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grotbag

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About grotbag

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  1. I got a 360 just to play Deadly Premonition. I understand how you feel I actually played it on the 360 the first time. After that I ordered the Japanese import version for the PS3(because I just had the 360 for a brief time)and played it until I had collected every single trophy I just love the game because of the same things grotbag mentioned. I was looking forward to this release as well, but I just watched 2 new gameplay footages and the character voices seem to have changed. York sounds like a 15 year old now! Damn it, why the hell would they do such a thing?! Really? I just tr
  2. 'Inspired' is a polite way of putting it. At times it's merely cheaply derivative (it has a 'pot lady' in place of a 'log lady') or copies parts of Twin Peaks in a ludicrously over-the-top sort of way that doesn't understand what made the source material so good. Its unworldly, socially-incompetent and insane Agent Cooper-inspired lead, however, I think is fantastic. He's the most charming antidote I can imagine to the tedious industry fallacy that games need to be an insecurity-exploiting power-trip with a badass superawesome brooding hero to make the player feel 'cool' by proxy - partly
  3. That doesn't really follow, though. Expressing the desire for the series to go back to its earlier incarnation doesn't mean that you have a chauvinistic inability to enjoy any games that aren't turn-based or isometric, just that the essence of what you admired in these particular games has been lost, weakened or mismanaged by the franchise's transition from turn-based RPG to Bethesda-typical open-world game.
  4. Perhaps it's asking too much of a really dreadful tone-deaf Blade Runner reference, but I'd like to question the common sense of an advanced post-apocalyptic society spending their time obsessively creating and managing anatomically-perfect human-replica androids with adult-level artificial intelligence to perform basic manual tasks for no particular reason.
  5. This a funny example, since the much-loved original novel had no romance in it at all; Hitch was forced to come up with some rather silly plot contrivances (that whole business with the handcuffs, for example) in order to accommodate Madeleine Carroll as a love interest. But again, I think we did already have this exact debate, with most of the same points being made, just a few pages back.
  6. Yup, totally - I'd just argue that all of these experiences are far less demeaned and corrupted by being made into a challenge, partly because in reality they're one-sided personal experiences and partly because in reality they are challenges. Winning a physical contest or a fight is a challenge. Getting a good price from a shop is a challenge. It's all about you overcoming the obstacle, and actually, the obstacle is nebulous, because it's all about you. Saving the world is every kid's self-centred fantasy, and again, it's a challenge, and it's all about you, it's ego-driven. Placing a 'ro
  7. Look, if you're going to start reading something into a perfectly innocent story about a group of sailors hunting for sperm on the high seas I don't think we're going to get anywhere with this.
  8. Sure. I didn't mean to indelibly associate the two. By 'emotional attachment and even sex' I meant 'emotional attachment or even sex', but honestly, I find the 'emotional attachment' bit even more of a concern. Well, I don't think your plan can do anything more than obfuscate the fact that this so-called 'love story' is a reward-based game by making it a more complicated and therefore naturalistic reward-based game. So player characters have to be brunette or gnomish or under the age of 24 for the romance to trigger - it doesn't change anything significant. The player is still involve
  9. I might get some of these wrong but: pretty much all of Beckett. Definitely some of Borges. Kafka. Moby-****. Tristram Shandy. Arguably Joyce? A Day In The Life Of Ivan Denisovich. If you're into that sort of thing, Blood Meridian. Life A User's Manual. Fernando Pessoa. Robinson Crusoe. The Old Man And The Sea. To Kill A Mockingbird doesn't include any significant functioning romantic relationships as far as I can remember. If On A Winter's Night A Traveller... ...no, there's tons, (and, sure, plenty more that do concern itself with the mechanics of love in painstaking detail) but I think
  10. I think there's a fairly clear and substantial difference, at least in terms of character, between a system that says 'You spared the life of Old Ma Kettle. As a result, your companion Amelia Kettle is grateful towards you' and a system that says 'You spared the life of Old Ma Kettle. As a result, Amelia Kettle would like to have a conversation with you where she toys with her hair and asks if there'll ever be something between the two of you because she's been finding you attractive for some time now.' In short, I think having general reputation amongst your companions rise and fall acc
  11. Romance, as it appears in RPGs with full player choice, compromises the writing of every game it appears in. Yeah, every single one. It doesn't celebrate love and recognise an incredibly important part of the human experience, as some people are suggesting, it demeans it, because no matter how good the writing might hypothetically be, there's no way of getting around the basic situation that the player is participating in a mini-game in which the aim is explicitly to choose the right dialogue topics and perform the right actions and successfully make a fictional character with pre-set response
  12. Monte, I've always enjoyed your posts, but I think you're pushing far too hard towards making this issue a libertarian conflict of personal enjoyment rather than a debate about the practicalities of XP. You're arguing that if a player feels the dopamine-maddened urge to reach level 100 early by exploiting the game's mechanics instead of playing through a balanced challenge, no designer should have the temerity to attempt to restrict them by introducing a tighter XP system that limits this kind of behaviour. This just isn't right. If a player chooses to enjoy a game by feeling a rush of fau
  13. To the first point; MotB and NV both featured two non-humanoid party members with limited equipment options, a la Morte, and in both cases the game supplied them with new items/abilities to balance out their lack of normal equipment through interaction and quests rather than through standard loot (Morte, of course, had his insults too). There's no reason at all to make a link between full party creation and generic NPC party-members, just because of loot-tables.
  14. Seems pretty obvious that this poster repeating exactly the same spiel (are the developers gay, we have a right to know/Anita whateverhernameis/I just heard the latest news on 4chan) as Troller/Nigro is just Troller/Nigro astro-turfing and agreeing with himself. God knows why he bothers, but there's no point engaging with him, peeps.
  15. No, it's a tonal issue, isn't it? Factional dealings and political manoeuverings, done well, are gripping, but because they're character-driven and based in human needs and wants and motives, they can feel very grounded (which is a good thing, in some cases; you don't want every NPC telling you, 'Adventurer, I'd like you to wipe out the Red Fist gang. For, uhhh, reasons beyond your limited mortal comprehension'. There needs to be some sense of grounding in a familiar medieval-fantasy setting to try and make it feel fully realised and living). Too much focus on it, on the other hand, can push t
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