of the video game medium, starting with the player mechanics is the best way to get to the heart of the matter. From there, we look at the core elements of the game that make up the building blocks for challenges. Next, we consider the level design and/or the specific ways the elements are arranged to make the game challenges. And finally, we analyze a game's design elements that work to mix up and freshen the gameplay (level design, challenges, contrary motion, etc). This layer includes elements of transformation, suspension, power ups, and bonus influences.

The next-gen, 3D Mirror's Edge is a game that is built up from weaker and weaker layers design wise. More specifically, the core mechanics are mostly solid, the level elements less so, the enemies even less so, and finally the level design is the worst. Let's start with a close up of the core mechanics.

Core Mechanics

Primary Mechanics: UPACTION, DOWNACTION,

Secondary Mechanics: TURN (90/180), ATTACK, REACTION TIME, HINT

Tertiary Mechanics: INTERACT, PICKUP/DROP

The look and feel of the core mechanics are what most people appreciate most about 3DME. For the most part, UPACTION and DOWNACTION provide contextual platforming moves that smoothly transition between previous actions/states. Momentum is a key element of the player's motion, and the first person perspective of 3DME gives even a relatively simple action like running a fresh feel. Unlike other first person games, Faith's arms and legs are rendered accurately and convincingly.

The ATTACK mechanic is simple and is mainly used to beat up enemies and knock open doors. The mechanic suffers from a bit of ba3D making it difficult to judge if Faith's punches will reach a target in front of her or how much Faith's attacks missed by. This is espeically true for the sliding kick.

The INTERACT mechanic is surprisingly undynamic when it comes to disarms. 3DME is designed so that you can only disarm enemies during a small window of time when they strike at you. This means, when an enemy is stunned and doubled over in pain, the game doesn't allow you to take their guns away from them.

Overall, there are a few quirks with the mechanics of 3DME. The drawbacks aren't too substantial. From this point, it's up to the rest of the design layers to shape the gameplay experience to focus on what Faith does best and avoid the trouble areas in the design of the player mechanics.

 LEVEL ELEMENTS

3DME is a game where players interact directly with the various elements of architecture. Edges can be grabbed and climbed over. Pipes can be climbed. Poles can be swung on. Walls can be kicked off of. Small boxes can be vaulted over. Glass can be smashed. Chords function like tight ropes or zip lines. The list goes on.

The biggest problem I have with the level elements is that they aren't very dynamic or variable. Aside from the glass and perhaps the doors, the stage elements can't move, bend, or break. The exact way the developers have designed the elements to be used is how they can be used. In Mario bricks can be broken. In Sonic walls can be smashed. In Spelunky most objects can be bombed through. And in Jumpman the levels can be rotated. A little transformation can go a long way. 3DME has far to little. And what little it does have isn't incorporated into the level challenges/dynamics.

ENEMY ELEMENTS

There are not a lot of enemy elements in 3DME. Aside from the occasional spinning fan, helicopters, exploding barrels, and the moving trains, all of the other enemy elements in 3DME are human. Unfortunately, most of these human enemies use firearms to attack Faith. As I've explained before, guns are very powerful weapons that can have damaging effects on a game's gameplay. In 3DME, kike in first person shooter games, it's hard to determine where enemies shoot you from because guns are long range weapons that can target you from different heights and positions in a 3D environment. Because guns fire projectiles that fly fairly straight at high speeds, the enemies are constantly engaging the player in a functionally 2D space while the player must maneuver through a 3D space. The result is like playing an FPS like Halo where everyone else is shooting you with Battle Rifles and you can only move around and melee attack.

The gun wielding enemies (Patrol Cop, Riot Cop, Swat Cop, Sniper, and Swat Support) put the same stress on the design of 3DME that first person shooters face. When you don't have a gun to engage a gunman, you're probably going to get shot. The more enemies with guns around, the more likely you are to be shot to death. In Resident Evil 4, when engaging in contextual counter moves against enemy zombies, the player becomes completely invincible throughout the duration of the fixed animations. In 3DME, when the player disarms a cop, during the fixed animation other enemies can pepper you with bullets and even kill the you. The AI/abilities of the enemies are too effective. The game never finds the balance between the enemies being too good or too dumb when you overcome them most likely after many deaths.

