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Explain how "using a visual template" is not an idea. It seems as if you've misinterpreted the original post, or skimmed it at best... idea: a thought or suggestion as to a possible course of action. No offense meant by this, but it seems to be that whenever you are a newcomer to a forum, you're forced to gain reputation first, to allow even the smallest sign of your ego show without being told off by those with good reputation and their usual moderator companion. I'm okay with that, but let's not abstract my vision and the vision of many others based on a few peoples statements - no matter how reputable they are... It's not a sign of 'superior intelligence', it's a sign of 'superior social sanctification'.

Look, you seem to be either enthusiastic or a troll because your ideas don't come across through your wording. Here's a tip: you could have the best game idea ever and if you're unable to communicate the right way no one will be able to "get" it. Mainly, what I get from your post is a random assortment of ideas that have little cohesion and can't be rightly be called a system. Also I still don't see the purpose of this thread; although I get the feeling that you might be someone's avatar and this is just a troll attempt (or English isn't obviously your first language). Either way, please tell us what you hoped to accomplish by making this thread. Disregard of this last request will be interpreted as if you where a troll and I will cease any interaction. No I will not "Look". You either read the thread and reply to it properly, or don't respond at all. You rude rude man. As for the other person who posted, Art Paralysis, or rather an example of such, can be found in the Developers section - recommended for those with an eye for good art. There's no promises it will work on everyone as some people lack imagination or at least require conformation from someone they deem 'expert'... And you barely know me.

I don't sense my own ego, I sense confidence in a good idea. There is prior knowledge here - not everyone inexperienced; I have ten years of art collecting and showcasing under my belt. That's where my confidence comes from. For I know this idea works. Why present in discussion form what can be presented as something useful, and then discussed? Should I write less confident in myself? I don't see your point other than you're annoyed at any attention I receive... You need imagination to understand this concept. To add to the actual topic: The visual template doesn't have to be a static image; it can be made of many frames.

DR is made equal by the attack speed modifier... Shouldn't they be treated as a system? Wearing light armor improves the speed of the 'smaller' fast attacks. It's speed or power in my opinion. Have you checked to see if, equally as damaging one-handed is out-paced by two-handed? I think you're thinking of a game where combat is symmetrical rather than asymmetrical. What I mean to is the play-through was the focal point; you could get a real overpowered fast weapon, and then in boss battles switch to your two-handed to actually hit. Who's to say that completing the game in the fastest time isn't the good thing as opposed to fight only bosses? Overall I like DR because it balances well with attack speed and it makes a better game than having two-handed weapons on all your characters.

Art also costs a lot of money, especially if you're asking for the Mona Lisa. However, more art would be great.

"Not so fast, Hill"

