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  1. Update by Josh Sawyer, Project Director http://www.youtube.com/watch?v=tgvxu8QY01s Today, we'd like to talk to you about one of our more recently-implemented classes in Project Eternity: the paladin. The paladin has been a staple of fantasy RPGs for decades and it was one of our most quickly-funded stretch goals during the Kickstarter campaign. As one of several melee-oriented classes on our roster, paladins presented some unique challenges for us and we'd like to share their development process with you. Paladins have a strong tradition in FRPGs. While the class represents different things to different players, it often conjures images of legendary European figures like the Twelve Peers of Charlemagne, El Cid, and the Knights of the Round Table. Players who like playing paladins often think of them as devoted, principled, brave, and unrelenting. They stand out because of their single-mindedness and unwavering dedication to their cause. In Project Eternity, we wanted paladins to maintain their sense of selfless passion and zeal without being bound to concepts like "alignment" or a universal moral code. We also wanted their mechanics to be distinctive from the other classes while reinforcing their role in the world. Area designer Bobby Null has always liked the marshal class from D&D 3.5, which is conceptually similar to the warlord in 4E: combat leaders who are at their best when they are augmenting their teammates. This is the approach that I took when developing Project Eternity's paladins. They have persistent modal auras, strong single-target healing and buff abilities (contrasting the broad AoE effects of clerics), and can passively grant bonuses to teammates in close proximity. In the game's lore, paladins are zealous champions of a cause that may be religious, philosophical, or cultural in nature. The "foundational" paladins in this part of the world were the legendary elite guards of Darcozzi Palace in the Grand Empire of Vailia (now Old Vailia). They set standards for selfless dedication, unwavering loyalty, and inspiring leadership that have become the pillars for similar orders that have sprung up in the two millennia since they were founded. Even among orders where the chosen cause is perceived as bleak or malevolent, paladins always place the cause ahead of their own personal interests. In Defiance Bay, recent experiments performed by animancers and ciphers suggest that paladins' souls are continuously "burning" wellsprings of spiritual energy that are overflowing their physical vessels due to the paladins' fanaticism. When ciphers have tried to directly perceive paladins' souls, they have described the experience as uncomfortable or painful, not unlike gazing at the sun. All paladins currently begin with the following abilities: Reviving Exhortation (Active) - Paladins can command an unconscious ally to awaken and get back up with an immediate spike in Stamina, though the target will lose half of the regained Stamina after a short duration. Zealous Barrage (Modal) - The paladin and all allies standing within 3m have their attack and ability speed increased. Cannot be used with Zealous March (below). Faith and Conviction - Paladins have an inherent bonus to all defenses (Deflection, Fortitude, Reflexes, and Psyche). As they advance, they gain additional abilities in the same spirit, such as: Coordinated Attacks - The ally closest to the paladin attacking the same target as the paladin has a bonus to Accuracy. Shake It Off (Active) - The paladin can command an ally to temporarily ignore existing Hostile effects for a short duration. The effects are suspended; they do not lose any of their duration and will resume as soon as Shake It Off expires. Inspiring Triumph - Allies within 4m gain a temporary bonus to all defenses when the paladin downs an enemy. Zealous March (Modal) - The paladin and all allies within 3m have their movement speed increased. Cannot be used with Zealous Barrage. In playtesting so far, our test paladin has been very useful in combat, with the melee group often centering around her to gain the benefits of her Zealous auras and Coordinated Attacks. While several other classes have Stamina healing abilities, the paladin's Reviving Exhortation can turn the tide if party members start dropping late in a battle. However, using it too early can spell disaster for the revived character if the granted Stamina boost runs out in a long fight. Optional Talents for the paladin will focus on shaping the passive or active bias of the character: widening the effects of Zealous auras; granting additional uses or increased potency for targeted commands; or giving paladins more direct offensive and defensive capabilities if players want to boost their paladins' personal viability. Wild Orlans - What Do They Look Like? Though we've previously shown one concept of a hearth orlan (the "orlan detective"), many people have asked and speculated about what the other orlans, the so-called wild orlans, look like. Wild orlans have the same general range of stature and build as hearth orlans, but are almost entirely covered with hair. Though they can be found on a few continents, wild orlans in this part of the world are typically found in the deepest forests of Eír Glanfath. In recent centuries, the biases of surrounding colonial cultures have driven them even farther from new settlements. Considered savage and uncontrollable by many Dyrwoodans, Vailians, and Readcerans, wild orlans often find interactions with outsiders strained if not outright violent. Many colonists pre-judge all orlans as untrustworthy and bloodthirsty, but within that vein of racism, they often classify wild orlans as "the bad ones". Given the difficulty of concealing their hirsute bodies and faces, prejudice follows them in most colonial areas. We'll continue to develop the paladin more over the next few months, but we'd like to hear what you think of the concepts and mechanics we've come up with so far. Similarly, we hope you like the less- and more-"beastly" branches of the orlan race. We developed the different appearances based on widely conflicting player (and developer) desires for the race to be both more and less wild. What do you think of the direction we're taking? Thanks for reading!
  2. One Week Left for PayPal The Project Eternity PayPal donation period will be ending next week on Monday, December 3rd at 6:00PM PST. After December 3rd current backers can add shipping and handling costs at our backer fulfillment site (coming soon). At the backer site, you will be able to select your add-ons and fill out your shipping address, so make sure you keep an eye out for the email that explains how to use the backer site. As a reminder we will let you know when the emails go out in a future update. After next week we will be accepting slacker backer donations via PayPal for $29 for a Digital Download Copy of Project Eternity for Windows, Mac, or Linux. Get in now for a discount this week if you haven't already! The higher tier rewards and physical items offered on the Kickstarter will not be available past December 3rd, 6:00PM PST. Current Developments The Project Eternity team is tackling a number of different things in pre-production including story and world building, creating the look of the Aumaua and Orlans, character customization, combat, and fancy rendering R&D. Here are a few bits on current developments: The narrative team is creating the world almanac which contains all the information about the people and history of Project Eternity. Right now they are fleshing out the pantheon of gods. Do you have any crazy or wacky ideas for gods? Share your ideas in this forum thread! The artists and programmers have been working on character customization. The system allows for individual pieces of armor to show up on your characters such as boots, gloves, and chest armor. When you swap armor, the character's torso model and texture are also swapped out. There are thousands of different armor, weapon, head, and hair customization models for each race (male and female too!), and we need to make sure that the system can organize and manage all of these character assets. Lastly, the picture is from an early test environment area using temporary art assets. The red shapes represent collision geometry that will block pathfinding and line-of-sight. The light blue/greenish color represents the walkmesh geometry which determines where characters can walk. We use this area to test tech features that we are building. For example, we are using the cemetery in the lower left to test out complex party pathfinding. If you look carefully, you can see two test characters in the picture. Next week we will have an art focused update by Rob Nelser, the lead artist on Project Eternity. Time to get back to work on character customization! Adam out. Update by Adam Brennecke
  3. Above is a UI mockup that Kaz has put over the original Kickstarter image. What do you think? I know what you are thinking. What the hell have the artists been doing?? The art in this game should be half done by now! Right? That's what I want to know! Why isn't the game half-done already? Well, as I've said before we're "professionals." We proceed in a highly-complex collaboration/iteration loop of blending design wants and dos, programming cans, think-they-cans and dos and artist wants, cans, can-but-don't-know-how-longs and dos. As you can see - and please don't get angry - this is all very technical. Know that: work is progressing. Yeeeargh! Enough with your silly stupid words, Rob!! What the hell does that mean?? Uhh... not sure, but I'll tell you what I think it means: You've read about Prototype 1 and then Prototype 2. Those were efforts to implement features that represent the functional and playable standard of our goal: an Infinity Engine style of game. Those efforts were focused collaborations of designing, programming and art-ing things, trying them out, addressing problems as they came up (visual, functional or otherwise failing to live up to our standard) and repeating. The art goals were held to an 80-90% complete (aka: unpolished). The remaining 10-20% of work will be left toward the end of the "next phase," as always there will be edits and modifications after initial implementation of art. The basic truth of this interactive artistic endeavor that we are involved in is that you can't know it's a worthwhile experience, until you make it, people play it, and then provide feedback. We adjust our work to that feedback - a feedback loop. Boom! Consider yourself educated. The "next phase" is a Vertical Slice. This is a goal in which we focus on one part of the game within a shell of what is essentially the fully-featured game - relying on the things developed in the prototypes, as well as implementing a fully-functional UI, attempting to finalize all art and gameplay to a more polished standard, and accommodate design changes that are required to make the player experience more complete - as if this part were a finalized, short game in itself. Environment Artists Hector - Wilderness Areas Our Lead Environment Artist has been developing a couple of our larger external landscapes. He's doing this on the basis of a designer's block-out: a crude-but-playable space. This includes the sculpting of terrain geometry in ZBrush, application of grass and dirt via mesh painting and masking in Maya, placement of objects such as structures, trees, and rocks, etc., lighting and rendering the scene, which generates our super-cool depth info. He imports all those results into the game, and then Design says: "Hey, something has come up and we need a temple in the village." So, Hector moves and massages the scene around to accommodate the change and steps through the process again. In the prototype, iteration of the village, a temple wasn't required. For the Vertical Slice, having a place where one can get quests and learn some spiritual-magicky stuff, is an important feature to include. So, we find a way to happily put it in. Sean - Dungeon/Crypt and village interiors Our other Environment Artist has been working on interiors of village structures and dungeons! He uses ZBrush less for his environments as a whole, and more as a means of creating smaller natural-looking rocky things and dungeon walls. Beyond that the techniques for implementing his work are the same. The feedback and iteration with design usually yields similar tweaks and modifications. Changes like: "Uhh...we can't have a door here, anymore. Can we make it a pile of collapsed rocks, instead?" Of course the answer is "Yes!" The answer has to be "yes," because the game is worthless if the gameplay isn't worthwhile. It could be that an important critical path encounter needs to occur, maybe because the story evolved or it’s just too good an experience to allow an alternate route to exist. Ultimately, we trust our designers to wrestle with these issues and come to us with changes that matter. So if they come to us with a change, and the adjustment is reasonable and the time exists to make it, we will do it. Animators Mark - Principle Animation of All Things with Arms and Legs Our Lead Animator has been handling much of the animation requirements for the playable races. This process is also an iterative one. Design has ideas about how they want playable characters to interact with the world and enemies, and Mark then creates a set of individual animations that then blend into each other as needed, in Unity. In addition, he has created essential animations for the Skuldr and the Ogre. Essential animations are typically basic locomotion (including: walk, run and at