Though the enemies don't layer well with the player mechanics and level elements, which I'll talk about in the level design section, the enemies do provide an interesting source for poweups an element of suspension that effectively turns the tables on Faith's ability to maneuver through the environment and attack enemies. Instead of running from enemies through 3D space, players can use an acquired gun to dispense of enemies in a functionally 2D space. The limited ammo for acquired weapons is an element of decay meaning whatever advantages you gain from using a gun won't last forever. Beyond this restrictive design element, Faith's platforming abilities are significantly reduced when holding a gun putting a limit on how far players can carry a gun away from its source. There's a lot more potential in this gun powerup design, which I'll cover in the repair in part 3.

LEVEL DESIGN

Here is where all the potential Mirror's Edge has stored in its mechanics and level/enemy elements is unfortunately lost. Overall, the levels are either linear or alternate path. Though I love the pristine, almost sterile graphical style and the architecture of the game world, the form comes at a cost to the function. By making all of the environments look interesting and somewhat realistic, the functional visual fidelity of the game drops off somewhat. In other words, though the levels are composed of a variety of level elements there are a lot of objects in the environment that players can't interact with as expected according to how these objects look. The result is a game world that is design first around looks and then around play.

All of the levels/areas in 3DME can be broken down into four types: explore, chase/escape, puzzle, battle.

• The explore sections aren't designed to pressure the player with timers or enemy elements. The environment is spread out around you and you simply must make it to some target destination. These sections usually have alternate paths that give the player the ability to test their curiosity and increase their difficulty.
• The chase/escape levels put the pressure on the player as he/she must maneuver through an obstacle course that generally doesn't feature a lot of alternate paths. In these sections, you must either keep up with/chase down a moving target, or run away from oncoming armed forces. These sections are all about moving forward as quickly as possible.
• The puzzle areas are a lot like the explore areas. The player is put into an environment without pressure from timers or enemy elements. In general, the puzzle sections have less alterate  paths. Instead, they force the player to figure out how to get from point A to point B by being observant and using more nuanced mechanics.
• The battle areas are all about taking on enemy units. It's their guns against your maneuvers. In these sections the level elements that were useful for maneuvering around can be even more useful for cover. All of the enemies patrol out in the open while Faith has the ability to leap up and over obstacles and run like the wind.

The problem with 3DME's level design is that each of the four types of levels aren't gone particularly well designed. The explore level design seems open and free until you realize that you're not making your own way through the environment. Without any type of level transformation or ability powerup, you're simply picking the paths the developers have made for you. Without elements of tension or contrary motion, there isn't much point of doing things one way or the other. There are no coins to collect for making trickier jumps, enemies you can avoid by taking a treacherous path, or a time limit to give context/purpose for the exploration.

The chase sections are surprisingly linear. When in a chase, players generally have to maneuver in the same ways as their targets. If you mess up or attempt to experiement and create a short cut, the target will most likely get too far away and the level will reset. The chase sectoins don't have a lot of variation or contrary motion to keep things interesting.

The puzzle sections push the the limits of 3DME's fire person core mechanics. Unlike Portal, a puzzle game that uses the limited first person perspective to enhance the core mechanic that creates bridges between two areas in 3D space, 3DME's puzzles are simply about moving through 3D space. The ba3D that comes from judging distances in the first person coupled with how the environment is mostly obscured from view in the first person perspective are what put too great of a stress on the puzzle platforming design. All of the environments in 3DME are like puzzles that force the player to look around and assemble a bigger picture of the space around him/her. But the puzzle areas specifcially take things too far with areas that are designed to be especially convoluted, cramped, and obscured.

Finally, the enemy units that populate the battle sections aren't designed to work with the dynamics of the player's primary mechanics or the dynamics of the level design. If 3DME were a platformer, the enemies should be designed around the dynamic of gravity and space: what goes up must come down. Instead of moving around in 3D space, most of the enemies move around along the flat surfaces. Instead of engaging the space, they simplify it with guns. Because of their accuracy and persistence, using the 3D environment as cover is somewhat diminished. In other words, even if you can climb and vault all over the rooftops, a bullet can hit you as simply as if you were walking around. 