Here is the edited version of Chapter 5, the rest need to be edited somewhat, You find yourself on a see-through sundial about four times your size, amidst endless waters in every direction - which appear as a lens of perception. You shut your eyes and by some force it's as if they are still open, fixated on the clear sky of the horizon. You hear a siren sound, and a brush of tiredness comes over you. In moments, your poise is sundered and you fall to the ground - your eyelids still burned up. You see an image of yourself from above, led on the dial. You are wearing nothing, but the image of man dressed in black cross your mind as you try to focus. Suddenly your vision shakes, and the physics appear broken for a second, before your imagination sweeps in and you perceive yourself from a new angle, in full view, your head turned awkwardly to the side, faced at the eye in the skies. As you continue lost in thought, water splashes up from the surface behind your dreaming self, creating imagery in harmony with what you think; as it does, rushes of power come over you, and you begin to watch the expanse change form and time with in-depth transitions. For a few seconds you imagine a specific place, and then you hold onto the thought. You feel absolute freedom of imagination here, envisioning yourself from any angle, with any object or subject, and of a form of your choice. You think of all the characters you know of and you imagine them to see them appear - the landscape remains the same. Your eyes flicker open and shut, and you switch between one scene and the next, where a blurred hot light blazes in your vision. As you regain the will to see, you turn your head to avoid a gaze directly into the sunlight, before standing up on your feet and sweating in the heat of day. Chapter 6 You see a soldier in full leather body armour, modern styled, with a gas mask in unison; he walks around near a window, waiting for someone; each move he makes generates a click sound as the hydraulics in his gear relax and contract. He is holding a machine gun that looks to be of a grand design. Out the window is a street, the apartment fifty foot above ground and across from it is a weak bend in the road. A man walks by and the solider pulls his trigger finger up to his ear, pressing something that makes a click sound. The area behind and around the solider is in shadows, the only light comes through the window, creating a conical bright spot. You hear a muffled voice coming from the his ear, "Get him". Like a shot the soldier brings his gun up to eye level, the dust of the room rising with it, and he aims it through the window at a man on the street - you see a red dot creep up his back and stop on the left side, but to your surprise another red dot moves up his back and stops on the right. With angel wings of design his is unaware of, the man walks onward a step, before two long brown bullets ripple through the air, at ground level and out of the window, it seems as if time slows for second, and then they impale through his head and heart at full speed. The man drops dead, brains and blood splattered everywhere. A few days pass, all that remains is the outline of the dead man; all other evidence was removed from the scene. A few confused forensic experts move in and out of the light of the apartment while the noise of police cars sound in the streets outside. Chapter 7 You are in a dream you are unaware of only because you are drunk; the night was spirited and colorful, you hopped clubs until now where you stand in between two families as they fight in a bar situated in the big town you're in. Men on both sides exchange punches; glasses are smashed over heads, and alcohol is spilled everywhere - the crowd watches, roaring to the scent of blood in the air. You walk outside, a little disorientated, and outside in the streets is the essence of someone you recognize. A demon, chaotic with with a glitch in her stride. She haunts the even the bravest people. Once tiny egos, commit heinous crimes and are now infamous among the gangs on the streets - a pandemonium driven by her fear. A short walk down the town and you are at a house, you turn around to find that the location you had just walked from has gone - a roadway and a pathway leading around the back of this house are the only things not clouded by mist. You walk along the path, and round the back to a garden with white fencing and hedges. You see a lady twitching and flinching so much it hurts to look, so you don't, but you edge closer every second. You steps seem shorter and you hear the woman slowing down, everything seems to be getting calmer. Now within reaching distance of this woman, as you can tell by looking at her feet, you raise your head from chest-level and look her directly in the eye. She has a petrified look, and she is looking directly back at you, mouth and eyes wide open; it makes you scream inside trying to understand how she became how she is now. You turn and run back along the pathway, and as you reach the road, you see the town back to normal, and you are where you should have been when you stopped by the house earlier. Feeling brave, you take one look back at the house to see if you're being followed, and it has faded away, replaced by shops and clubs.

Whether or not we anoint this, when we play a game, we are educated with it's tradition. Many developers try to imply throughout their game that there's a hidden meaning to find, but to every players dismay, there is none, and only the implication. I'm experienced with art in so far as the last ten years where I've collected numerous pieces and showcased them on my gallery. With my expertise, I've learned to control this hidden meaning, making my verses invaluable assets to any developer. The first step is to repent the power of words in your own mind, and instead try to think completely artistically - in imagery, in sense. When you have an open mind, design in your imagination, what can be described as, a visual template of your games world that says thousands of related words, and senses. Hot and cold are more than physical representations of art in harmony, but for the purposes of an example, we'll study them by that declaration. Hot is opposed to cold, and they make together harmonious opposites. Remember we're not restricted by words; therefore we don't see hot and cold as individuals on a wide spectrum of energy gain and loss. Let's say I now make a video game, I can use these natural opposites in my visual template - which can be very abstract. The best effects come from natures that are harmonious ( as with Hot and Cold ), so choose wisely how you abstract your template. Don't go too far away from the harmony, abstracting them so much they become something entirely different - unless it has some profound effect. Perhaps I choose to make the hot side of my template into a tiger ( a violent, more hot-like animal ) and the cold side into an elephant ( a peaceful, more cold-like animal ), then have them blend softly together. Steam or melting ice where hot seems more prominent; extinguished flames and smoke, where it seems as if cold is more prominent. When the visual template is created, in whatever form, our focuses should be away from the natural world, and we should now only refer to the template, and this is how we get lost in our games universe. In the development of my video game, many good ideas will spring to mind through the bond with these opposites, truly. Let's say the armies of cold meet the armies of hot, immediately I'll get a rush of thought that revolves around how hot and cold react to one another ( the melting ice and extinguished flames; hot hotheadedness or a cold domineer ). A story unfolds before I write anything down, which has many beneficent effects. An abstract Template I created based on the natures Greater Good, Good, Evil and Greater Evil. The Devil ( Greater Evil ) The Lord ( Evil) The Jester ( Good ) The Angel ( Greater Good ) Two events of many that come to mind: the stairway to heaven ( when good meets a greater good ), and the light in the darkness ( when good meets evil ). The visual template acts as a pool of wisdom, granting you a free idea here and there and many references, as well as that hidden meaning which is sought after. It doesn't have to be a literal secret, but secrets can be added - this is a classic case of 'the more you know the more in-depth story you can create'. When we play a game that has a visual template, we'll be reminded of it during game play and this quenches the thirst to search for a hidden meaning, replacing it all-together; it's the simple explanation of the story. It works like a secret in itself, as no words are said, it's, just, art - a silent hero, a dark knight. A chorus to your verses!