least one idle) attacks (melee and ranged, if applicable) getting hit and dying. There are others. He blocks them in (a term for making things functional fast), puts them in the game, then he refines them. As team members playtest the game, they provide feedback. Mark continues refining until everybody is happy or the game ships - whichever comes first. No, no, no, just kidding! Mark will work tirelessly through endless nights to make certain everybody is happy with the animation. Antonio - Technical Problem Solving of Physical Things and Process Improvement I told you all you needed to know about Antonio in my last update. I showed you the rigs and rigs in rigs. These things take a while to refine, as he makes them and then people (Dimitri and Mark) have to use them. As they use the tools, they discover issues and then Antonio has to fix the issues and the process repeats itself until there are fewer and fewer issues to fix. Lately he has been working on a means of batch processing all the animations that Mark creates and efficiently exports them into the game. Mark says it's "awesome." (This is making Dimitri mad. I'll tell you why in a bit.) In addition, he has been developing some cool experiments with cloth and hair. Hopefully, in some near-future update we can show you how great it looks. Character Artists Dimitri - Skaen and Visual Differences Between Playable Characters (Races, Males and Females) Dimitri has been modeling and texturing the dirty, bloody and villainous Skaen Cultists. In-between that he has been re-exporting our characters, as new attachments, bones, weapon attachments, etc. are added to the skeletons. This is a manual process hell that eats at his soul and to see Mark enjoying the fruits of batch process heaven that Antonio has provided him, makes him think of terrible things. One of two things will happen: Dimitri will get over it, or Antonio will help him out soon. He has also been working with our graphics programmer in developing the masking system for how we can increase variety in our characters via color changes on various elements of each. We intend this ability to be passed on to the player, so that they can customize their party's colors. James - Creatures And Colors James has been focusing on modeling and texturing a ton of critters, including wurms! - not: worms, nor wyrms, or wirms, but WURMs! That is what we call our baby dragons! He's also been tasked with making certain, that via the tinting and masking that Dimitri worked on, we can generate an infinite variety of People and Monsters, and nobody will know better. Shhhhhh...Wink Wink! Concept Artists Polina's concept of lizard-creature-to-be-named-later. Polina - Drawerings And More Drawerings Polina has been all over the place since the presentation of the God-like Concept. She's done a bunch of interior concepts, some really cool malevolent spirit-like concepts, the lizard-like creature (below) and more! Polina takes concept development and collaboration very seriously. If I'm not paying attention, or give her a specific number, she will draw variants upon variants of thumbnails and roughs until...I think...forever. So we've restricted her to a certain number of thumbnails before a review. Otherwise we'll have to buy her a new tablet, and that is NOT in the budget! Kaz - Drawerings And User Experience As you've seen in recent updates Kaz has been tasked with coming up with cultural differences in in terms of skin color and style of clothing for the various cultural groups that we find in Project Eternity. With this and other concept-y things, he also has been tasked with developing and implementing the look of the UI and the presentation for "scripted events." Note: Regarding the image with the menubar at the start of the update, as well as the image below. You will notice that they state: "Work In Progress." In fact, the images are screen caps of the source art file for the UI that is being developed for P.E. It represents stylistic choices meant to feel very Infinity Engine-ish. We're a little curious what you might think about it. Let us know. Scripted event image by Kaz. Me??? - What have I been doing? I don't know. I just run around and say some stuff, point to something and say "eww," or "nice," or grab a bunch of people to say stuff like "Yay!" or "boo" at something, draw some stuff, and try to direct stuff, repeat. I am hopeful that these efforts keep people motivated, aware and engaged. That's it. Update Over. Now talk amongst yourselves...or use ALL CAPS, if you are feeling particularly passionate. - Rob Nesler, Art Director, Obsidian Entertainment. PS - Let’s Play Arcanum with Mr. Avellone is coming back soon to an update near you! Kickin' It Forward: HEX MMO Trading Card Game Article by Darren Monahan, operations guy In this update's Kickin' it Forward segment, we're featuring the HEX MMO Trading Card Game from friends and neighbors over at Cryptozoic Entertainment. If you're a fan of trading card games and MMO's, HEX looks like a great game to bring these two types of games together in a unique and original fantasy world. They've got nine days left, and plenty of really cool rewards. Check it out!
  4. Update by Adam Brennecke, Executive Producer and Lead Programmer This month we are knee-deep in the Vertical Slice phase and this will be the team's focus for the month of June. It's our way of proving that we are ready to jump forward into production and start making shippable content. The Vertical Slice is just that, a cross section (think of it as a slice of bread cut out from the middle of a loaf) of the world of Project Eternity. At the end of this phase the game will be feature complete, and the content building portion of the team, including area designers, environment artists, and character artists can make shippable content now. Our Vertical Slice is eleven maps large; encompassing our village and dungeon from Prototype 2, and the dungeon and wilderness area from Prototype 1 (we call this area "The Valley of Hector" internally). The content from the prototypes are refactored to fit within the context of the world and overall story of the game. Feature-wise, we are targeting to have the majority of the world building tools complete and all of the character classes playable up to level five. A Vertical Slice dungeon concept by Polina. Her paint-over will be used as reference for the polish pass. Here are our current tasks that we are working on right now: Art Modeling Hide Armor for Male and Females - Hide armor has been challenging to model and texture with skin tinting because there's a lot of skin shown. Creating Orlan Heads - This includes modeling differences for the Wild and Hearth ethnicities. Polishing Prototype 2 Areas to "Beta" - Extra shine is put into the areas to make them feel more alive and varied. Design Creating the Vertical Slice Area Design Document - The designers are adding more content to the world and fleshing out the village with additional quests. Designing and Coding the Class Abilities for the Cipher and Chanter - The Cipher and his "focus" powered spells are working, and now Tim Cain is working out the Chanter phrase system. Programming Coding up the Save/Load and the Persistence System - This entails saving and loading games, and making sure the current map state is preserved across area transitions. Wrapping up the Area Designer Toolbox - Doors, encounters, traps, triggers, loot, NPCs, and creatures can all be placed and manipulated through script. Spells and Ability Audit This morning Josh emailed me a list of working class abilities and spells. I'm excited to say that we have 54 abilities and 51 functioning spells as of today! Most of the spells are at the alpha stage, meaning another pass will be done at a later date to add visual effects and sound effects. UI Version #2 Thanks to everyone who provided feedback on our UI mockups that Rob posted last week in Update #54. We loved everyone's proposed mockups and your discussions sparked some great ideas for the next iteration on the interface. We've already mocked up a new version that takes up less vertical space and is more compact overall. Once we feel it's ready to be critiqued, we will post it in a future update for more discussion. That's it for this week. We'll be back in two weeks - we're off to E3 next week (and if you're a fan of South Park, keep an eye out for coverage on our Stick of Truth RPG)!
  5. Update by Polina Hristova, Concept Artist/Nightmare Engineer and Brandon Adler, Producery Type Polina in her natural habitat. Hello, everyone. This week will feature an interview with Project Eternity concept artist Polina Hristova. While a Project Eternity concept artist has to be well-rounded in their skill set, Polina specializes in creature concepts. Enjoy. Q: Hello, Polina. What is your job on the Project Eternity team? A: I'm a general concept artist =). My primary purpose is to design what things look like (creatures, characters, environments, etc) and help get the conversations started. But I also try to do my best at making things look cool and try to solve any problems the modelers and animators might come by before they spend hours building it. Q: What are you working on this week? A: This week I wrapped finished up some critters: the drake and the spear spider. Q: What is your typical work day like on Project Eternity? A: I guess in comparison to most, my work day is pretty simple. I get to draw pretty pictures. The days differ based on the assignment and I do sometimes change my methods since creativity does flow differently day to day, but my general pipeline goes like this: I meet with Josh and the designers to get a description on what I'd be working on. Sometimes these descriptions can range from a simple word to an extremely detailed description on facial structure, hair length and color, outfit, tattoos, amount of skin pores... (okay I'm exaggerating the skin pore part)... and anywhere in between. I'll also talk with the animators if the creatures would share rigs or any other potential problems we can have (it's best to design with these problems in mind than having to change the design a lot later). After that (and depending on schedule) I'll do a number of variants fitting the description and summon a mini-character scrum (Josh, the designers, Rob, our modelers, and our animators). Together they'll discuss any problems or make any suggestions and pick a variant that I'll take to final. Q: What are you most looking forward to on Project Eternity? A: I am really looking forward to playing it. =) But for now I'm really just enjoying watching the game come to reality. I love watching peoples' creations come to life and I give many props to our modelers and animators for all their hard work. I love how they animated skuldr and his sneaky "I'm gunna getcha!" walk. Q: Which Project Eternity creature that you have concepted excites you the most? A: This questions a trick question. Creatures all excite me. I LOVE creatures, aliens (not relative) and things that go bump in the night. I guess if you had to make me pick right now I would have to say the drake =) but I have a weakness for dragons and it’s also the thing most current in my brain. I also really enjoyed designing the godlike heads. Q: What other games have you worked on? A: I'm actually pretty new to the industry. I graduated school in '09 and I didn’t get my first fulltime game job position until Obsidian ('11), but I've had the pleasure to intern and freelance on some amazing projects. I've worked on Naughty Dog's Uncharted 2, PlayStation Move Heroes, some other unannounced titles (some of which will sadly never see the light of day), and the Dungeon Siege 3 DLC: Treasures of the Sun. Drawing one of the endless tide of creatures. Q: What do you like to do when you aren't creating creatures that haunt my nightmares? A: I have a massive range of hobbies, from collecting costumes, traveling to national parks, watching movies, playing games, being weird and goofy, swimming, kendo, amateur photography and more. But when I'm not working, or spending time with my family or friends, I still prefer to spend my time drawing and scribbling... especially at the Zoo. Q: Do you have a favorite concept artist? A: I have a lot and I hope I don’t leave any of them out, but here are the guys currently on the top of my mind: Anthony Jones, Khange Le, Ian McCaig, Jordu Schell, Craig Mullins, Andrew Jones, Erik Tiemens, Robh Ruppel, PaperBlue.net, Carlo Arellano, Carlos Huante, Charlie Wen, and Aris Kolokontes. Q: And where do you draw your inspiration from? A: Nature. Nature will always have us concept artists beat. =) It does some weird ****. =D Q: What's your favorite game? A: I think to this day Zelda Ocarina of Time holds a special place in my heart. Sure the other Zeldas are still great (except maybe Skyward Sword... but that’s more of a controller issue) But Ocarina of time has the perfect mixture of exploration, puzzle solving, action and story, and it was one of the first games that made me go "oooooooooooooo... I wanna do that! This is so beautiful." (Graphics back then...) Q: Anything else you would like to share? A: I like to hide in dark corners... and make random creature noises. =) Crafting Feedback and Answers After getting a ton of feedback and responses to the last update on Crafting Josh has decided to make some changes to the proposed system. Check out this forum post which breaks down those changes and provides some additional clarification. Well, that's it for now. Head over to Obsidian's Project Eternity forums and let us know what you think about the latest update, Project Eternity or your cat JoJo. See you guys in a couple of weeks.