For these reasons 3DME is caught in an awkward place between trying to be like a shooter, and action game, and a platformer, yet it falls short of every goal. The infinite checkpoints and respawn penalty/difficulty system really held the game back from sustaining any high level of design. Instead of designing a game like Super Mario Brothers, where players can see every upcoming threat with enough time to make informed decisions and to use their player mechanics with a complete sense of contained control, 3DME design is filled with short cuts and holes that, when players fall through, are smoothed over with an easy "try again."

In 3DME gravity isn't a core element of the game's challenges. For this reason 3DME is more of an action game than a platformer. And as an action game, it uses roller coaster level design, which makes it more like Sonic Rush Adventure than Super Mario Brothers. The story is cheesy the quality of which I find more fitting for a "made for TV movie." The animated cut scenes are worse than the Esurance commercials. The time trials mode eliminates the gun issues and focuses the gameplay on moving through an environment and folding the level on itself by moving the checkpoints. While this is a good mode to have in the game, adding a time trials element to any challenge is a simple way of increasing its difficulty and appeal. After all, just about any task/challenge no matter how menial can become interesting when you challenge yourself to do it faster or more efficiently.

In conclusion, 3DME is like...

• Super Mario Brothers without the contrary motion of the enemy design, powerups, coins, suspension, or transformation
• LittleBigPlanet levels that use too much electric material and contain too many "free ride" or automatic level elements like spring pads and car rides.
• Sonic levels without powerups or rings, and that use too many spikes and pit falls making the game more trial and error than need be.

In part 2 I'll detail the 2D Mirror's Edge game.

LittleBigPlanet Review and Repair pt.4

• part.1
• part.2
• part.3
• part.4

To wrap up, I want to discuss a few more repairs and then finish with what I consider to be some of the best/well designed sections in LittleBigPlanet's story mode.

 

Repairs Continued...

Automatic Lane Changing

• There needs to be an option to turn on/off the automatic lane changing in LittleBigPlanet. Making Sackboy switch lanes to automatically land on platforms is nice in theory, but even in the story mode, there are moments where the computer can become confused. In LBP, when jumping or simply moving around, the game forces players to switch to the lane the game thinks you should be on. Unfortunately, because LBP is so customisable and emergent, the computer simply doesn't do a good enough job with the auto switching. I've found myself wresting with the auto lane switching often especially when platforming on complex structures. A simple remedy would be to allow players to turn off the automatic switching giving players the ability to change lanes manually by holing up or down on the left analog stick. This way, players can take lane switching upon themselves if they are so inclined.

Points

• The point balls roll and slide around as if they are made out of glass. Unlike points in other games, players can set the LBP points so that they don't disappear after a short period of time. These two properties combined make points very dynamic. Instead of platforming to grab coins like in a Mario game, players can manipulate the environment to have points fall down from high places. Doing so is functionally similar to when kids find creative ways to tip candy/cookie jars off from high shelves meant to keep them away from the sweets.
• By grabbing points in rapid succession players can earn a multiplier for their score. This score bonus is an incentive that encourages players to strategise their point gathering and dissect the level in new ways. Instead of just grabbing all the points whenever one can. Score seeking players must figure out how to grab as many points as possible as quickly as possible. As I have previously mentioned, the co-op mechanic for multiplayer point gathering allows new strategies for getting the high score that dissects the level in new ways for 2, 3, and 4 player gameplay.
• One property of the points that could be changed is how players can grab points positioned in any lane from any lane. Some levels in the story mode have points in window sill like holes cut out of the background wall. From the way the structure looks, you would think that you had to jump into the window area to grab the points. But because the points can be grabbed from any lane, players can grab the points by simply jumping around the window sill. Forcing players to be in the same lane as a point would accentuate the physical level design of LBP. However, until the lane switching is perfected, it may be better to leave the points the way they are. 

Fire and Dangerous Materials.

