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Yst

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About Yst

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    (5) Thaumaturgist

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    The City of Doors

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  1. HAHA, I did the same thing. I closed the door in Lady Webb's office and couldn't open it. HOWEVER, I got super lucky. I'm a Ranger with a bear, just kept clicking outside the door and my bear somehow teleported outside it. Since now the bear can SEE the front of the door, I could open it from the back. Yeah, I think the problem is that the interactable part of the door only works if you can see the front of it. True. But I tried my own method with other door in (late) Raedric's dungeon, and it didn't work. Had to take the long route Likewise, this didn't work for Raedric's du
  2. Just in case it's still any help at this point, below is my save file with a character stuck at the location pictured by a few users above - Raedric's Hold Dungeons. Character is positioned immediately next to the unselectable door: https://drive.google.com/file/d/0B30SyIedlfHUQ2oxc0pZOTRDa2M/view?usp=sharing
  3. I'll throw my support behind the idea that a female narrator would be a compelling departure from tried and tired fantasy conventions, in this sort of area. That having said, I think that narration by a character who is either insinuated into the story (merely for the sake of lending them tangential relevance to it), or already present within the story, is generally a good idea. I don't feel there needs to be an unnamed omniscient narrator, in a modern RPG. However, I'd be interested in what anyone's argument would be, for an unnamed omniscient narrator specifically, rather than a n
  4. I’d like to comment on something which I believe makes Planescape: Torment’s characterisation and thematisation among the strongest in the history of RPG writing, and ask how that strength can be brought, or whether it should be brought, to Project Eternity. The strategy I’m considering here isn’t an all or nothing approach to game storytelling. And the question may indeed be be best stated “to what extent should Project Eternity employ certain familiar tropes which seek to overcome ludonarrative dissonance?” Game Storytelling: Problems at the Outset There are certain things we do, v
  5. Wow. Interesting how huge the Italian support has become. Also just interesting, generally, to see where support for Western RPGs lies, in the western world. It was a bit of a surprise to many of us in the original Infinity Engine games' time and in their subsequent history, just how big Poland would become in RPGs via CD Projekt. It was thanks to a Polish project, after all, that the English speaking world got to revisit its favourite 10-15 year old PC RPGs (through GoG). But it doesn't feel like Italy's ever made its mark, in game development. Yet, plenty of support from the f
  6. I doubt that's going to convince any naysayers. Some people here, in keeping with the fashion of the times, just seem to have turned rapidly, ferociously anti-steampunk, as that trend waned, and consequently react to that downtrending of steampunk by essentially enforcing the view that anything which isn't 100% pure Tolkien-inspired AD&D 2E doesn't belong in fantasy (a rather silly overreaction, but there it is). Throwing a steampunk game in their faces is not going to convince them. What one ought to do is try to convince them that just because they've gotten tired of steampunk
  7. As someone who has never had fewer than two monitors on his desk (and generally three) for the past 15 years, I have to say, this just makes no sense, to me. No kinaesthetic sense. I don't see how turning my head to look at another monitor (keeping in mind, most people have rather large - and horizontally large - monitors at this point in history) is more efficient or immersive than pressing an inventory hotkey. Multimonitor gaming is something we forward-thinking gamers have always been interested in. But so far as I know, functional aspects of the interface have never been implemented in
  8. There are ways to stylise quest mapping in interesting ways. Provide annotation of quest destinations on a papyrus style map (thematic implication: created by your character) in the journal, or what have you. I think there are all sorts of opportunities to turn this sort of information into immersive content.
  9. When people get so set in their notion of 'fantasy' that the simple idea of a weapon they're not immediately familiar with from prior 'fantasy' becomes profoundly uncomfortable, I think it ceases to be fantasy altogether. If someone's idea of the 'fantasy' genre is so strictly defined as that, I want nothing of it. I'll instead go to authors and artists whose writing offers invention and imagination. Not authors who don't stray too far from what elves are supposed to be like or what fantasy weapons are supposed to be like or what fantasy creatures are supposed to be like. That's just
  10. A case in point for how carefully selected and specifically purposed voiceover can be marvelously valuable, without impeding freedom of interpretive experience (as full VO does): The most powerful and most memorable voicing for me, in Planescape Torment, is the voicing for Deionarra. But she needed only have spoken a sentence, to break my heart. That was enough. That was entirely sufficient, to make her story (experience in depth, in text) heartbreaking. She needn't have spoken a word more. Had she spoken it all, it could not possibly have been as haunting.
  11. I've seen this addressed quite well elsewhere. But the most prevalent position, it seems to me, and the one I agree with, is that a certain amount of spoken dialogue is desirable, so as to allow for the communication of some of the character's general personality and manner. But this is just groundwork for establishing the character. A maximum of freedom in developing a character and their story is allowed for by the restriction of most subsequent dialogue to text. The player can infer moods and intentions, as they desire, in interacting with their best favoured NPCs. The characters c
  12. Lizardmen have been done quite well and quite frequently, of course. There's nothing wrong with that fine old standby. Dragons, likewise, of course, are fine. There's a great deal of mythology to draw on there, and some less trod paths, within it, provide for unpredictable spins on a common fantasy staple. Dinosaurs in the very literal sense of archaic reptilian megafauna, however, imply an entire world history, in their nature. One isn't proposing this type of creature exist, so much as one is proposing that the world has been visited by a history which will allow for them.
  13. I will echo a sentiment spoken by a few others, which is that I love Sweet's work, and while I think it would be fantastic too see, if his work did indeed synergised well with Project Infinity's aesthetic and goals, this will not necessarily be the case. Project Infinity may pursue an aesthetic, or a manner of presentation, which just doesn't quite match with this style ideally. We can't yet know for sure. If this type of art works well for Project Infinity, it would then be great to see Justin Sweet's return. But if not, so be it. Project Infinity can't be beholden to a specific
  14. The novella more than anything, had me leaping for the new Digital Only tier. Some years ago, Chris Avellone characterisation and storytelling, more than anything, made me a Black Isle/Obsidian fan in the first place. Seeing the Obsidian guys let loose on an RPG title free of Publisher impositions is great. But seeing Mr. Avellone let loose on an RPG story, free of the constraints of game design itself - that I can't wait to see!
  15. Axonometric Projection is simply the clearly superior manner of projecting a large cityscape, or any broad expanse, for that matter, which does not have a singular point of focus, and which would not benefit from one. China caught on to that much quicker than the west. Perspective projection is clearly preferable, if a game wishes to create a sense of their being a personified observer. As inherently, it creates a point of view, with a specific location in space. Axonometric projection is clearly preferable, if a game wishes to remove the sense of the view being that of a perso
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