Effect and Cause

"Effect and Cause" is the fifth level in the 2016 video game "Titanfall 2", where the designers incorporated a time travel gameplay mechanic, allowing players to travel from a destroyed present to a bustling past. It was created by the senior designer of "Titanfall 2", Jake Keating, who was inspired to implement the time travel mechanic in part after watching the History Channel series, "Life After People".
The level was originally planned to be used for the first "Titanfall", but the designers did not have the time to implement it. The level uses two maps to represent both time periods. These maps are perfectly aligned with one another, as any misalignment would make the mechanic not function properly. It was the most labor and time-intensive level in the game, going through several revisions in order to make it play well and not confuse players, while still trying to avoid guiding them too much. Environmental art director Todd Sue found the design Keating presented to be an artistic mess, though was able to work with it and commended Keating on his game design skills.
The level received praise for being particularly good at being a first-person shooter stage as well as for being a good level in general. It received particular praise for its use of time travel as a gameplay mechanic. "Eurogamer" discussed how it defied its shooter genre, comparing its gameplay and storytelling to "Super Mario 3D World" and "30 Flights of Loving", respectively, while "Game Informer" meanwhile praised it for its use of classic gameplay to convey something new.
Summary.
"Effect and Cause" is a level in the video game "Titanfall 2". The protagonists of the game, Jack Cooper and BT-7274, arrive at the ARES Division, which was destroyed and abandoned, while planning to meet up with a man named Major Eli Anderson. The two split up to search for Anderson, and during this period, Jack experiences anomalies, where he is sent to a time when the ARES Division was not damaged or abandoned. Jack discovers the coordinates of Anderson, who he discovers is stuck in the ceiling, dead. When Jack takes Anderson's helmet, he is declared the acting-commanding-officer of Militia forces on the planet Typhon, where the level takes place, by BT. Jack also eventually gains the ability to transport between the past and the present, doing combat with soldiers in the past, and malfunctioning robots and wildlife in the present. The ARES Division has different areas, including a nanotechnology lab and a cryogenic prison. After collecting six pilot helmets containing data, Jack is engaged by multiple enemies in the past, and returns to the present to reunite with BT. The two of them work together to get towards a weapon and scan it during an explosion that is locked in time.
Concept and creation.
"Effect and Cause" was created by senior designer of "Titanfall 2", Jake Keating. The idea for a time travel mechanic and level came from Keating leaving Infinity Ward after a dispute with Activision, where he would then be employed by Respawn Entertainment. At this time, Keating had more creative freedom, focusing on science fiction ideas after working exclusively on "Call of Duty" for a long time. He was inspired to implement the idea of shifting times by the History Channel series, "Life After People", which depicts what the world would look like if humanity suddenly disappeared and would swap between the present and future. He was drawn to this contrast, and pitched the idea of players entering a facility after a space-time accident, using a time travel device to save a scientist. The premise was originally intended to be used for the game's predecessor, but a lack of time lead to them not being able to implement a single-player campaign until its sequel. When development of "Titanfall 2" began, Keating used a multi-player map from the first game to create a mock-up of what the level would look like, and created a time swapping mechanic. This level was the most labor- and time-intensive one in the game. As a result, Keating had to work extra hard to convince his co-workers of its potential.
The level went through two major revisions during development. When designing the map, Keating and other staff put the past and present areas stacked on top of one another, and the process caused some difficulties, with playtesting finding players warped out of bounds. When players utilize the time travel mechanic, Keating had to make sure that the maps were perfectly vertically aligned so that they would appear in the exact same location between the two maps. The level went through focus testing, with Keating feeling stressed about testers being too confused by this level for years, with his anxiety making him want to "handhold" the players, though he resisted this. Initially, players were meant to go alone to the location of "Effect and Cause," with BT having sacrificed his life to save Jack, but this was scrapped after the story began developing further.
The level remained "in flux" during development for a long time due to Keating making both big and small changes, which he felt would bother sound and art designers, but avoid them having to scrap their work if any changes required they do so. Keating originally intended to have a mall setting, envisioning the overall campus as much larger than it was in the end. The mall setting was later changed to be a cryogenic prison. He cited this as an example of a level designer giving the art designer "incomprehensible" level geometry, praising the art designers for their work. Environmental art director Todd Sue discussed how the concept Keating gave was an "atrocity to art," noting that Keating is known for this kind of thing, though he praises his game design work overall. In an earlier version of the level, enemies would continue to move when players were in a different time period. This was later changed in order to make it more entertaining.
Reception.
"Gamasutra" writer Bryant Francis called it an "interesting sample" of "Titanfall 2"s strengths. They suggested that designers could learn a lot from this level while making their own. "Mic" writer Alex Perry found it mindblowing in a way first-person shooters usually are not. "Push Square" writer Liam Croft identified it as one of the best levels in a first-person shooter of its generation. "RPG Site" writer Josh Torres praised the level as an "impressive technical feat on a structural level and a gameplay level." "PCGamesN" writer Matt Purslow felt that "Effect and Cause" is what demonstrated Respawn's "understanding of what makes their game unique." On December 15, 2016, "GamesRadar+" writer Leon Hurley recommended the level as something players should experience before the year ends. They discussed how this level would give players "disbelief" when they realize how extensive the level's hook is. They felt that it was one of the best video game levels of all time, a sentiment that "The Telegraph" staff shared. "Vice" writers Patrick Klepek and Sayem Ahmed both regarded it as a highlight of "Titanfall 2", with the former wishing that he had more time to utilize the time travel mechanic. "GameSpot" writer Robert Handlery called it the most memorable part of the game.
"Game Informer" writer Brian Shea felt that it was among the best-designed levels in a video game. Fellow "Game Informer" writer Javy Gwaltney talked about how "Effect and Cause" demonstrates a "subtle kind of ambition"; as opposed to other games which may focus on the size of the world or number of the quests, Gwaltney argues that the designers used classic game design to make something "bold and exhilarating." "PC Gamer" Tom Senior called it one of the best levels of 2016, stating that its ideas are "brilliant" and "flawlessly executed." Fellow "PC Gamer" writer Chris Thurston called it a "standout" level, saying that it would not be "out of place" in the first-person shooter series "Half-Life". "USgamer" Doc Burford disputed the notion that "Effect and Cause" was the best level in "Titanfall 2", instead giving that title to The Beacon. They praised "Effect and Cause" as a great and "clever" level, though argued that "Effect and Cause" is "cerebral," whereas The Beacon focuses on "heart." "Eurogamer" writer Christian Donlan suggested that it would be "heavily quoted" for years, and discussed how its gameplay defies genre; while it is a shooter, Donlan felt similarities between it and the platform game "Super Mario 3D World" and the cinematic story game "30 Flights of Loving".