• The fire hazard is my favorite dangerous material in the game because players have to touch the burning surface twice before incinerating. The possibilities of interplay for fire hazards goes beyond that of gas or electricity. After touching a burning object once, Sackboy runs around in a bit of a frenzy trying to stop the burning. This momentary lapse in control puts pressure on the player not to touch anything that burns. By arranging multiple burning objects in close proximity to each other, the interplay and difficulty of fire hazards can be dynamically adjusted.
• When skipping over the top of a burning platform to attempt to touch it once and pass along safely to the other side, the same dynamics of momentum and forces apply. For example, of the burning hazard is attached to a rapidly moving piston and the player skips off the top, the force from the piston will cause Sackboy to fly away while burning. In this way, playing with fire takes on an added level of depth via the in game physics.
• If only the other materials were as deep or as dynamic as fire. It's neat that gas is only harmful to Sackpeople and that physical matter can pass through it. But the electricity is a little too dangerous and deadly the way hitboxes are drawn in LBP. I remember watching a video of LBP showcasing the different dangerous materials (skip to 3:30). The video showed a frozen material that freezes sackboy in a solid block of ice after making contact with the material for a short period of time. While frozen, players can travel across dangers areas like spikes. By shaking the Sixaxis controller, Sackpeople can break free. This freeze material sounds very interesting. Perhaps Media Molecule can include it and other transformative materials at a later date.

Tools & Objects

Change Material Object (Category: Special)

• The idea for this object is simple. Attach it to any piece of material and add a switch for control. Then hit the switch to change the material of the object much in the same way the material changer tool works in the editor. For a simple example, players can make a metal box that weighs down a heavy duty switch. By hitting the change material switch, the box changes into a sponge so players can drag it around to other switches and change it back to metal.

Grow & Shrink Object (Category: Special)

• The inspiration for this object comes from another ability available to players in the editor. By attaching this object to any individual or complex (many parts) object and adding a switch, players can control the size of the object. In the tweak menu player would be able to control the grow/shrink rate, whether an object grows/shrinks gradually or instantly, and the max/min size allowed for the object to change.
• The only issue I can see for creating this object is that, like in the editor, the game doesn't let you expand an object when another player or object is touching it. On the positive side, you can usually shrink an object without problem. Getting around issue may be very tricky.

Glue Switch/Emitter

• This object is also inspired from editor abilities. When I was thinking of the Velcro material, I also thought that it would be interesting to have the ability to glue and unglue objects by flipping switches. Likewise, I thought it would be neat to have an emitter spawn an object that's automatically attached to another object via glue. Unlike Velcro, this switch can be activated via switches from remote and it's strength doesn't depend on physics interactions.
• This switch/emitter would allow players to create more complex structures and obstacles. For example, it would be possible to emit a lot of blocks that are attached to elastic strings. These strings can be set so that they're glued/attached to another structure upon being spawned. The result, a structure that shoots of many blocks in the air that fly out and swing down together like sillystring streamers.

Internet Music Box

• Though Media Molecule are dealing with copyright issues with LBP content, perhaps there's a way to include custom music without adding to the file size of levels, running into additional copyright issues, and without providing an in game music editor of any kind. The PS3 already has the ability to listen to music from the internet via the browser. What if LBP could open a small browser in game so that music is streamed from the internet. If LBP could somehow store the data for a Youtube video in memory while running the game, players could use Youtube to add their own music to LBP. Perhaps this method could deflect copyright issues.

Power Ups

Jetpack

• The Jetpack is a pretty neat powerup. Though it adds mobility and speed, players initially lose the dynamic effects of gravity. In other words, the basic platforming is diminished because players have complete control of their flight. On the other hand, this powerup can be limited in a number of creative ways. The tether for the jetpacks can be shortened considerably limiting the range of flight. Also the jetpack can be glued to an object that is affected by gravity like normal. A lot of interesting interplay possibilities can be created with these two properties.
• Furthermore, when lifting objects, the jetpack allows players to lift heavy objects. By carrying different types of objects, the player is once again linked to the physical world of gravity and weight, which creates a aerial platfoming possibilities .
• On a side note, it would be better if the jetpack didn't release so much smoke. With multiple jetpacked players on the screen, the long smoke trails can become more than a little distracting.

