Moving in Zone of the Enders

Mecha movement with no restrictions

Video Games are Movement. Everything that makes Gaming a medium is defined by the ability to move in your given environment. From slotting a Tetris Block, to Dashing in fighting games, strafing in shooters or even navigating a start menu, the ability to choose to move makes Video Games… well, Video Games. How we think about moving is key to design, and in order to move we need to see where we’re moving to. There is a vital intrinsic relationship between a games space and its camera system, you need to see where you want to go and want to go to where you can see. This is very basic, so why spend time on it?

Because in gaming we’re always talking about innovation, innovation in narrative, innovation in graphical presentation, in game play mechanics and player involvement. But rarely in how we move in games talked about, at least in comparison to the previously mentioned aspects of game making. And few games are made like Zone of the Enders, and its subsequent sequel Zone of the Enders II: the second runner. A short-lived Konami series Mecha series produced by the main man monolith himself: Hideo Kojima. Yet despite its cult status, Zone of the Enders (ZOE) is remembered fondly as part of Kojima’s legacy (even if he was merely a producer and directing credit goes to Noriaki Okamura). And the first thing anyone who’s played ZOE will tell you is that no game moves like it, ZOE possesses a very unique control and movement system that despite being unconventional make it an utter joy to play.

How you navigate throughout its 3-d space in the titular ‘Jehuty’ Mecha, combating enemy raptor units from every axis, switching from ranged to melee combat by simply changing your distance etc. ZOE is the closest I’ve come to feel like a Gundam Pilot in my lifetime, the motion, the speed everything takes full advantage of the space of the game. Despite being made for the PlayStation 2, a system built with the idea of twin analogue stick integration, ZOE only uses one of them primarily for movement: the left stick is used to travel the x axis, propelling Jehuty forward and back. Now with the modern conscientious of game design, you’d think that -

‘Since the left stick moves you around the location, surely there is almost equal reliance on the right stick to dictate camera movement and turning direction…right?’

Wrong. ZOE only really uses the right stick occasionally, you can use it to move the camera around yes, and to aim certain attacks but the right stick is not important here. You move Jehuty upwards by holding the Triangle Button and downwards with the X Button, which may seem foreign at first, but with how ZOE is built, it is fundamentally necessary.

A part of what makes ZOE unique is the time and climate it was made: whilst the usage of twin stick control scheme is default standard practice when designing 3-d games today, in the early 21 century that wasn’t the case. With the dawn of the 6th generation of consoles (PlayStation 2, Xbox & the GameCube Respectably) the possibility of 3-D navigation was given new life as the technology to navigate, position avatars and more complex level design. This new horizon of game making was built upon the backs of the previous console generation, where the trial and error of 3-d navigation built the foundations of how these new types of games are constructed and function.

And arguably the most important development was the invention of Z targeting:

The invention of Z targeting, primarily developed by Yoshiaki Koizumi, director and lead designer of The Legend of Zelda: Ocarina of Time,  allowed efficient and swift targeting and subsequent target switching in 3d video games. What this meant was that multiple enemy units could be on screen and through this system of focusing on one target but having the option of then refocusing on another is what allowed effective movement, sight and combat in Ocarina of Time. Coined Z Targeting, in reference to the button on the back bumper of the Nintendo 64 controller, this principle would be implemented almost ubiquitously across the gaming landscape. Call it ‘lock on’, ‘target select’ etc. Z targeting was vital to the construction and creation of what we know as modern 3-d game development.