  6. Update by Brandon Adler, Producer Hello, everyone. I'm Brandon Adler - Project Eternity's newest Producer and general schedule wrangler. I'm the dude that helps make sure the game's product is on time, on budget, and totally kickass. I worked at Obsidian previously for over six years on projects like Neverwinter Nights 2 (base game, Mask of the Betrayer, and Storm of Zehir), Alpha Protocol, Dungeon Siege 3, and South Park. I came back to help make Project Eternity (which is about as close to my dream project as you can get) and I look forward to interacting with all of Project Eternity's passionate fanbase. Rezzed One new development is our very own Chris Avellone presented Project Eternity at Rezzed in Birmingham, UK. He showed off the approaches we’re taking with Project Eternity for the vertical slice and pipelines, and showcasing new concepts like the animat and Defiance Bay. Concepting process for one of our creatures, the bronze-armored animats. Animats are animated by the souls of ancient warriors that were extracted, purified, and bound into the armor. Copper is an especially strong binder for soul energy, which is why bronze is used for the animats. Copper is also often used in Engwythan (ancient residents of Eir Glanfath) architecture and magical items, including "skein steel", a fantastic alloy created with sinister soul magic. Color concept and reanimation sequence of the animat. If you are interested in watching Chris' full presentation at Rezzed you can see it here (some language mildly NSFW). Vine For those of you that are Obsidian fanatics, or Project Eternity fanatics, or just developer fanatics, some of our staff will be creating Vines (you know, those short looping videos that you can make with the Vine app?) and posting them on their personal Twitter accounts. Take a look. Here are some examples: What's in a name? - https://vine.co/v/hzmXvdr57VA Office 360 - https://vine.co/v/hzmabYV2mlP Around the Office - https://vine.co/v/hzA9pUt97de Stronghold Fun - https://vine.co/v/hznBYZi37dV WARNING: IF YOU ARE OFFENDED BY POTENTIALLY RIDICULOUS VIDEOS DO NOT VISIT THESE TWITTER ACCOUNTS. Josh Sawyer: https://twitter.com/jesawyer Adam Brennecke: https://twitter.com/adam_brennecke Brandon Adler: https://twitter.com/badler07 Avellone's Arcanum Playthrough Chris has been prepping (and presenting) Eternity at Rezzed, once he’s back, you’ll get a new playthrough video in a future update. Well, that's it for now. Over the next few weeks we will be talking about the vertical slice, the fulfillment system, and other goodies. So, stay tuned. As always, we love your feedback on our updates and game direction, so head over to the Project Eternity forums and let us know what you are thinking. Thanks for reading. Kickin' it Forward: Mind's Eye Theatre: Vampire The Masquerade We're big fans of the World of Darkness, particularly the classic Vampire: The Masquerade setting from the 90's (and let's not forget the excellent Vampire Bloodlines cRPG!). Our friends at By Night Studios are putting out a new edition of the Mind's Eye Theatre: Vampire: The Masquerade live action role-playing game, which fans of vampires, werewolves, and other things that go bump in the night might find interesting! They've recently hit their funding goal, but have some really cool stretch goals; break out your fangs and check it out!
  7. Hello everyone! I was thinking to myself about all the information about Project Eternity. There is constant stream of updates about classes, world, lore, races, religions and many more things. There are however some of us (and there will be more when the game is released) that would like to know it all but instead of having to look around for it, to have it all in one place. Now don't get me wrong. I am fully aware Obsidian does not actually have lots of free time but hear me out. I think it would be great to have some Project Eternity PDF Compendium of sorts. That could get occasionally updated with new games and new information (if there are new games). It would allow many of us to indulge ourselves into lore-nerdinessy . Maybe even make it an online project instead of PDF, or both. I for one would be more than happy to know all the additional bits an' pieces that may not be thoroughly explained in the game. It would help players understand the world of PE better and get more out of the game itself. It would work as an additional background for the game and make it more alive, closer to us. Don't know if this has any chance of ever happening or if something similar was discussed/planned but I'm dropping it here. I am interested in hearing if anyone else would wish to see something like this made. EDIT: Just so you know. It would be a little different from the Wiki. I guess info from it would eventually end up on wiki too though.
  8. Hail, elves. It's been a while since we've had a mechanics update, so I'd like to cover a variety of topics today: the basics of our "non-core" classes, our cooldown system (or lack thereof), an update on how attacks are resolved, and another update on the evolution of our armor system. I'd also like to show you a dungeon tileset test render and some sweet shakycam of some of the combat basics running in engine. Non-Core Classes We've previously discussed the design of our "core four" classes: fighter, priest, rogue, and wizard. The non-core classes are the other seven: barbarian, paladin, ranger, druid, monk, chanter, and cipher. Like the core four classes, the non-core classes all start the game with two active or modal abilities and one passive ability. When it comes to the balance of active/modal and passive options, the classes generally reflect their D&D counterparts, with spellcasters having more active use abilities and weapon-based classes being oriented toward more passive or modal abilities. Even so, it will be possible to push a spellcaster toward more passive talents and to optionally buy more active/modal abilities for traditionally low-maintenance characters. While all classes will have many more abilities as they advance, here are some basic elements for each of the seven classes. Barbarians can use Wild Sprint a limited number of times per day, allowing them to rapidly rush across the battlefield to a distant target while ignoring hazards along the way. Paladins have limited healing capabilities, but their Revive command allows them to instantly snap an unconscious ally awake with a large Stamina boost. Rangers' animal companions are so closely bonded to their masters that they share Stamina and Health pools, which can be both a blessing and a curse. Druids can Shapeshift into animal forms, gaining natural -- and some supernatural -- abilities associated with those creatures. Monks absorb a portion of incoming damage and convert it into a Wounds resource they can use to power their soul-based abilities (such as Stunning Blows) through any weapons they use, including unarmed strikes. Chanters begin the game with a number of phrases they can arrange to form songs with different effects. Aefyllath Ues Mith Fyr is a phrase that causes allies' weapons to emit magical flames. Cipher powers often gain intensity as they maintain focus. Their basic Mind Jab starts as a minor irritant but can build to inflict devastating damage. Cooldowns Early on, some folks asked about cooldowns and both Tim and I agreed that we weren't opposed to using them in some form if it made sense for our mechanics. To be more explicit about it, the only way in which we are currently using anything cooldown-like is for per-encounter and per-rest abilities. Per-encounter abilities can be used a number of times in an encounter and are then disabled until combat ends. Per-rest abilities can be used a number of times after resting before you must rest to recover them. We've previously discussed grimoire-switching for wizards possibly invoking a cooldown. It's more likely that grimoire-switching will be limited through the inventory system and not by a cooldown. We also have modal abilities that can be turned on and off at will, with some abilities being exclusive to others, meaning you can only have one active at a time. Attack Resolution I've talked about this a bunch on the forums, but not in an update. All attacks in Project Eternity compare the attacker's Accuracy value to one of four defenses: Deflection (direct melee and ranged attacks), Fortitude (body system attacks like poison and disease), Reflexes (area of effect damage attacks), and Willpower (mental attacks). A number between 1 and 100 is generated to determine the attack rules. If the Accuracy and target defense are the same value, these are how the results break down: 01-05 = Miss 06-50 = Graze 51-95 = Hit 96-100 = Critical Hit A Hit is the standard damage and duration effects, a Graze is 50% minimum damage or duration, a Critical Hit is 150% maximum damage or duration, and a Miss has no effect. In a balanced Attack and defense scenario, the majority of attacks wind up being Hits or Grazes. If the Accuracy and defense values are out of balance, the windows for each result shift accordingly, while always allowing for the possibility of a Graze or a Hit at the extreme ends of the spectrum. Damage Type vs. Armor Type We've previously talked about how different weapon damage types (Slash, Crush, and Pierce) fare against Damage Threshold (DT) in the game. We implemented that system and found that while it worked well on paper and scaled well, it was unintuitive when put into the game. It was not possible for players to make informed decisions about what weapons to use against a given armor type because doing so required making relative damage vs. DT calculations for all weapon types, i.e. having a spreadsheet open for comparison at all times. In light of this, we are going to try a more explicit damage type vs. armor type model where armor, regardless of its DT, has a familiar weight classification: Light, Medium, and Heavy. Damage types are either good or bad against a given weight classification. When a damage type is "bad" against an armor type, it does half damage before DT is applied, making it very inefficient. Within the "good" types of damage, there's still an efficiency curve against DT for meticulous players to figure out, but it has less impact than avoiding "bad" damage types in the first place. Energy-based attacks (like most spells) oppose a different characteristic of the armor, its substance type (Natural, Armor, or Spirit) and like damage types, have good and bad opposition characteristics. Weapon bonus damage that is energy-based is applied to the target separately, but at a fractional DT value matching the bonus damage. E.g. if a sword has a fire effect that does +15% the sword's damage, it is opposed by 15% of the target's Damage Threshold. Tileset Trials and Tribulations Environment artist Sean Dunny has been experimenting with building tilesets for our dungeons. "Tilesets?!" you may be saying (or thinking). It may be a surprise, but many Icewind Dale and Planescape: Torment levels started from a tileset or modular unit base. We use these tilesets to generate basic renders for testing layout, navigation, and combat. Once we like the basic layout, we refine it by adding additional "meta" (special) tiles, modifying the tiles individually in the layout, adding lights, and of course having an artist do a 2D touchup pass. That's all for this week. Thanks for reading! Update by Josh Sawyer
  9. Eurogamer has just published an article-style interview with Chris Avellone based on a Q&A with him they had at Rezzed. A few quotable snippets on Aliens: Crucible, given many here still mourn the project's cancellation: Also deals with Dwarves, Project North Carolina, the future of the company, publishers' interest in old-school RPGs and all the usual Avellonian stuff.