Create Your Own Sackboy Power Up

• In Halo 3, players are able to create their own powerups by adjusting a number of factors about their a character's offense, defense and mobility. When done correctly, powerups can enhance gameplay while providing options for players to control their own difficulty. Just look at the powerups from the 2D Mario series. For an open game like LittleBigPlanet, it would be extremely liberating if players were able to create their own powerups and abilities for Sackboy.
• One way to organically create these powerups is to allow players to attach emitters, switches, and other objects to Sackboy's clothes/head gear. For an simple example, you could attach an emitter to a helmet so that it shoots off bombs in the direction Sackboy is facing. When players equip this helmet on a specific level, they get the ability to shoot bombs at will.
• In the tweak menu, players would be able to assign the a switch to an unused button, direction on the analog stick, or series of directions.

Examples from the Story Mode

Even without any of these repairs, the editor in LBP is more than capable of creating levels that are unlike anything we've played before. Though the levels in the story mode are excellent examples of highly polished gameplay, I felt that the majority of the gameplay was decent, only scratching the surface of what can truly be done in LBP. There are a few examples that I wanted to highlight that make up what I consider to be some of the best parts from the story mode.

• Hand down the best designed/executed platforming section in the entire story mode. Not only is this giant wheel structure fairly unique, but it accentuates many of LBP's most unique and solid platforming design facets; GRAB, MOMENTUM JUMP, and dynamic contrary motion. In this giant ring, players start in the center and make their way to the outer ring. As the entire structure rotates, the platforming design of the inner rings dynamically changes. Slowly, the platforms under Sackboy's feet turn into walls and then into a ceiling before coming around to become a wall and a floor again. Not to worry. Many of the surfaces are made out of grabable material so players can hang on until they understand how to safely move from one section to the next. But everything is dynamically changing in real time. The longer a player waits, the more the nature of their platforming destination will change as everything is constantly moving. As the ring moves outward, the platforming challenge increases due to the increased use of electrified elements and non grabable platforms. At any time in this giant ring, players can use the momentum of the rotation to augment their platforming prowess. In this way, the contrary motion for this section is simple and dynamic depending on the players positing in the ring. Genius.

• A simple yet effective use of space, gravity, and momentum. As the structure rotates, the player tends to fly up or drop down to their doom. By jumping at the right time, the player can catch enough hang time to land on the newly created "floor." Staying calm in this section is key to survival. But that never stopped me from flying out of the top end. The electrified outter layers keep the gameplay idea focused on where it's the most interseting. Players have to really grasp the concept of the wheel beacuse there are two of these structures placed back to back that spin in opposite directions. 

• All three of these exampes use the 3 layers to create a clear and clean sense of space. In the last image, players can switch lanes to attempt to grab more points as they slide by at high speeds.

• This guy is just too clever. Using some combination of emitters and other tools, the magician in the background makes different objects appear inside his little box, which is more open ended and emergent than you might think. When the green grabable block is produced (see the right side of the image) the player can drag it out from the magic box. If it never gets covered up, it never "magically" goes away. Because the magician produces objects in a cycle, he'll eventually create another box. By grabbing the boxes when they appear, players can build a make shift tower. One of the best parts of LBP is that the design is open so that situations like this can emerge. Everything follows a few simple rules which, ironically, let our imaginations and possibilities go wild.

• I really like the organic tunnel design of this section. The low ceilings and the stubby jumps work to communicate restricted movement and the feeling of being underground. Going for a high score in this section is interesting because of how players must plan a path that moves up and down the tunnels while leaving behind and going back for points when necessary. Through the point placement and the platform structure, the design encourages the player to play like an ant or some other subterranean creature. Simple, clear, and effective.