A Demonstration of Z targeting. Image Credit : https://gamicus.gamepedia.com/Z-Targeting

It’s important to understand that aiming in 3-d spaces with digital controls on console was one of the primary challenges when producing games in the 32/64-bit era. Famed 3-d games of this era, such as the Resident Evil series, implemented mechanics like fixed camera angles that worked in tandem with tank controls. Now mechanics like these aren’t necessarily a detriment, in fact in the series mentioned they became beloved staples of their identity. But beloved or not, these mechanics came from system limitations, the inability to, at the time, fully create a camera and a suitable environment for it to navigate. So why is this important to Zoe? Glad you asked:

Zone of the enders takes this core philosophy of 3-d Zelda and adds an extra layer. Zoe is a unique series when compared to other games in and out of the mech genres in the fact that throughout most of the game you are hovering around mid-air, when in combat you dash around enemy units using every direction to out maneuver your opponents. So, with the design of the dual shock 2 controllers, why bother with Z targeting if you have a secondary stick to aim the z axis? Simple, Speed. ZOE is a very fast paced game, Jehuty’s Dashing mechanic allows the player to zip around in all directions whilst performing both ranged and melee attacks. With moving closer initiating Blade based slashing combat and moving further away making Jehuty attack with energy projectiles.  

Projectile Mode

Jehuty’s Distance Combat Mode. Jehuty can fire energy weapons at opponents, and in conjunction with the dash mechanic function, Jehuty can lock on the multiple targets with a spread beam attack (as pictured), use sub weapons with the O button, and Charge a Burst attack that can thrown at enemy units. GamePlay here is a third person shooter with Z targeting.

Blade Mode

Jehuty’s Close Quarters Combat Mode. At this distance Jehuty can strike it’s opponents with a four button blade combo, a charged blade sweep attack or can grab enemies and use them as weapons or throw them. This Gameplay is akin to a fully 3-d omnidirectional hack and slash game.

The fast-paced action of ZOE dictates fast responses to oncoming multi angled enemy assaults. Jehuty can navigate in multiple directions almost instantly thanks to the dash mechanic, allowing for unique combat encounters where you and your enemies can attack from almost every space. But this design would fall to pieces if the control scheme were to rely upon dual analogue control:

Supposed that instead on using the triangle and X buttons to ascend and descend, the right stick would entirely control the camera position and where its points are where Jehuty would navigate towards, ala a traditional 3-d game made within this generation of consoles. This method of control would be clunky at best, and fundamentally break the game at worst. ZOE’s speed and willingness to use every inch of a 3d environment makes a new system of movement, that unlike other 3-d games:

ZOE HAS NO TRADITIONAL NEUTRAL STATE.

What do I mean by this? Simply put, when you’re not moving or in combat in games like Ocarina of Time, your avatar simply stands there, still having a sense of gravity. Link doesn’t clip through the ground; he runs along it and the player only rarely has to worry about what comes from below. ZOE Doesn’t have this semblance of neutrality, as stated I’ve stated throughout, Jehuty zips throughout every 3-d space ZOE has to offer, no having gravity be an issue for a game taking place on space colonies, and inside futuristic Martian bases. This freedom of space is what makes ZOE stand above other games when it comes to inventive movement and creating a unique feeling gaming experience. With the 2nd Runner even incorporating environmental hazards and weapons for the player to utilize, only increasing the unique feels of the game’s omni angled combat. Granted its important to state that despite this freedom with movement, ZOE is still a innately linear game, you’re still going from A to B. ZOE’s appeal lies in what you do in between that, how you move within the space given you, that lets you go full mecha protagonist.

Even compared to its Mech contemporaries, like Armoured Core, ZOE strikes a smooth balance with its choice of control scheme and camera system. Take the early Armoured Core’s for example: granted these games were more grounded (with limited ammunition, a focus on ground combat, and in game currency where you purchase upgrades/ repairs) but their methods of camera control feel stiff and awkward when compared to ZOE, opting to utilise the shoulder buttons to move the camera up and down.

Zone of the Enders purposely takes advantage of its setting and open space level layouts to maximise the experience of being Jehuty’s pilot, it blends genres feeling somewhere between a hack slash character action game, a third person shooter and a flight combat game. Its unique, its effective, and above all else its inventive. Both ZOE games are primary examples of using movement and positioning to the absolutely fullest, with even the games world and setting making the abilities of Jehuty and its secret powers that are uncovered throughout the series resonate further as you feel fully synced with the titular mecha as its one true runner.