Codex Interview - posted by Zed on Fri 10 October 2014, 20:27:11Tags: Seven Dragon Saga; Tactical Simulations Interactive
Tactical Simulations Interactive, or TSI Games, were kind enough to answer some of our questions regarding their upcoming (spiritual) successor to the GoldBox RPGs of the late 80s and early 90s: Seven Dragon Saga. Set in a new fantasy universe and being based on different pen & paper ruleset, one may wonder if this game will be able to live up to the legacy of the classics. Well, I don't know. This is an interview; not a preview, not a review. You silly goose.
From this interview, we learn with certainty that TSI will indeed go the route of crowdfunding Seven Dragon Saga. Let this be a lesson to everybody seeking factuals from media outlets such as Kotaku. We also learn a thing or two about party sizes, combat, the world map and more.
A couple of cool snippets:
The player's party represents the Empire in a newly conquered land during a time of crisis, so the NPCs on all sides fall into factions, which we will track with a reputation system. Players' choices at critical junctures can also modify the relative strengths of these faction. For instance, if the player liberates a border fort, he may have the option to raise the flag of one faction or another, granting them control of the fortress and surrounding lands. Should they come to regret the choice, another conquest of the fort may be in order.
We are currently balancing out a Goals system for individual characters. During character creation, the player will be able to select from a limited list of Goals. When the resolution of a quest aligns with that character's goals, they receive a benefit. Not all quest resolutions will have the full range of Goal alignment, so simply having a 'Greedy' party will not provide an optimum solution. Choosing a range of sometimes conflicting goals provides the party a potentially greater benefit, but may begin to clash with the player's personal goals, or lead to the alienation of useful factions.
You have made it clear that Seven Dragon Saga is not another tale of a simple farmer's rise to power and glory. What exactly does this entail for the gameplay? Will the game still have the progression relative to a beginner's campaign, but cosmetically scaled up in power? Or will it be more like a playing a high level campaign off-the-bat?
Missing all of your attacks and having 4 HP simply isn't fun. Players can expect to start at a mid-level of proficiency with a reasonable set of skills and abilities to choose from. This means the player will not advance as quickly as some games where 10th level is only a couple of hours away, but endgame characters are more flexible and powerful. Part of this is through incremental improvements (spending points on abilities), part through acquiring new powers, and part through equipment (loot and constructed).
Enjoy the interview and have a great weekend.
Read the full article: RPG Codex Interview: Seven Dragon Saga - A Return To Golden Boxes
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Editorial - posted by Crooked Bee on Mon 29 September 2014, 12:11:35Tags: Brian Fargo; Chris Avellone; Colin McComb; George Ziets; InXile Entertainment; Kevin Saunders; Nathan Long; Steve Dobos; Wasteland 2
Sometime in early 2012, when InXile's sequel to the 1988 cult classic RPG Wasteland was being crowdfunded, we at the RPG Codex ran our own fundraiser campaign for a Codex-themed in-game location and statue. When Wasteland 2 was finally released earlier this month, we got what we paid for -- have you found our in-game shrine already? -- which, incidentally, also included an invitation for two persons to attend the Wasteland 2 Release Party on September 19th in Newport Beach, CA, where the two lucky invitees would party, drink, and celebrate with the likes of Brian Fargo and Chris Avellone.
We wanted to find someone local to go on our behalf, but as it happens none of our staff or regular contributors live in California. So we turned to the esteemed community member MRY, who happens to live close to Newport Beach and who in his turn suggested the Californian artist/writer/music critic Daniel Miller (http://bydanielmiller.com/). Together, they went to the party on the Codex's behalf and also did two independent write-ups about what they saw and did there and how it all went. (With pictures! So be sure to read the full article.)
Here's a snippet from Dan's write-up...
This fellow was promptly hushed by Joby Bednar, ready to regale me with feats of code. This man personally built a 6502 emulator to embed into Wasteland 2, which allows the tech-savvy player access to a 64k computer right from an in-game terminal. Thus, a player can insert their very own 6502 programs and use them within Wasteland. Beyond this, there are apparently hundreds of other little tidbits scattered throughout the game, but Joby was thankfully forthright with a hint exclusive to this article: In a missile silo, there is a console which allows for player input. Type the word ‘Joshua’.