• This part of the level is a simple example of folded level design. Players journey to the left to meet up with this animal friend only to drag him back to his mother. On the first layer, players pass sections they're unable to access. Once the animal friend is retrieved (the crease), access these areas open up (see image for an example). The folded level design and organically dragging the animal back to his mother is neat in and of itself. However, the part that I find most interesting is that a solo player can complete the 2x (co-op) section in the club by him/herself by throwing around the animal friend. Through the emergence of the folded organic level design, a player can use their animal buddy to activate the "jump pads" on the floor of the club and reach the so called co-op prizes. Folded, organic, emergence. It's design like this that's hard to come by.

LittleBigPlanet is a game with a lot of problems, potential, and promise. I patiently await updates for the game, and I can only hope that the issues raised in this review & repair are addressed before we hear anything conclusive about LittleBigPlanet2. I hope by this point, you understand LBP a little better. With the knowledge I've gained, I'm ready to start building the levels of my own. Stay tuned to the Designer's Workshop for detailed LBP lessons soon.

LittleBigPlanet Review & Repair pt. 3

• part.1
• part.2
• part.3
• part.4

Repair

First of all, I would like to briefly revisit some of the fears I had for LittleBigPlanet that I gathered from watching videos and reading impressions before the release of the game. The link to the original post can be found here.

• The loose and floaty physics: As I have feared, the way Sackboy interacts with physical objects in the world is a little too loose. If you compare the way Sackboy moves to Mario, Sonic, Samus, and even Peach or Kirby in their 2D platforming games, Sackboy is a little slow, unresponsive, and unreliable.
• Playstation Eye: According to a recent rumor, an update to LBP due out later this year will allow players to upload pictures into the game thus bypassing the need for this camera peripheral. Hopefully the rumor is true.
• Camera: The camera needs some work and could use a lot more versatility.
• The multiplayer looks a bit goofy and strained: LBP features a few nice co op mechanics. Utilizing these mechanics through focused  level design can make a big different in the quality of co op gameplay. However, the multiplayer camera needs work, and the core design could use some additional co op mechanics. More on that later.
• Music: Though the provided music is wonderful, the options for user generated tunes are very limited. Designing a system that will give players musical freedom without running into copyright issues may not be as farfetched as it may originally seem for a game that's always connected to the internet.

Mechanical Repair

Making any suggestion about the core mechanics of a game is always an tricky issue. My approach is to consider the genre, style, and spirit of the game first, and then come of with suggestions that make the mechanics more intuitive, individual, dynamic, direct. In general, game mechanic suggestions should be made to create a well-rounded set of core mechanics and/or bring a richer definion of interaction and function to the game world.

With that said, there are many ways these goals that will push the game in different directions. As always, it's important to consider how my suggestions change the design and potential of a game. Keep in mind that all the suggestions aren't necessarily meant to be implemented entirely.