  10. Update by Bobby Null, Designer and Beast Master Greetings, everyone! I'm on update duty this week, and while this will be relatively brief, I'll give you a little insider info I hope you find interesting. Today we will be talking about the bestiary. Yeah, that's right... it's time to talk about monsters. One of my responsibilities has been creating the bestiary for Project Eternity. I'll admit, it's been a lot of work, but it's also been a lot fun. Like most of the things we do here at Obsidian, the process has been very collaborative. We have a few high-level goals regarding this process on Project Eternity. Creature Variety - The goal is to have a large library of creatures to use for the final game. Thus far, we're on track to meet this goal. The concept artists, modelers and animators have been tearing through the bestiary and delivering quality assets at a rapid pace. Recognizable is Good - We don't want to try to reinvent the wheel with every single monster. As we've shown in an earlier update, we feel some classic monsters, like the ogre, are essential to capture the adventuring feel we are aiming for. Moving forward, we are committed to including monsters that we feel fans will appreciate, while giving the beasties flavor appropriate to the world of Project Eternity. Different if Cool - We've already shown one of the unique creatures for Project Eternity in an earlier update, the skuldr. We will continue to create other unique, and often times bizarre, creatures to populate our world, but unique doesn't always need to feel bizarre. Different because it's cool is the goal. So now that I've briefly discussed our high level goals, let's talk about a new creature: The Cean Gúla (KEN GOO-lah, "Blood Woman", Glanfathan), and the pipeline we use to get it through the concept phase. The creature idea is added to our bestiary document. Members of the team can comment on the document and share their thoughts/concerns on any given creature. The bestiary is updated based on feedback from the team. Some creatures get the thumbs up, while others get cut. An approved creature is then assigned to a concept artist. In the case of the cean gúla, Polina Hristova was in charge of this crucial step. The concept artist does a first pass, creating a series of thumbnail sketches (image above). The leads of the project review the thumbnails, choose a favorite, and provide the artist with feedback. The artist creates a final concept based on the feedback received (image above). Once approved, the creature continues down the pipe as it is now ready to be modeled by one of our character artists. We'll save the rest of the creature pipeline for another update. That's all for this week. As always, let us know what you think on our forums. See you in two weeks with an update from Rob Nesler. He'll be talking about the entire art team and what they've been up to. Kickin' It Forward: Jagged Alliance: Flashback Article by Josh Sawyer, Project Director If you're a fan of turn-based tactical RPGs, be sure to check out the Kickstarter project from Full Control, Jagged Alliance: Flashback. If you've played the classic Jagged Alliance games, you know they are challenging and incredibly fun. In particular, Jagged Alliance 2 features great freedom to explore the world, a huge array of gear, awesome tactical fights, and a large cast of colorful mercenaries with cool personality mechanics. Full Control have shown a lot of love for what made the Jagged Alliance games so memorable, including elements found in fan tweaks (like JA2's 1.13 community patch). They've got about a week to go in their campaign, so head on over and check it out!
  11. If you're me (which you're not, but you might be like me), one of the worst things in certain RPGs is how there are designated player houses/bases (think Oblivion or Skyrim, I guess). Now for something like a stronghold that is presumably somewhat customizable it makes sense that there is only one choice. But should there be a variety of designated houses to choose from, or should players be able to buy any residence in the game (within reason) for their character? And should we be able to invest in any shops, businesses, guilds, etc.? Should there be something more to do with money than buy the most ridiculous magic bling equipment?
  12. Didn't see it posted, and thought people here might be interested, the Codex has an interview with George Ziets.
  13. Update by Adam Brennecke, Executive Producer and Lead Programmer Last month we finished our prototype 1 build. In Update #47, Josh outlined our goals for the first prototype, which focused on establishing "that IE feel". Not only did we hit that mark with the look of our characters and environments, but we also hit our target with movement, combat, and gameplay systems. Core basics that you all expect from Project Eternity such as party movement, melee and ranged combat attacks, containers (with loot!), doors, using special class abilities and spell casting, area transitions, inventory and equipment are all in the game and functioning. We also established working character and environment pipelines - the art team is now able to create beautiful rendered areas, and we can model armor sets for all of our uniquely proportioned races. Additionally, we've established that we can efficiently concept, model and animate creatures for our soon to be growing bestiary. The creature we built for the first prototype is the Skuldr. Skuldr have poor vision, but they use a form of echolocation to perceive the spirit world. This allows them to “see” souls, making it difficult to use stealth to avoid them. After the prototype 1 audit meeting, Josh and I came up with a plan for what we would like to see the team tackle in prototype 2. Josh has previously mentioned a few of the goals for prototype 2 which include fog of war, character voice sets, crafting, stores, AI patrols, and the melee engagement system. Besides the expanded feature implementation, we are going to put our pipelines to the test on another set of new environments and creatures before moving into production. The plan for prototype 2 is to create a small village with a handful of buildings to enter, including a shop and inn. To the east of the village is a medium sized wilderness area with access to a small cave dungeon interior. The prototype also includes a large dungeon (I won't spoil the contents of the dungeon, because some of the ideas in the prototype will eventually make their way into the shipped game). All of these areas are connected by a complex multi-stage quest with several objectives (some optional) and with many different ways of completing it. The team has been working on a second prototype for the past two weeks now. Here's a sample on what each department has been working on. Art Dynamic Cloth - We are doing further research into character dynamism, and are creating capes for our characters to equip. Dungeon - Our goal for the dungeon is to make an interior area that lives up to the IE games. The dungeon has a variety of rooms that are unique and organic. New Monster - One of the new monsters we are creating for prototype 2 is an Ogre. He has already gone through the concept and modeling stage and now is off to be animated. Design Complete Bestiary - The bestiary list has been worked over a few times by the area and narrative designers. We are now pretty close to having a complete creature list! Class Abilities for the Monk and Ranger - The Monk's "wounds" resource is in, and next up is the mechanics for the Ranger's animal companion. The class progression for the Monk and Ranger has been designed out to level 12. Programming Town Guard A.I. - How do guards protect the village when you start casting fireballs in the town square? They beat you down... or at least try to. The guards will hook into the reputation and faction mechanics, which tells guards when they turn hostile towards the party. Fancy Material Shaders - We now have fancy materials for creating shiny armor and translucent ghost skin. Another set of shaders are "Tint maps" materials that enable the customization of skin and clothing colors just like in the IE games. In the future we will go into details into the design and implementation of the systems and features. Is there a particular feature that you would like to know more about? Tell us what you would like to see us talk about in future updates on our forums. We will be taking an update break next week so the team can focus on prototype 2 work. Thanks for reading and see you in two weeks!
  14. Chris Avellone Got to tear into Arcanum today in the first of our Let’s Play videos – for all the supporters that were willing to pitch in to see the gameplay footage, . I wanted thank everyone that were willing to up their donation to make it happen, and I also wanted to thank RPG Codex for sending me a copy of Arcanum in the first place from GOG.com. Currently I’m playing it without any fan patches, I want to play the release version. Part of me wants to contrast and compare if I do a second modded version (probably doing a tech-focused run). If that ends up being problematic, I’ll add the mods and then do a rush playthrough to get back to the point I was at so you guys don’t have to sit through the second playthrough. Well, unless you want. Feel free to post suggestions for how you’d like me to play it on our forums or in YouTube's comments for the video – for right now, I’m just playing it as I would normally, which makes it a lot more relaxed. Hopefully, my in-game reactions and critiques should be enough if you’re interested on my RPG takes on any elements in the title. If you have any questions about how I felt about certain elements (aside from Virgil’s sass), feel free to drop me a tweet at @ChrisAvellone and I’ll do what I can! Many thanks to Adam Brennecke, our Executive Producer, Carter Thomas, our production intern, and Justin Bell and Austin Shannon, our audio duo, for getting me all set up and good to you, and to all of you backers for making this happen in the first place. This is a rare opportunity for me, and one that I certainly appreciate – thanks.
