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About jcompton

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  1. Oh, absolutely. And it's also an interesting choice to think about for the imperfect world we live in: - Would you rather have an interactive romance that is interactive but not especially romantic, or romantic but not especially interactive? A lot of complaints come from the opposite direction as well. In a measurable number of them, it is possible to just sort of float by choosing the noncommittal responses, and still get to the end of the romance. That leads to another design question I'm surprised didn't come up in the original post: - How difficult should the
  2. No, it's not--but writing romantic development in linear prose is somewhat different from writing it in a branching-interactive setting, particularly one in which the player character may be a homicidal maniac, or a kleptomaniac, or a sociopath, etc. etc. Unlike in a flat one-on-one romance story, the PC is not a fixed concept, it's something that the player makes up as he/she goes along, as the game exploration and dialogue options allow. Even people who are genuinely enthusiastic about this style of CRPG romance inevitably have a moment where they stare at a reply screen and conclude, "Well,
  3. In part that's because the model has inverted over the past 10 years or so. In the past, "games you build other games with" typically fell into one of three categories: - An end-of-life way to squeeze more out of a successful game engine at the end of its life. Stuart Smith's Adventure Construction Set, Bill Budge's Pinball Construction Set, Garry Kitchen's Gamemaker, Bard's Tale Construction Kit, "gold box" Unlimited Adventures, etc. The public product reflected a proven game engine which probably wasn't going to be used for any new titles, and a mixture of internal developer tools,
  4. My strong intuition is that most of the time, "we'll need to cripple the engine, and therefore the content creation tools, so that the average retail customer content creation enthusiast can use the tools" is not the case. Sticking with the item creation example, it seems a slam-dunk that a "friendly front-end" lets anybody who can hold a mouse make a Sword of Wounding that, say, does double-damage on hit, lets an intermediate content creator slap a script on it which also plays a special sound effect and a color pulse (or something) through a simple short block of code, and lets an advanced
  5. That being the case (you are not someone angling to find work by mastering a toolset and then going to the developer of that toolset flogging yourself as an employment candidate), the solution seems obvious--find a game/game maker which you enjoy creating content for, which has a collection of tools you are comfortable using, and do your thing. There is hardly a game or gaming genre on this planet you won't be able to find some number of players for, if you want your work to be seen. Don't worry yourself about games whose development environments are outside the scope of your abilities, a
  6. It came down to a matter of convenience. The conversation went something like this. JC: "So. Shall we have 2D, 3D, or a hybrid? (blah blah blah listing various pros and cons.)" WW: "It's very simple. You can have a 2D engine. You can't have a 3D engine." JC: "Okay, then!" We did look into licensing existing 3D and 2D/3D RPG engines but they were out of our price range. Not with any real authority. But you did say "speculate," so... presumably character/creature work would be somewhat faster in a 3D world because the artists wouldn't have to spend a lot of time rendering a zi
  7. That's basically true, although there are exceptions which require/strongly recommend paying attention to install order due to: - Being a "big fix/tweakpack." Generally things which comb over many or most of the files in the game making wholesale changes like to go first so that they can make their changes before other mods get their grubby little hands on them. There are exceptions, however, but most developers are good about documenting this sort of thing. - Content dependencies (Mod B has content which requires the presence of Mod A in order to work, like two mod NPCs talking to one an
  8. There are about 20 contractors involved in the story design, coding, and audiovisuals. If it was just down to Wes and me to make a game, it would probably look like Rogue.
  9. It's intriguing to see IWG2 brought up in relation to this project, since Wes's experience with IWG2 was in fact a key consideration. If you'll permit me the historical digression... With IWG2, Wes was trying to shoehorn a story he liked into an engine (ruleset) he liked. Of course, he was doing this with (at best) a hand tied behind his back because he couldn't alter the engine directly, only through file modifications. After X amount of work on it, it was clear that there were some irritatingly fundamental differences between the two engine flavors which couldn't be easily papered ov
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