• Better JUMP: Mario needs a jump that is fast ascending several times his own height. Because his JUMP was tuned so, the spacing (distance) between platforms both vertically and horizontally could be positioned a fairly large distance apart relative to Mario's size. In LBP the JUMP height and speed is dwarfed compared to Mario's . This isn't an issue in and of itself. With a smaller jump, the platform spacing is much shorter. Since the platforms must be positions so close together, the camera can zoom in to make Sackboy take up much more of the screen than Mario. With the view zoomed in so, more minute interaction can be placed in a smaller space than in a 2D Mario platfomer.
• Other than changing the JUMP height and speed, there are other small details that would improve how the JUMP mechanic defines the world of LBP. Sackboy could take a bit of stun time after landing from very high falls. Sackboy shouldn't take damage from falling, but having some brief impact stun will better communicate the momentum that exists in the world of LBP.
• The 8-bit Mega Man and Mario as well as Peach from Super Princess Peach, do a great job communicating exactly what part of the character model needs to clear a ledge to land on a platform. Mega Man's front leg (the bent leg) must clear a platform. Mario's legs stick out making a clear line that must travel up and over platforms to clear them. Peach's dress also makes a clear cut line. Clear any platform by a pixel of these parts and you'll safely and reliably land on the platform every time. In LBP, landing on platforms is much less reliable. With the unquantified game world, platforms can come in any shape and size. With each JUMP, the game has to determine if Sackboy clears the platform, hits the edge and slides off, or falls short of it all. Often times the physics engine throws a bunch of factors into the equation that make Sackboy's interactions more unpredictable. To compensate, Sackboy must be equipped with mechanics and abilities that will make the player a master over the environment. Having an improved JUMP that can land on platforms more easily as well as the CLIMB and PULL UP mechanics would go a long way in creating a reliable player platforming experience.
• When moving down slanted surfaces (hills) Sackboy doesn't accelerate. This property severly detracts from the potential of diagonal platforms. While walking up a slant, Sackboy's movement is slowed. To keep things consistent, Sackboy should accelerate as he moves down hill. On the other hand, when JUMPing off of a slanted surface, I suggest that the JUMP should be less realistic/physics based. The JUMP in these cases should either be like Sonic's or Mario's . Sonic jumps at the angle that's normal to the surface. So on a slanted surface, Sonic quickly jumps back. Mario, on the other hand, always jumps straight up with the same speed and height as if jumping off of a flat surface. Either say,Sackboy's JUMP speed, height, and effectivess shouldn't be hindered the way that it is. Diagonal and curved platforms are still very unique to 2D paltformers. Discouraging their use would be a diservice to the creative platforming potential of LBP.
• WALLKICK: The wallkick is a mechanic that allows players to platform vertically. By transforming walls from verticle obstacles into platformable objects, the traversable space and level variation opens significantly. The difference in level design between SMB3 to NSMB reflects the addition of the wallkick. With the wall kick, environments can be created in very tight boxy spaces without needing to include as many platforms to help the player get around. To balance this mechanic in LittleBigPlanet, the developers can make it to where only specific materials can be wallkicked off of. Another option is to only allow players to wall kick off vertical or near verticle surfaces. The N+ Ninja, Mega Man X, Samus, and Mario all have unique WALLKICK mechanics. 
• CLIMB and PULL-UP: The emergent climbing abilities by repeating grab is excellent. With enough skill, Sackboy can CLIMB along any grabable surface as long as it's not completely vertical or very close to being vertical. The one addition to Sackboy's CLIMBing ability Media Molecule could add is the ability to grab on to ledges and pull one's self up and over. This ability would add a bit of leeway for the platforming in LBP which would be particularly helpful considering how the game isn't quantified and controlling Sackboy has a degree of uncertainly due to the physics based game world. This mechanic can be balance by only letting players PULL-UP on grabable materials, or make it to where players can only PULL-UP on edges that are 90 degree angles or very close to 90 degrees.
• THROW: Players have a fairly large amount of control over Sackboy's arms/hands. Players can grab and hold on to objects or other Sackpeople, control both arms independently with the analog sticks, and even BACKHAND other Sackpeople. Surprisingly, Sackboy cannot throw or even lightly toss objects. By adding a THROW mechanic, players have a way of manipulating objects in the game world in a new dynamic way. In the same way that kids roll balls and throw toys to knock around their other toys, Sackboy could use a slightly destructive mechanic to interact with the game world. Such a mechanic would naturally be balanced by the size and weight of grabable objects.
• BACKHAND: In the same way that the THROW mechanic would allow players to manipulate objects in the environment in a new way, modifying the BACKHAND attack to affect all physical objects would also help define Sackboy's action and function with in the game world of LBP. Adhering to form fits function means the BACKHAND attack should affect Sackpeople and all other objects. Also, the hitbox for the move needs to a lot clearer. Sometimes I can hit players standing several "Sackboy feet" away from me, while at other times I can't hit the person standing at my "Sackboy shoulder". Sometimes I can hit players even when they're not in the same lane as I am. Other times I can hit players on my left when I attack to my right.
• By expanding the range of affects for the BACKHAND, players have more variety for designing dynamic obstacles and enemies. Though it's not necessary to add a bunch of fighting moves to LBP, I am often reminded of Smash Brothers and Rag Doll Kung Fu when playing. Just something interesting to think about.
• TECH/UKEMI: Unlike many other platformers, Sackboy can be knocked, blasted, and swept around at high speeds by elements in the environment. The speed at which Sackboy gets knocked around is more like Smash Brothers than Mario. Adding the ability for players to tech or stop themselves on walls or other solid surfaces only matters when the player characters would otherwise bounce off of the surfaces out of control. By TECHing players stop their movement thus regaining control. Because Sackboy doesn't bounce, there's no need to TECH. Also, Sackboy can already stop himself by GRABing onto grabable material. This is functionally like a tech. However it would be interesting if Sackboy did bounce off of objects in the environment. The more Sackboy reacts to the environment especially in a way as dynamic as bouncing that depends on the density of the material, angle of the surface, and force of the impact, the more players will feel like a part of the world instead of simply moving through it. This idea is along the same lines as taking a bit of falling stun from large falls.
• SEARCH: In the 2D Sonic and Yoshi platformers, players can scope out areas of the level that are off the screen by holding up or down. Because the design of LBP is so open, it would be extremely beneficial to have a mechanic that allows players to get a better view of their surroundings.
• DOWN HILL SLIDE: One interesting change in level design from Super Mario Brothers to SMB3 is the addition of hills/slanted platforms. This innovation is not only refreshing to the eyes weaned on the blocky design of the original, but hills offer new ways for Mario to move and preserve momentum. By holding down, Mario slides downhill gathering speed and knocking out all enemies in his path. At any time, Mario can JUMP from his slide in complete vertical control. Sonic, on the other hand, is able to smoothly run up and down hills on foot or by rolling in ball form. Either way, Sonic can gather speed and still be in control of his jumps. In these ways, these classic platformers tightly designed slanted/curved surfaces to enhance gameplay.
• LittleBigPlanet shares some basic level design features with PixelJunkEden. As I've detailed in my Review & Repair of the demo for PJE, the design of the plant like level elements is very artistic and organic. Unfortunately, the mechanics of the game didn't accentuate the natural curves of the level. Sackboy's interaction with slanted and curved surfaces is very similar to PJE. Sackboy definitely needs to accelerate while moving downhill. But it would be interesting if he had a similar DOWN HILL SLIDE mechanic as Mario.