  15. Update by Darren Monahan, Operations Guy Fulfillment In this week’s update, we go over a lot of different little things going on here at Obsidian. Here’s a quick teaser: I’ll be covering a brief update on fulfillment; we have another three videos of Mr. Avellone’s Let’s Play series in Arcanum: Of Steamworks and Magick Obscura, we’ve got some really great news for fans of Planescape: Torment (along with some sexy fan artwork to share!) and lastly, a project we backed recently that we think is pretty cool that you might too. OK, so on to fulfillment! Let’s do this FAQ style. Q: So, what’s happening with the backer portal? A: I’m personally busy putting together a whole new Project Eternity website, which includes our backer portal, RSS feeds (popular request!), as well as including information and artwork about the universe of Eternity. What we know about classes, races, the gods, and more, and this site will continue to evolve as more and more is designed and released. It is a big job though for just little ol’ me, so it’s still going to be a few weeks as I work everything out, but we’ll keep you in the know. Oh, and backer badges come with this system as well. The backer portal will also be a great resource for those of you in the upper tiers who are submitting item, character, or location designs. Speaking of which...! Q: When will I be able to start submitting my item, character, or location designs? A: The guys have been talking quite a bit about this recently and have already started designing out the forms. Our current plan is to have those of you with those tiers be able to input them directly in our backer portal, and you can revise them at any time up to a certain point down the road (which we’ll let you all know – this point is when we would send out your text for translation, and it becomes expensive from this point to make edits.) But until then, start thinking about the concept for the thing you’d like to add! Adam will have an update on that in the coming weeks with more detail. We’d like to make sure there’s enough backstory and content available for you to draw connections from, and our new website will be the place for that. Let's Play Arcanum: Season 0 , Chris’s playthrough of Arcanum continues, taking your comments to heart with higher resolution, less chair creaking, profanity, Virgil sass, and wolves, wolves, wolves! Part I Part II Part III InXile Announces Torment: Tides of Numenera! If you missed Monday’s announcement by the good folks at InXile, Brian Fargo and crew announced their new Kickstarter project opening tomorrow called Torment: Tides of Numenera. That name may sound oddly familiar, yes! They are making a spiritual successor to the beloved Planescape: Torment. We seriously couldn’t control ourselves here guys, and had to make sure all of you knew about it too as fans of the genre! We encourage you to check out their website and check in tomorrow to see their new video. ...and that’s not all in Torment news. Incredible artist John Crowcroft sent us some beautiful fanart canvases that we had to share with all of you. Egads! OK, so I’m not entirely sure how "egads" fits into this update exactly other than to fill the "E" slot in this update title’s FATE acronym, but I digress. One last quick item we wanted to tell you about was a project we "Kicked it Forward" on that we think looks fun and interesting for those of you who like table top dice games. It’s called Dungeon Roll – A Dicey Dungeon Delve. Check it out! Until next week, -Darren, seeker of Kerfluffleupogus.
  16. Hey folks! Had the chance to talk to Chris Avellone on everything Obsidian! Here's the link and the transcript to the Project Eternity stuff. “I LOVE working on Kickstarter Projects, first of all, you get to share a lot of stuff with the fanbase (design documents, how you build levels) some of that stuff when working with a normally publisher model is allowed, with Kickstarter you know take player feedback iterate on it and make them part of the process. The other thing is, it gives you 30 days to see if your idea is something that the public wants to buy in the first place. I think that’s a much better funding model rather than building the game for two years and then trying to market it at the end. It lets you know if you’re idea is good right out of the gate”
  17. Project Eternity the Documentary Update Article by Adam Brennecke, Executive Producer and Lead Programmer In Update #23 Feargus announced that Obsidian would fund a documentary of the making of Project Eternity without using a dime from the Kickstarter funding. Here's a behind-the-scenes of the behind-the-scenes and some other tidbits about the documentary. We've been working with the documentary team, Tony Jacobsen and Michael Mitchell from Creative Lane Media, for some time. Tony and Mike are very professional guys with years of experience making films, and have experience working with the games industry. They will be with following us with their fancy cameras for the entire production of Project Eternity. Our documentary will be a full movie and released in its entirety when the game is complete. We are targeting a 45 minute film that covers the entire process of the making of Project Eternity from the early days of the Kickstarter, into preproduction, all the way through production to finishing it up and going gold. There will be footage from our team meetings, informal discussions, scrums, and major milestone events. The room pictured above is an office at that we transformed into a small film studio. It will be used to shoot one-on-one sit down style interviews. Documentary FAQ When can I get the Documentary? The documentary will be released when Project Eternity is finished. We will have more details when we get closer to the Project Eternity beta. How do I get it? If you already backed at the $20/$25 tier level (and Slacker Backers via PayPal thus far) and above you will be able to stream it. At the $35 tier level and above you will be able to download it, and at the $140 tier level (and physical tiers above) we will include a DVD / Blu-ray. You can still get access to the documentary stream if you donate to the project today via the Slacker Backer pledge at the Eternity website. Tony and Mike from Creative Lanes Media Season 0: Season of the Wolf (Ghosts), Parts 4, 5, 6 Article by Darren Monahan, HTML monkey The truth behind Season 0's naming reveals itself in... ghosts. Note that this recording was done at the same time as last season, so any fixes or interface errors will not be fixed again until, uh, the real Season 1. (Ed: Yes, that means Chris is probably not using the world map enough quite yet. ) We'll be recording a new batch soon and I'm passing along feedback from YouTube comments and our forums. PART 4 PART 5 PART 6 Next week's update we will have a movie showcasing some of the progress we've made on prototype 1! Stay tuned!
  18. I have been thinking about the role of magic in the economy of the Project Eternity universe. Most fantasy settings ignore this aspect of the magical arts, treating them like other goods, ignoring their supernatural nature and ability to revolutionize and even completely ruin the market. Take for instance the foundries. Fire magic would allow to reduce the demand for combustible materials to fuel the blast furnaces, increasing the profit margin significantly, but diminishing the woodcutting industry. Water magic would help breweries. Air magic the milling industry, and so on and so forth. Question is, how would impact the social and political landscape? Mages would enjoy a massive influence, but their situation would be very unstable: a strategic resource, a wizard, would be too precious to just let get away, resulting in the mage having influence, but being stuck in an essentially golden cage. At the same time, reliance on mages as resources of industry would render the industries themselves vulnerable to sabotage, through, for example, assassinating mages in rival states and crippling their industrial output as they struggle to rebuild classic supply sources. This is a good source of potential conflict and intrigue for Project Eternity. Another is the inevitable rise in unemployment and unrest that would be a result of the industry switching to magical resources. I envision a sort of anti-magical luddite movement, maybe with separatist ambitions. Racial tensions can further add to the mix, especially in less cosmopolitan countires. As elves are traditionally depicted as masters of magic, areas where practicioners of magic have firmly established themselves as cornerstones of industry, leading to reductions in employment, would be easy to turn into cesspools of anti-elven sentiment by corrupt demagogues. It's only one step away from pogroms that way (similiar to how Jews were treated in some parts of Europe throughout its history). Magical resources also create a few more opportunities for interesting conflicts: - Renegade mages attempting to crash the iron/gold/silver/jewel market with magically created analogues (or even illussions, if a smaller market is concerned and only short term changes are required), - Speculation in magical/magically created goods in areas where little to no magic is present. - Political struggle for control over the wizard(s). - Attempts to index and control use of magic through law and special agencies, - etc. Thoughts?
  19. Update by Josh Sawyer, Project Director We've got a lot of things in progress on Project Eternity right now. As Darren wrote in the last update, we're winding down our first prototype. We just did an audit of the work that remains from the first prototype and where we will be going with the next prototype. Our first prototype allowed us to prove a lot of the basics of movement, character design, stealth, combat controls, inventory, resting, quests, scripted skill interactions, dialogue, status effects, and the ability and spell systems. There's still a lot of work to do on all of those elements, but by the end of the prototype, it really did have "that IE feel". How I organized and moved my characters, how I used them differently in combat, how I explored areas very much captured the feeling of the Infinity Engine games in gorgeous high-res environments. So where do we go from here? First, we're going to try another approach to building interior environments to make sure we can capture as much of the organic feeling of the classic levels as we can. Second, we're going to continue to build up the dynamic elements of environment to make them feel more alive. We already have dynamic water, but we have more work to do on with elements like trees, grass, ambient visual effects, and our day/night cycle. We'll be showing you the results of those experiments in two weeks. Third, we're going to continue to develop more advanced gameplay features like fog of war, character voice sets, crafting, stores, AI patrols, and the melee engagement system. In case you're wondering about the story, we've been working on both a lot lately as well. We really want Project Eternity to strike the right balance of elements: to introduce you to this new setting, to make you feel personally invested in your choices, to engage you with the personalities and factions involved in the conflict, and to give you all of the freedom you've come to expect from an Obsidian RPG. It's a long process, but we're feeling very positive and excited about where we're going, which is always a good thing. Thanks for reading and, as always, thanks for your continued support. I'll be back in two weeks to show you our exterior environment running with all the bells and whistles in place! Planescape: Torment Retrospective Article by Darren Monahan, the Named One Back before Obsidian was a company, many of us worked at Black Isle Studios, the RPG arm of Interplay Entertainment. One of the games a number of us helped create was Planescape: Torment, an Advanced Dungeons & Dragons based RPG set in the Planescape campaign setting. As many of you already know, the guys at InXile recently launched the Torment: Tides of Numenera Kickstarter. They’re getting a lot of the “old band back together” to work on this thematic successor. One cool thing they’re generously offering to all Project Eternity backers (whether or not you back Torment) is a Planescape: Torment Retrospective featuring developer diaries and blogs from many of the original developers, including quite a few former and current Obsidian devs. They’ve got nine days left, so if you haven’t checked it out yet, we encourage you to do so quickly! Please join me in thanking Brian, Kevin, and everyone at InXile! Kickin’ it Forward: Dwarven Forge’s Game Tiles Article by Darren Monahan, level 1 rogue/level 1 swashbuckler So, several of us on the Project Eternity and South Park teams are playing a D&D 3.5E campaign at lunch a few days each week. While they’re short sessions, this is no small production - we’re using a bunch of miniatures and tilesets for the campaign, many of which our DM (and Eternity designer), Bobby Null, has acquired over the years from Dwarven Forge. He came into work Monday incredibly geeked up because the folks at Dwarven Forge launched a new Kickstarter, which we got right into and backed. If you’re in to playing D&D and really want to get immersed, they make some incredible tilesets. Here’s a few samples from our game! (Note, these aren’t the exact tiles they kickstarted, but rather just some cool examples of their prior work.) Go check it out here! Thanks, and we'll see you next week!