Try this: 1. Positioning your characters, battlefield control - the best defense. When you begin, set your party out how you need them to be to win the fight. That means, positioning them on the battlefield in advantageous locations ( where they have an advantage ). This is a major part of game-play; if you have the opportunity to flank an enemy, pause it and set a command. Finally, always check the lines which tell you whether you're engaged or not before moving a character during combat - and check often whether they have disengaged or if there are better engagements. 2. Check DR stat on Armour, make sure you have equipped the right amount for each character for the role they will be playing in battle.

I have been 'blending art' for almost ten years; without any artistic skills of my own, I use other people's work as my paint and my gallery is my paintbrush. On my gallery you will notice that the theme, most of the time, blends softly together. I connect picture to picture through a hard-blend of color and culture, and a soft-blend of nature(s). This is how I was imagining visually prior to playing Pillars of Eternity ( which opened my imagination further, to writing ). Male and Female, Grass and Green, Ground, Sky and Sea - more advanced, Male and Sun, Mind; Body and Earth, Female, etc. I create visual experiences using art to my followers, which are 14, but many people follow me secretly in light of improving their own galleries, and taking on the same techniques as I incorporate into mine. It would be beneficent to Obsidian to take note of, simply, blending art. Potential offensive content, at times not safe for work ( though nakedness a majority of the time is professional looking ) @ satans.sphinx.tumblr Enjoy, and if you have any questions, ask away.

https://www.youtube.com/watch?v=G8lFXN__H4g Here is a short and laid back tutorial I made for combat in Pillars of Eternity.