With that, Joby drifted away, and I noticed that a few had occupied a booth away from the group. At this table was a prominent member of SomethingAwful, name of Quarex, who informed me that we were tacit enemies. Seated around him were the scripters, the soldiers, whom I was hoping would be eager to gripe. With hands flailing, Ben Moise confessed the great labor that went into making sure that everyone was killable in Wasteland 2. In fact, a few people had a complaint about that feature, and it ended up being a favored question of the evening.
It would seem that most employees grudgingly accept the freedom of murder as an expected feature of the series. Asking the question in a more general sense though, I found a great deal of discomfort on the topic. A couple of people asked me if their answers would be on the record. The self-purported moral compass of the group cited her experience as a parent. A few were more diplomatic, saying that freedom to kill is necessary according to the needs of a specific game. When I finally got my moment with Kevin Saunders, he made raised more practical concerns: the feature was costly in time and effort and precluded child characters, unlike in Tides of Numenera.
...and a snippet from MRY's:
All the same, I could recount a hundred stories. Trying desperately to tie up Bobby's dog. Half-weeping as I had to shoot my way out of Highpool. Blood sausage. A misaimed howitzer. The best mayor a kid in DC could hope for. Dancing on tables. Faran Brygo. Sweating, unable to sleep, after reading a paragraph in the book that said I had been cheating and the police were coming to get me. Wondering for most of my life whether, in fact, you got to go to Mars at the end of the game. Scorpitrons. "Mom, what's 'herpes'?"
Now I'm 34 years old, and I'm recounting that last bit to Brian Fargo. "And that's how I learned about safe sex," I conclude, as he glances in horror toward his two young kids standing next to him. Shit. "How, exactly," he thinks, "do I get myself into these things?"
* * *
Talking to Fargo impresses several things upon me. The first is how young this industry is. Fargo's career seems to span most of its meaningful history -- I know, Chester Bolingbroke would say I'm leaving out decades of PLATO games -- and in fact covers my entire lifetime as a gamer, including almost every high point in it. And yet he's a youthful 50, and his kids are hardly older than mine. At various times over the night he describes himself as "just an entertainer" and "a gamer at heart"; in fact, he is at once an elder statesman and new frontiersman.
He's also, quite obviously, a shrewd businessman who has survived tremendous upheavals both in his own career and in the industry as a whole. At one point, he mentions that when doing a deal, he looks at the other side's headquarters on Google Maps and gets a feel for how lavishly they live. "It says one thing if they're in a strip mall. It says something else if they're in a palace." (*cough*Double Fine*cough*) I get the sense that he's had both sets of digs in his days.
The same savvy that has served him so well makes me cautious about drawing any conclusions about Fargo's inner character. He certainly seemed charming, sincere, generous with his time and attention, a doting dad, a gentle boss, a true believer in games, and so on. But, as the Bard wrote, "One may smile, and smile, and be a villain -- at least I am sure it may be so in Newport." Or something like that. I want to believe in him -- and I have no reason not to -- but I wouldn't stake my life on it.
Still, to listen to the man talk about games he's played, games he's made, games he's dreaming of making, it's hard not to fall a little bit in love. He complains passionately about reviewers who can't, or won't, understand complex RPGs, and vows that next time he's following Larian's lead and not distributing advance review copies. At one point, he declares that Sacrifice is the best multiplayer game of all time. Sacrifice happens to be one of my all-time favorites -- for the art design, the voice acting, the writing (which combines po-faced Soul Reaver-ism with sly subversiveness and lots of wordplay) -- but in my opinion the multiplayer is trash. I tell him as much, and he rolls his eyes. "I'm sure you weren't playing it 3 on 3." He's right. He launches into stories of thrilling matches over the years, of hustling kids in some tournament, of little cheats to juggle enemy wizards. The word "manahoar" rolls off his tongue with practiced fluency.
I want to believe.