  20. Update by Darren Monahan, dinosaur fan Yep, you've seen this before - but not animating! In this week’s update, we’re back with me for one more! We’ll cover what the team’s up to currently. To start, every one of Obsidian’s games goes through a series of phases. Those phases, chronologically, are: Prototype, Vertical Slice, Production, and Finalization. At the end of each phase, the team and owners do an analysis of the progress; we verify that we’ve hit key goals, and (hopefully) officially move the project into the next phase. Prototype! So where are we at on Project Eternity? We’re coming to the end of the Prototype phase. While you might think of a prototype as something you would consider before making a game, in our case, we use the term to mean a demonstration of the game that, when successful, demonstrates the game’s vision (AKA “pillars”) and concept. For Eternity, one of our biggest pillars is to recreate the Infinity Engine experience. To that end, we need to have a number of key things in place to make sure our prototype is a success. Things like: Character movement and combat. We want to make sure we have a party of up to six characters, each of whom can be moved independently and/or as a group, which does then imply rudimentary support for formations as well as NPC and basic creature AI. Basic AI meaning to ‘see’ the characters, face them, and then move to them and start attacking. This also means we need character models that have enough animations to demonstrate this convincingly, as well as at least one monster. For our prototype demo, we have one known only as “Chompy” for now. More on him (or her?!) in future updates! Basic RPG mechanics. We need to prove that we’re making an RPG here obviously! We need basics like loot management; for instance, inventory and opening containers like chests. We need basic conversations and quest giving, including receiving a quest, tracking its progress, and then providing a reward for it being completed. Environments. We want to have a working outdoor area as well as a tileset-based interior that the player can move between and throughout. This makes us prove out area transitions too (I can hear it now, “YOU MUST GATHER YOUR PARTY BEFORE VENTURING FORTH...”) For our outdoor area (see screenshot above), we’re bringing life to it by not only building out the rest of the level, but getting our technological solutions in place. We have a working waterfall now, with moving water, replete with foam around the rocks(!) and more. Eeeert (sound of a record scratching…)! Wait, tilesets, Darren? What? Believe it or not, a lot of the areas in IE games were actually assembled through tile pieces (granted, outside the game in 3D art packages), and then were beautified by hand to give them a more organic look and feel. This tradition carries on with Eternity. Work in Progress Concept of an Interior Our next phase of the project is called the Vertical Slice. At Obsidian, this is the phase right before Production. In Vertical Slice, we try to do two things: Get Ready for Production. During Vertical Slice and definitely up into Production is when the team size grows. Early on, we’re getting all of our tools and processes designed, programmed, and with luck, polished up for our designers and artists to hit the ground running. Unity has been a dream for our developers so far, and it’s been easy for us to bring over our latest tools from other games for things like text and conversation management. Produce a Final “Slice” of Gameplay. We also try to develop a ‘final slice’ of gameplay. It’s generally a short, maybe 5-15 minute demo that demonstrates all of the core pillars of the game, as well as taken to what we’re aiming for at a final quality level in terms of visuals, audio, and presentation. During our Prototype we try to make stuff look great, but it’s secondary to form and feel. So, how are we doing? Well, we are absolutely trucking along. We’ve recently added several new concept artists to the team, two longtime Obsidian designers have also come on board (more on them later!), and we are hiring for other positions too. The team all has their heads down pushing forward for our prototype review. Fear... of the Dark Periodically throughout the rest of the project, we’ll have a number of weeks where we’ll ‘be dark’ (or rather more succinctly, "won't have an update" ) due to a variety of reasons, and next week is one of those instances. Don’t worry though, we will most certainly be working on the game, but we want to always make sure we’ve got cool stuff lined up for you, and our Prototype final is something we all want to keep focused on. When we’re back the following week (3/26), we’ll start a series of fresh new updates from Josh, Rob and the Art team, Adam, me, and more Let’s Play Arcanum with Chris Avellone. You might meet a few new team members, and maybe even hear from George again soon too. Happy St. Paddy’s Day! -Darren and the PE Team In case you're not sure who those folks are above: - Josh Sawyer: Project director and lead designer - Rob Nesler: Art director - Adam Brennecke: Exec producer and lead programmer - Me (Darren Monahan): Operations dude and co-founder - Chris Avellone: Obsidian's creative director - George Zeits: Narrative writer/designer
  21. Orlan First Look Josh Sawyer Click for full size image As some of the keen-eyed among you noted from last week's update, there was an unfamiliar portrait in our work-in-progress tileset screenshot. We read the debates and viewed the Blade Runner-esque enhanced images that followed with interest. Good work, sleuths, the character pictured is, in fact, an orlan. This orlan is engaged in some important work in one of the Dyrwood's busiest cities. Here's the full-sized portrait for your continued speculation! Ziets on Pantheon Design George Ziets Hello all. This week, I will be writing the update, and we’ll be starting to talk a bit about world development. For a designer, this is the fun part, and it’s a surprisingly rare opportunity. On all my previous Obsidian projects, the team has worked with an established IP (intellectual property) like the Forgotten Realms or Fallout. We’ve always had a wealth of existing lore to draw upon – cities, towns, characters, history, gods, etc. Sometimes we’ve worked in an area of the world that hadn’t been seen in a CRPG before (as in NWN2: Mask of the Betrayer), which gave us the opportunity to extrapolate beyond what was already established... but otherwise, we were working with established material and trying to be true to existing lore. In contrast, Project Eternity is an entirely new setting that we’re creating from scratch. And at the start of development (around the end of the Kickstarter campaign), we didn’t have much more than what KS supporters have already seen: a map, a few high-level ideas about races, nations, and technology level, and the idea that souls play a major role in this world. So where do we go from there? Building a Pantheon One of our first steps was to think about gods. Deities can be a good starting point when developing a world. They reflect the views and beliefs of the world’s inhabitants, and they can inspire ideas for characters, organizations, and conflicts. You’ve already heard a few of our gods mentioned in passing: Magran, goddess of fire and war; Berath, god of cycles, doors, and death; Eothas, god of light and redemption. Josh invented these gods when he was first developing the world, and they play important roles in the region where the game will be set. But we’ll need a lot more gods to fill out the pantheon. Here are a few of the elements we consider for each new deity: What is the god's name, and what are his/her "aliases" (e.g., "The Twinned God" for Berath). What is the god's portfolio? That is, what aspects of life or the world do they represent (e.g., mortality, greed, summer, commerce)? What allies and foes do they have amongst the other gods? What are their symbols? How do they manifest in the mortal world? We list this information for each deity, as well as providing a detailed description. Players won’t necessarily get to see all this stuff, but it’s useful background for the art and design teams, so that the world feels like a consistent, coherent whole. One other thing to bear in mind: for the most part, our deities aren’t good or evil. They’re somewhere in between – closer to the multi-dimensional gods of the ancient world. Every deity has his or her own agenda, which isn’t bound by notions of alignment. Sometimes they can be helpful and benevolent. Other times – not so much. Woedica – "The Exiled Queen" All the preceding info is important, but I wouldn’t want to leave you without revealing an actual example... A lot of my design ideas start with a visual image. That applies to characters, locations, even narrative. I’m not sure where most of them come from, but examining them more closely will usually lead me to develop stories to explain who they are and where they came from. One of the first images that sprang to mind was an old woman – a dethroned queen – wandering along an empty road in tattered finery. Despite whatever horrors she had suffered, she maintained a certain stubborn dignity, and she carried a heavy book of law. I felt like this goddess could cover a range of portfolios, and I liked the idea that the deity who was the "rightful ruler" of the gods (in her mind, at least), had lost her throne. That may have some interesting implications for the way in which mortals view the world. So what was her story? According to her followers, she had once claimed rulership over all the other gods. But if that was true, she was cast down in the far distant past. Among the other gods, she has no real allies, believing that all the gods owe her fealty. She claims the portfolios of law, rightful rulership, memory, and vengeance. And she manifests in the world as the Strangler, a leathery-skinned old woman, always clad in tattered finery, who appears on an empty road or abandoned alleyway to murder those who break a solemn oath. Her Aedyran name is Woedica, which evokes the “Old English” feel of the Aedyran language. (Maintaining a distinct sense of national/ethnic language and culture is important to us – more about that in a later update.) There’s a lot more to tell about the Exiled Queen and the other gods (some of which aren’t even “human”). But that should give you a taste of our creative process. We’ll have plenty more to say about world-building in future updates.