The following are pieces of my own writing that were influenced by Pillars of Eternity. Chapter 1 You find yourself sat down on a road in an empty town next to a small fire that you're using to keep warm. Upended in the central district, that you can just see over the tops of houses, is a burned and blackened fort that ebbs, and creeks, every so often, as the wind passes by. You think "the town is made fuller by it's presence" but others do not agree. You lend an ear to listen to sounds of victory that you hear from deep within the fort, and they capture your heart. You walk carefully towards the music, passing broken houses and skeletal remains outside them. As soon as the fort is in full view, you are left blinded and dazed by a sudden flash of light, that you raise your arms to evade the worst of. A few seconds later, you let down your guard, your eyes slowly regain focus, and you see down on the ground in front of you, a moving red flush. You look up at the fort, and it is up in flames; the music, now clearer and wilder than before. As you approach the fort's arched entrance, in front of you appears a silhouette with similar composition. You immediately pull your arms to your sides, and the shade follows suit. You walk left somewhat, but to your surprise the shadow walks right, and as you turn your head to examine it, it begins to aimlessly sneak around the archway before another, closer, flash, blinds your view. The silhouette still bold among the bright light, as the scene slowly fades to black. Chapter 2 You awaken in the midst of a vast field of green, and light-colours, and looking around you notice that the area is filled with many different kinds of flowers that're all blossoming gracefully. It seems as if there is more white than green, but when you concentrate, you confirm that there is more green. You stop looking around, passing the Sun once as you walk onward with a focused look on your face; but then you stop walking, suddenly, because in the distance of every direction is forest, and night is soon upon you. A brief moment after you had stopped, the Sun sets, and as it does the field seemingly gets smaller and the forests bigger, and closer, until they are at the tip of your feet. You are swept backwards onto the ground that you land on with a jolt and a thud. Hard dirt crumbles up from deep underground all around and beneath you; you look at all the trees as they twist themselves into existence, cautious but impressed; and then suddenly, the vicinity goes dark - you cannot see. Things start to crawl up your legs; crazed squeaking and hissing noises make it so you cannot hear. Your smile fades quickly, and you jump around, kicking and punching the air. When most of them are off of you, you run, and when you do the noises get quieter, and further away, and you do not look like you're going to stop. Rays of light beam through the tree tops far ahead of your position. You stop and examine, but immediately after a violent scream sounds from a few steps back, and the light retreats leaving you in darkness as you turn to face your fears. Chapter 3 You feel a brush of wind against your neck; your eyes open slightly and you move around, stretching, and turning your body and head asymmetrically, before you realize you are in bed, tired and dreamy. A second later, another brush of wind flurries against the back of your head, that's a lot more forceful this time; it pulls away and gusts back as a gnawing feeling accompanied by a gnawing sound, that seems to be coming from your head. It's as if you are being eaten, but it's effect is as soft as the wind was. You know in yourself that you're dreaming, but you're unusually paranoid; dark thoughts plague your mind as the biting continues, you think "it's too serene to be a nightmare". You try to wake up, but to your dismay, you can't. You try even harder, putting your weight into it, and manage to break out of the dream state; your upper body shoots forward and you are wide awake briefly, the dream had taken your breath away. A rush of confidence comes over you, you're tired, and you decide to go back to sleep. When you drift off, you awaken once again in the same room, in the same bed, with the same gnawing wind, but this time, it has a voice that sounds like a childhood rival of yours. After every bite or two, it laughs at you and has a violent outburst, however, it quickly gets calmer, making it bearable. You stop looking at the window, feeling brave enough to examine the wind, and then commit to it, but nothing is there - as you turn your head back around, on the floor is the rival of yours, primal and naked. Chapter 4 You near the end of a path that leads to a cliffs-edge, expelled from the land and welcomed by the skies and waters a long time ago. You peer over the edge at the cold ocean that waits below as wave upon wave crashes into the bottom of the escarpment. You lean back and retrieve from your pants, a journal, one that's touch is enough to make you heartfelt. You open the journal hastily, running your forefinger across a few messily written lines on the first page, and as you reach the end, it shuts tight, evading your grip to then float awkwardly in mid-air. With a hunters gaze, you watch intently as it begins to quake with energy, releasing wild illustrations of vibrant colours in the air that encircles you. From behind you hear someone approach with staggered steps. You turn around, your back foot half-on the cliffs-edge now, and your sights on a man holding a pistol in his right that's aimed at your chest. He shoots, and before you can do anything a bullet hits you. You scan your chest, expecting a bloody wound, but instead is a blur of colours and shades that's transfigured with your skin and muscles. You look at the man with a confident smirk, before leaning back over the edge to check the landscape below. Many forces come over you at once, and you are surrounded by a love you've never felt before. You lean peacefully over the edge - bending slightly and springing from it; you begin to fall toward the ocean. Your body a chaotic abstraction as it falls, exchanging wrathful animal expressions, and emotions, with nobody. As you near the bottom of the jump, your body centers itself just in time, and you slow a little, taking flight, before soaring toward the horizon. Chapter 5 You find yourself on a see-through sundial about four times your size, amidst endless waters - which appear as a lens unto the unknown. You shut your eyes and by some force it's as if they are still open, fixated on the clear sky of the horizon. You hear a siren sound, and a brush of tiredness comes over you. In moments, you fall to the ground - your eyelids still burned up. You see an image of yourself from above, led on the small dial. You are wearing nothing, but the image of a black and a white clothed-self cross your mind as you try to focus. Suddenly the picture shakes, and the physics appear broken for a second, before your imagination sweeps in and you perceive yourself from a new angle, one that is hinting you look at your own eyes. As you continue lost in thought, water splashes on the surface behind your dreaming self, creating imagery in harmony. A rush of power comes over you and you begin to witness the expanse change form and time with in-depth transitions. For a few seconds you imagine one specific scene, and then you hold onto it. You feel absolute freedom of imagination, seeing yourself from any angle, with any environment, object or subject, and of a form of your choosing. You start to imagine yourself as different characters you know of, and they bring back the fondest memories, the landscape remains unaltered. Your eyes flicker open and shut, and you switch between one scene and the next, where a blurred hot light blazes in your vision. As you regain the will to see, you turn your head to avoid a gaze directly into the sunlight, before standing up on your feet and sweating in the heat of the setting Sun.