Materials Repair

Here are two ideas for materials that I feel would make great additions to LBP.

• Magnet: Everyone understands how magnets work. In LBP, players could attach color coded magnets to objects similarly to the magnetic switches. Aside from the color coded category, each magnet can bet set as a North or South pole. Opposites attract. Similar poles repel each other. In the tweak menu, player can set the range of influence for each magnet as well as the strength of the pull/repulsion.
• Velcro: Another common household item, this invention is a must have for easily fastening and unfastening objects. Unlike the glue in LBP, the stickiness of Velcro can be set in the tweak menu or determined by contact surface area. Because everything is physics based, whether an objects can stick to a surface and how much force it would take to break it free can all be determined through calculations.

Tools Repair

• Compass: This tool can be set to orient itself and whatever it's attached to relative to a specific direction, another object, or the nearest player. In the tweak menu, how quickly the "compass needle" orients itself to the target can be set. This is a great way to have cannon barrels auto aim at players. It's also a great tool to attach to sleds and skateboards so they don't flip over too easily in midair. The wheels and legs of enemies already have this property. In a physics based game like LBP, objects tend to rotate when launched in mid air. Even when objects are suspended by string, standing on them usually adds a rotational force. With the compass tool, these effects can be minimized and directed. 
• Touch Switch: This tool idea is pretty straight forward. A switch that is turned on or off when Sackboy (or multiple Sackpeople) make contact with whatever it's attached to.
• Improved Camera Control: The maximum zoom out limit for the camera tool needs to be expanded by several times at least. The limited view in LBP is too small for levels designed with large vehicles, obstacles, and other objects. It's absolutely important that the player is able to see what they're interacting with. Beyond this option, the camera should zoom out as the player gains speed. By doing this, the player will be able to see more of the upcoming level giving them a better chance to react accordingly. Also, when playing online, there could be an optional type of camera that allows each PS3 to have their own camera view. In this way, players can have the freedom to separate without being forced to play on the same screen view all the time. 

I have only a bit more to say about LittleBigPlanet. My favorite parts of the story mode coming up next.