  22. Armor Design Design update from Josh Sawyer Let's talk about armor design. Taken on its own, armor design isn't of eminent importance. It's just one of many subsystems that make up Project Eternity. However, looking at it in detail can expose problems that can be found across our various subsystems: by making something work well in a new system and setting, we can often put it at odds with the nostalgia of the old games (and "realism"). Back in the days of 2nd Edition Advanced Dungeons and Dragons, we had all sorts of quasi- or non-historical armor types like banded mail, ring mail, and studded leather. You wore the heaviest armor you could because it typically had the best Armor Class. If plate mail was available, there weren't many reasons to wear splint mail or (horror of horrors) chain.The default rules limited the viability of certain character concepts because most characters of a given class were funneled down a specific equipment path. 3E sort of solved this problem by implementing Maximum Dexterity Bonus, which meant that characters with high Dexterity scores would generally equip whatever armor gave them the maximum bonus to Armor Class without capping the Armor Class bonus they received from Dexterity. There were a few problems with this. First, while it did help make previously "bad" character concepts (e.g., the lightly armored fighter) more viable, generally there were one or two choices per character build. If you had a high dexterity, you were not going to wear heavy armor. If you had a low Dexterity, you might wear light armor, but only for the higher movement rate it allowed. Second, there was an equipment dead zone in medium armor -- the Maximum Dexterity Bonus caps and movement penalties of heavy armor without the nice Armor Class bonus. Also, if you were a ranger or barbarian, technically you could wear medium armor, but in practice you would never wear it because it disabled several class abilities. The third issue is a common one with armor design: the ability to wear heavy armor has value (classes receive it as a benefit and it costs feats to purchase in 3E), but it's presented as something with trade-offs. This in itself is not bad, but as previously mentioned, typically the decision of what type of armor to wear can more-or-less be made at the end of character creation. If your character wears a chain shirt at 1st level, there's a good chance he or she will be wearing a +5 version toward the end of the campaign. This is sort of nice because it means that you can have a consistently viable character concept, but there's not a ton of decision making about armor types after your adventuring career starts. Finally, there's a way of naming and progressing things in A/D&D. Once you get your "base" armors introduced (for our purposes, we will include plate armor and its 2nd Edition kin, field plate and full plate), upgrades are expressed as +1 versions. It becomes pretty easy to understand once the hierarchical relationship and spread of armor types are established. What does this mean for Project Eternity? It means designing a new armor system that rectifies deficiencies of older systems while maintaining a familiar feel is tricky. Additionally, the more dissimilar the armor relationships are to those found in A/D&D, the more they will be re-evaluated for verisimilitude (i.e. "realism"). We would like our armor system to accomplish the following goals: Make wearing different types of armor a real choice for the player based on both character build and circumstance. E.g. a swashbuckling lightly-armored fighter will tend to wear one of a variety of light armor types (maybe a gambeson or leather cuirass), but in a circumstance where protection is of utmost importance, the player may still choose to wear heavy armor with a loss in build optimization. Disassociate armor value from class type in favor of different build types. E.g. a wizard can wear heavy armor and be a different type of wizard instead of just "a wizard who is bad". Allow a character to maintain a character concept throughout the game without suffering extreme mechanical penalties. E.g. a character who starts the game in some form of light armor can complete the game in some form of light armor with appropriate gameplay trade-offs compared to wearing heavy armor. Introduce new or upgraded armor types throughout the game instead of using ++ versions (which in itself would pose problems unless we directly duplicated A/D&D's d20-based attack mechanics). Even with these three goals, there are a number of problems to solve. One of the biggest questions is how to break up and "advance" armor by type. In AD&D, you had something that looked like this: Padded Leather Studded Leather Hide Scale Chain Splint Plate (Tier 2) Field Plate (Tier 3) Full Plate (Tier 4) Players typically couldn't afford plate, field plate, or full plate at character creation, but everything else was often within reach. It's not uncommon to see a hierarchy of armor types like this in many fantasy games, despite some of the questionable elements (did studded leather exist? Is raw hide armor actually better than cuirbolli leather?). You can get plate/field plate/full plate later in the game, but otherwise, you're getting +x versions of the base types at higher "tiers" of character advancement. We could (as an example) structure some of Project Eternity's armor advancement like this. Tier 1 Doublet Hide Armor Scale Vest Tier 2 Gambeson (from Doublet) Leather Cuirass (from Hide Armor) Scale Armor (from Scale Vest) Mail Shirt Tier 3 Armored Jack (from Gambeson) Leather Armor (from Leather Cuirass) Lamellar Armor (from Scale Armor) Mail Armor (from Mail Shirt) Half-Plate This could probably accomplish our stated goals (we can assign them whatever stats we'd like, after all), but it does raise some questions for us: Should something like hide armor be supplanted/made obsolete by leather as an "improved version" or does that effectively kill the visual concept of the rough-hewn rawhide-wearing ranger or barbarian? If armor types like hide (or scale, or mail) should remain viable on their own, how should that "upgrade" be expressed to the player? Functional descriptors like "fine scale", "superior hide", etc.? Cultural or material descriptors like "Vailian doublet", "iron feather scale"? Olde tyme numerical descriptors like "scale armor +1", "half-plate +2"? Is it okay for an upgrade from a visual type of armor to maintain its relative position to other armor types even if "realistically" that upgraded armor is now probably superior in protection to other armor types? E.g. an armored jack or brigandine armor is probably more protective than even nice suit of leather armor... but mechanically, we're presenting it as an upgrade of a padded (doublet) armor type. These are the sort of things we have been discussing and I have been thinking about. And while it is just one subsystem in Project Eternity, we will likely face many similar considerations as we approach the design of weapons, classes, spells, and other aspects of gameplay. I'm sure a lot of you have opinions on what you'd like to see, so please let us know on our forums! Our next design update will be in two weeks and will focus on lore and story elements. Thanks for reading! Fulfillment System Fulfillment update from Darren Monahan We’ve received a number of questions via our Support e-mail address and social networks about fulfillment, and I wanted to talk a little bit about what we’re currently working on! First off, I wanted to announce that we’re developing a fulfillment site, which we’re hoping to have online in the next month or two (I was hoping to have it up sooner, but my first baby is coming into the world in the next few days, eeep!). Everyone who backed the project on Kickstarter and/or PayPal will be e-mailed details that will give you credit on that site. After logging in, you will be able to: Confirm the tier of choice that you wanted. A few of you donated on Kickstarter, and then topped up via PayPal, so you’ll be able to select the exact tier you wanted. Confirm any add-ons you wanted that weren’t easy to specify on Kickstarter or via PayPal. Upgrade your pledge to another tier, or add on for, ummm, add-ons. Update your e-mail address at any time. Update your shipping address at any time. (Shipping address only needed for physical goods – we don’t need that info for digital orders.) Indicate any specific details associated with your tier (T-shirt sizes, name in the credits, etc.) If you live outside of the USA, it will also verify that you’ve added enough shipping. We’ll keep you guys updated in future, ummm, updates, on how progress is coming along! Here’s an update to our FAQ on some of the questions we’ve been receiving recently: Q: I donated on PayPal and besides a receipt from PayPal I haven’t gotten confirmation from Obsidian directly. A: Not a problem. When the fulfillment site goes live, we’ll be merging the Kickstarter and PayPal data together into our own system, and from there we’ll be sending out project updates. For now, as long as you received a PayPal receipt, we’ll have you on file. Q: I need to change my e-mail address before you send out details on the Fulfillment site. What do I do? A: Send us an e-mail at support@obsidian.net with your old and new addresses (please e-mail from your old address if you can) and we’ll update our records before the fulfillment site e-mails go out. Q: How do I add shipping? I missed being able to during the Kickstarter phase! A: You can handle that in one of several ways: You can hang tight for now and wait until our fulfillment system is online, or, If you’d prefer to get it out of the way, you can visit our Shipping page and add it now (Amazon Payments and PayPal supported.) Q: When will I get my backer badge on the forums? A: That’ll come online with the fulfillment system. If you have any other questions, feel free to visit our forums or drop us a line at support@obsidian.net! For more news about Project Eternity and Obsidian, follow us on: Twitter, Facebook, and our YouTube channel
  23. Rob Nesler, Project Eternity's Art Director Hello everybody it's me again, Rob Nesler, Art Director on Project Eternity. I had intended on presenting our Art Style document to the world by this update, but it still needs work. So, you have to wait a bit longer for it. So that’s sad. However, with the last art update, I glossed over our Technical Animator Antonio's work 'cause it was 3 o'clock in the morning and I couldn't think about how to describe intelligently what Antonio does for us. Some of you professed extensive knowledge of rigging and skinning, as well as profound disappointment in my patronizing tone, and demanded to be better informed of this horribly complex facet of game development. So...okay! Before that we have some eye candy. A Godlike concept by Polina (click to see full size image): And noooooo...you can’t have a larger version. Google "estoc" if you want a sense of the weapon she's holding. The godlike are the children of humanoids (most often humans) who have been "blessed" (or cursed, depending on personal or social view) with the physical manifestation of a divine spark granted by the gods. Godlike manifest their divine heritage in a variety of ways: wings, horns, strange birthmarks, talons, odd eyes - but they always manifest it somehow. BTW, in case you missed it, this is a playable "race". Below are some further examples of the possible deviations/conditions they inherit: Okay back to technical animating. If you recall, in the last update, I wrote this little nugget: Some of you wanted more... so... here’s more. His primary responsibility is rigging and weighting characters for skinned forward kinematic and inverse kinematic animation. Daily, he also uses his expert technical knowledge of animation techniques and the underlying idiosyncrasies of 3D animation software to assist our animation team as a problem solver, a mentor, and a scripter to improve animator workflow and overcome deficiencies in the applications we use. So that sounded intelligent; vague and awkward, but intelligent. So, specifically ROB, what does Antonio do that will make Project Trenton/Eternity awesome? Generally, technical animators program scripts using languages like MEL or Python to extend or enhance the functionality of existing off-the-shelf apps like Maya, Max, or Softimage. These scripts are often programs running within the larger app, but sometimes they are utilities that exist outside the application to assist in conversion or batching operations. These often can be purchased, but sometimes they themselves don’t have all the features our animators want so... NO! Specifically ROB! What the hell does he do??? Okay, okay, for Project Trenton/Eternity Antonio has written, a few, and re-written a couple times the following, and it's all called DNA (Design New Actor). Firstly, there is the Export Rig, and this is not so unique to 3D character animation. This is a highly optimized skeleton that represents only the bones that the actual actor mesh is weighted to. For a humanoid character these bones would be named: Pelvis, Femur_Rt and Femur_Lt., etc. Vertices of the visible textured geometry, that the player sees, are all attached to these bones with various amounts of strength, so the character will appear to bend and flex more naturally. Sometimes these bones will have physics applied to them, like pony tails. This is less a rig and more of: simply the skeleton that the other rigs interact with, but these are the only bones that go into the game, and we call it the "export rig". Antonio builds this skeletal hierarchy to fit the expected proportions of the character, and character modelers build character meshes to match visible body parts to the locations of bones, so that -- for example -- the bendy part between the upper_arm_rt and lower_arm_rt ends up being where a humanoid creature, as designed, would expect an elbow to be. Then there is this nifty rig that was discussed a little bit, a couple updates ago — fricken’ Adam (PE's Executive Producer) always stealing my thunder! I think we call it the “stretch rig”. As he mentioned, it allows Dimitri, our dutiful Character Lead, to scale, even non-proportionally (with volume adjustments) meshes with the export rig already weighted. This way we can make a human character mesh, rig him to a human-proportioned skeleton, animate him, then take that same character and deform him to a new size and proportion, export him and use the same animations that were created for the human on this newly scaled/deformed mesh. This is a very useful asset multiplier, which allows us to leverage costly armor set and animation development across the spectrum of our races. ...And last, but most certainly not least, we rely on Antonio for creating rigs that provide controllers that allow the animators the maximum amount of flexibility when creating animations. These 'control rigs' are specialized for each character/creature type, after they've been stretched. They provide controls for jumping, crouching, twisting, grabbing, etc. They provide inverse kinematic and forward kinematic transformations, physics blending, following, squeezing, etc.-- whatever is required, actually. These controllers and extra bones are for animator manipulation only; they do not get exported. That's why when I said, "he rigs the rigs" I wasn't actually joking. These are rigs of rigs. These are the animator’s most essential bread and butter. Using these tools is how they actually create character animation. And that's it. The update is over. I know, not so fun, but this is serious stuff. We’ll show some animated examples sometime in the not-too-distant future. Rob Out!
