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Everything posted by Yst

  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
  16. Pirates aren't often done well. They're too much a caricature. Too little a meaningful social or professional category of note. Give me a seaman. Perhaps a privateer. Give me a man who thinks the way a sailor who has spent his life at sea thinks. But don't give me a pirate stereotype, based on a caricature of a small subset of sea raiders who existed for a short period in history, principally as Europeans operating in the Caribbean. That's not a grand category of history's warriors or adventurers. It's an odd little niche too much has been made of. Seamen, yes. Pirates, no.
  17. A house with narrative relevance or none at all. If a fortress has relevance to the story (case in point: NWN2), let it be a fortress. If a bandit hideaway has relevance to the story, let it be a bandit hideaway. Give me a tool to make my character more than what he would otherwise be. But don't just give me a cube in the closest major city where I can store things. Give me a place with a story. Or one which exists as a function of the game story.
  18. This projection looks flat out wrong. What we see in current numbers is a declining rate of increase. What it projects is an accelerating rate of increase. This isn't supported by the current trend at all. What we will likely see is a trend akin to that of the Double Fine Adventure Kickstarter, in which the rate of increase continues to decline slightly until shortly before the KS funding period completes, at which point a last jump will occur. It's always possible that publicity will drive a spike in donations at some point. But I'm disinclined to believe such a thing will happe
  19. I'm among those who will argue the one thing we should take away from D&D 4E is the At-Will/Encounter/Daily power distinction. It ensures that a character doesn't become effectively impotent once they've exhausted their abilities (they still have their At-Wills). At the same time, it ensures that some powers have to be used with care, given the rarity of their available use (rather than simply spammed as rapidly as possible during every encounter). Finally, it ensures that a new fight means new exceptional abilities (encounters), without the need for the bizarre fits of narcolepsy which
  20. I would say Minecraft was, by a hair, the most truly remarkable revolution of the last couple years. For a few reasons 1) Sold directly to fans without a publisher functioning as middle-man. 2) Very close interaction with the community on design and coding. 3) Seed funding provided by purchase of access to Alpha version with promise of access to final version. 4) Core functionality contributed to the project by community members (making SMP functional, Bukkit) Double-Fine Adventure and Project Infinity are crucially important, as they demonstrate how games requiring fairly costly,
  21. Time is money, so there are realistic limits in any case. That having said, I hope Obsidian takes as long as is necessary and practicable. We've waited ten years for a successor to our favourite IE games (the tenth anniversary of the last of them having recently passed). The world isn't going to implode if we don't have a game tomorrow.
  22. This would make the structuring of the tiers less logical to me. The $100 tier includes the t-shirt. The $140 includes the t-shirt and yet more. The $250 tier includes all that came with the prior tier (t-shirt among it), and the Collector Book as well. This maintains a consistency, wherein each tier builds on the prior, and adds something. Doing what you suggest would disrupt this consistency for no good reason I can see. It may well be you'd like a higher tier for a lower pledge. But I don't think that's a good reason to make the tier structure inconsistent.
  23. It is I suppose a question worth asking: should differing movement speed restrictions apply to discrete 'in combat' and 'out of combat' states. And should clear 'in combat' and 'out of combat' graphical contexts/effects be used to distinguish these states, and make the discord between them feel less bizarre? This would allow for hasty motion around the cityscape (or what have you), but would likewise allow for interesting time-sensitive battlefield tactics. I think a happy medium can be achieved without such a mechanism. And I think it is likely the safer solution. But two distinct mo
  24. Real combat does not have turns. It has durations associated with actions, and these actions do not possess a discernible granularity. In a pen and paper system, turns are greatly preferable for practical reasons, as there is no "world engine" to record and monitor the time which every action requires. We need a very high level of granularity, for better or worse. I love both the Fallouts and the Infinity Engine games. And heck, I'm more a pen and paper RPGer than a CRPGer. That being the case, I am just as comfortable with the turn based approach as the real-time/pause approach. Bu
  25. I consider the distinction meaningless, as far as good DLC, and good expansion packs go. Nomenclature aside, I would like to see something akin to New Vegas's DLC: new stories, which expand on the lore of the world, and make it richer, which have a life of their own, but enhance the larger experience.
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