  24. I know this game takes place in a universe with firearms. It sounds like the firearms will be difficult to use, but effective against magic-users. As neat as it sounds, will we still have good old fashioned archery with bows and arrows, crossbows and bolts, etc? If we do, how will it be handled? I'm not trying to be rude, but archery tends to not to be very good in most RPG's. I know it was terrible on the Aurora Engine, which is what the Neverwinter Nights games were made with. I know most people tend not to like archery because it tends to not be as accessible as melee, so I imagine game designers don't put much effort into archery for the next game since most players didn't go for it for the last one, which in turn drives away more potential archers, and it's just a downward spiral. 1) I was wondering if the folks at Project Eternity were planning to try to make archery more appealing to players? 2) I was also wondering about ammunition. Most games like NWN and WOW made you have arrows on you at all times. If you run out of arrows, you cannot fire with the bow. This makes it realistic, but it can be a little stressful since arrows often miss and you can't retrieve them. You always have to buy them instead of being able to make them, so every time you fire an arrow you see is little pieces of gold or silver flying away from the target. You can overstock to decrease the chance of running out, but then they take up tons of space in your pack and it's just stressful. I know I often use melee weapons just to avoid stressing about running out of arrows, and I'm sure I'm not the only one. 3) On the other hand, Dragon Age gives us unlimited ammunition with regular arrows; just limited amo for enchanted arrows like fire or ice arrows. I know it isn't realistic to have a quiver of unlimited arrows, but it also relieves the stress of running out of arrows or space in the pack by over-stocking. I was wondering if anyone would be interested in something like that? 4) If not, maybe a retrieval method? I know most games let us find random arrows in random places, but we only tend to find a handful at a time (6 here, 14 there), which runs out very fast. If we don't have unlimited arrows like in DA, I was wondering if we could retrieve most arrows we loose. For example, we shoot at a bandit and manage to fire 6 arrows into him by the time he goes down. When we loot his corpse, we find those 6 arrows + whatever randomly generated loot he already had. 5) Also, if memory serves, in NWN2 we could craft and enchant most weapons... but not as well with bows or arrows. While we could craft or enchant incredible armor, weapons, magical items, etc. if memory serves, we were limited with what we could do with our bows, and we couldn't craft or enchant arrows at all, which just increased our dependency on merchants or random luck. So basically, my questions and/or suggestions are this: -Will archery be about as strong as melee attacks in P:E so it won't be seen as weaker? -Will loosed arrows do a similar amount of damage as the swings of swords of a similar tier? -Will we have unlimited ammunition like in DA games or limited like in NWN games? -If we have limited ammunition, could we be able to retrieve (some of) the arrows we loose? -Could we be able to craft our own arrows so we don't have to worry about buying them all? -Could we be able to craft and/or enchant bows and arrows just as well as melee weapons? -Could we be able to buy cheap, regular arrows and enchant them ourselves so we don't have to pay for expensive enchanted arrows or wait to filch them off enemy bodies? So, discussion time. Do you like archery? Are you looking forward to playing it in P:E? Are there any ways archery has been handled in past games that you like? Do you have any suggestions for archery in P:E? Do you like how archery has been handled in most games and think I need to give this a rest? What are some of your preferences in all of this? I'm just asking because I love archery and I would like to see it handled well in this game.
  25. Hello everyone. My name is Rob Nesler, and I am the Art Director on Project Eternity. I've been told I'm a potty-mouth, but since this is a public and safe (PG-ish) space, I will do what I can to control my bad words in this: FIRST ART UPDATE. There will be many more, hopefully with some visual candy for you guys, if I f’n feel like it, or if Fearg’ f’n makes me. Right now, my intent is to bring you up to speed on what we’ve been doing for the last several weeks. It’s called: laying the groundwork; building the foundation, or doing the nitty-gritty. Often, when starting a project, the artists and I just want to start drawing sh-ssstuff. Especially with contracted 3D games, we have a basic idea of the world we’re making, an initial list of some of the things in it, the basic parameters for making assets, and so we just get started. With Project Eternity, we are starting the development of a rich storied RPG from scratch, zilch, nada. Oh, and we rendered that really cool image for you all at update #20, and so we felt we could take a step back--Waayyy back. We are stepping back some years in visual “perspective”: to a fixed isometric view--so, NO “perspective”--of an essentially two-dimensional world. The traversable environment is pre-rendered to a high degree of realism, but we’re using a modern 3D game engine: Unity, for 3D characters, creatures, effects and animated props to be rendered in real-time and to assemble it all together, seamlessly. With this decision we’ve opened up a whole kit and caboodle of possibilities in terms of visual fidelity, occlusion, lighting, effects, and physics. At the same time, we’ve created some immediate technical problems that needed to be solved, before we could all go out and start making sh...‘er...stuff. If you’ve been reading/watching Josh’s updates, you must understand that we are creating a brand new yet substantially familiar RPG experience essentially out of thin air, complete with a fully realized fantasy world, including new rules, new races, new places, new nations, new lore, new creatures, new story, new characters, a whole new combat system, with specific armor and weapon types, new this, new that, and a whole bunch of other new stuff--really we’re creating everything from nothing but what spews forth from Josh’s blazing fingers and angelic vocal cords. “How does that work?” you ask. Well, I’ll tell you: what happens is we all sit around a fire, in a far off and desolate wilderness, as he chants: what things were, and are, and what will be and sometimes why. We listen, we ask questions, and we discuss. We in turn, propose thoughts and ideas that are considered, further discussed, sometimes dismissed, but also sometimes gathered up and swirled into the glowing embers of this primordial glowing emergent world that is floating--NO!...LEAPING!!--out of the creative fuel, breath of air, and heat of our collaborative works. As well, we’ve decided to abandon the application we would normally use to create everything, for a supposedly-more-popular-more-capable app, and nobody really knows how to use it... ...BOOM! Yep, I just wrote and you just read THAT!... ...So, with our new software: Maya (the old software was Softimage) we’ve been making test worlds--we call them gray boxes. We’ve been making test characters--we call them gray characters. We’ve been giving them gray animation, we’ve been giving them gray (actually sometimes white, we’ll make some black ones too, we’re not racist) weapons, and we’ve been inserting them into our prototype worlds to prove to ourselves and you, that we know what we’re doing, and to lay the groundwork for expanding these vacant golems into player and non-player characters, that can interact with the world and other characters in a more meaningful and varied way--you know: picking up stuff, and hitting others with it, and taking their stuff and putting it on, or selling it--oh yes, and with color! Just kidding! Haven’t you been reading what I’m writing: this game is going to be DEEEEP! So what the hell have art people been doing?? Character Team: We have a very talented lead character artist, named Dimitri, and yep, he’s Russian, but he doesn’t speak it so well anymore--his mother is not happy about it, more on that later. In addition to a tremendous amount of early help getting basic traversable geometry, with a rendered scene that occludes 3D characters when they walk behind things (in essentially a 2D world--remember!) he’s been establishing the basis for weapon, armor and equipment attachment on our player characters, with Adam. As part of that he has to write documents. Booo!!! Documents Buh-LOWW! Our other Character Artist; James is from China, but says he's from Fresno. He is essentially Dimitri's slave and willingly does whatever he’s told to do, because he doesn’t have to write documents. I sometimes give James direction, but I’m pretty certain that Dimitri tells him to ignore me immediately after I’ve left their office. Remember Dimitri is Russian, so he’s a little controlling, very direct and has high expectations. This isn’t a problem, however, because a) it’s his job and b) it just so happens that James is pretty good and making characters. He made our first character Edair, who can be seen running around with a morning star flail the size of a medicine ball--not his fault. He seems to know Maya better than Dimitri, but let’s his boss learn the hard way--keeping his ear buds in, pumping up the volume, and modeling and texturing his cares away. He’s making gray weapons now. For some reason Dimitri speaks Russian expletives perfectly. Mark is our Lead Animator, and he knows his sh-tuff, but he made the Medicine ball. Needless to say, he will not be asked to make any more weapons. No no, it just so happens, that he was making it so he could test physics on weapons. So, it’s all good--we don’t care what things look like right now, we care about making things that matter, and making them right. Lately Mark has been testing cloth physics on our characters, as well as physics on weapons, and attachments. Prior to that he was building a basic set of traversal animations and getting them into the game. Crucial. Antonio is our Technical Animator. He makes rigs, writes scripts that make rigs, and rigs the rigs. It’s all very technical. You wouldn’t understand. He’s a professional. Polina is our concept artist, and is the only one really making pretty pictures, and you've seen a lot of her work, already. Kien is currently on loan to Project New York, aka. The Stick of Truth. Don't worry, they are paying for him. We use code names for our projects, because we’re professionals. Project Eternity (also a code name) is Project Trenton. BOOM! Yep, you got it! And nope! I’m not gonna tell you any more about that.Environment Artists:Sean is making a dungeon! He’s been working with our programmers to come up with the correct way to build a massive and awesome level so that we can do all we need to do, as big as we need to do it, and in as little time as we can do it in. Again, crucial. Minecraft is his best friend. Hector, our Lead Environment Artist is on a sabbatical. Yes! we get those here, again, because we’re professionals and only sometimes. Nobody knows why or how, but we're certain it's painful. And boy! is he in for a surprise when he gets back; he loves Softimage. People on sabbatical don't get images of their work posted. Okay, so that’s it. Oh, what about me? What the hell have I been doing all this time? That’s a really good question. Aside from running around and keeping everybody busy and doing meetings and stuff, and writing this update, I've been developing a style guide which involves a bunch of meetings and discussions, and I've been drawing a few things, which I will show, if I'm allowed, in the next art update. Rob Out! Update by Rob Nesler
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