Read the article in full: RPG Codex Report: Wasteland 2 Release Party
Review - posted by Crooked Bee on Mon 15 September 2014, 17:58:53Tags: Piranha Bytes; Risen 3: Titan Lords
It is something of a Codex tradition to have the esteemed community member Darth Roxor review Piranha Bytes' Risen titles. In this article, he shares his (mostly negative) thoughts on Risen 3: Titan Lords, concluding with the following rumination on the state of the Piranha Bytes of today:
That is the state of Piranha Bytes today, in a nutshell. They know that they must return to the old Gothic formula, and hell, they probably even want to do it, but they simply have no idea how. They grasp at the ideas and elements that were present in their most successful games, they announce that they are "going back to the roots", and they even attempt to fix the flaws that they've introduced, but they are not able to put those changes and fixes into proper context, nor design the same systems that once made them great. Thus, the final product is but a warped shadow of its original counterpart, a haphazardly glued-together Frankenstein’s monster that might be made of similar flesh, but can never be even one tenth as functional or “alive”.
Unfortunately, I doubt they will ever reach their past greatness again. This is made apparent both by the quality of their last two games, and by comparing the credits of Gothic 2 and Risen 3. Hell, even comparing Risen 1 to Risen 3 should be enough to draw the necessary conclusions.
Read the full article: RPG Codex Review: Risen 3: Titan Lords
Editorial - posted by Crooked Bee on Tue 2 September 2014, 17:46:36Tags: Kai Fiebig
There are many ways in which one can attend a convention like this year's Gamescom in Cologne. One may get hyped and be a fan and spend most of the day in super long queues just to play a bit of the shown-off game(s). One may hate the entire thing and complain about the queues and say "never again." Or one may forgo all the queues, enter the convention through the business entrance, and talk to the devs about their game as well as about how the whole thing sucks. Combine the latter two, add some poignant pictorial commentary, and you get our very own agent Darth Roxor's report, now in Part 3, or, "How and Why I Enjoyed Gamescom 2014." Have a couple of tidbits:
I didn’t take part in any of those “hands-on” showcases, nor did I wait around for hours straight to watch the big presentations. Mostly because this is not an activity that I would consider:
b) Conducive to proper information gathering.
c) An efficient use of my time, both free and “professional”.
d) Adhering to the basic principles of human dignity.
My only regret is that I didn’t actually get to play Pillars of Eternity. Maybe there was a communication error at some point, but I thought the presentation of it that I attended later was supposed to be hands-on, which was another reason why I didn’t bother standing around in those abysmal queues. But it wasn’t, so it wasn't, and so I was forced to nitpick its pseudo-paladins instead of taking apart its systems. [...]
At 3 pm I returned to Hall 4 to get ready for Hellraid, where I ran into Daedalic’s Kai Fiebig and Johannes Kiel, who had gone for a smoke. This time I had a longer conversation with them, about various topics but mostly about Gamescom itself. When I mentioned that I’d been to the Entertainment Area, they told me how glad they were that they didn’t have to set foot in that hive of scum and villainy. Kai explained that he was looking forward to the end of the convention, because the job of running the presentations is sheer hell. Imagine sitting in the same place for ten hours straight, repeating the same spiel again and again, and in a non-native language to boot. He said that he was glad that I'd found them, because he'd forgotten to mention one aspect of Blackguards 2 on the previous day. After hearing about that, I talked with them a bit about the gaming industry as a whole, and about some of the games that Kai had worked on in the past. When I brought up one of the games that I had seen at Gamescom, Kai told me how important it is to never trust anyone who claims he wants to deliver a game “made by the same developers as [classic]!”. He said that he hears that very often, but usually realizes after some checking around that these “same developers” who were the main driving force behind the [classic] are currently stationed in three different studios around the globe.
Be sure to read the full report, and also take a look at the pictures. If anything, do have a look at the comic that Roxor took the effort to translate into English. ; )
Editorial - posted by Crooked Bee on Thu 28 August 2014, 20:48:24Tags: Clandestine; Hellraid; Little Green Men; Logic Artists; Obsidian Entertainment; Pillars of Eternity; Raven's Cry; Reality Pump; Techland
And so esteemed community member Darth Roxor continues to recount his impressions of all things he saw at this year's Gamescom. (Part 1 can be found here.) This time he talks about Little Green Men's Starpoint Gemini 2, Obsidian's Pillars of Eternity, Logic Artists' Clandestine (omitting any mention of their super secret project, which is so super secret that Roxor can't even tell us what it is, the bastard), Techland's Hellraid and Reality Pump's Raven's Cry. Going for the most controversial and sensationalist snippet as we are wont to, here are some of the negative things he has to say about Pillars of Eternity:
The party wipe at the end was actually a direct consequence of how buggy the beta build was. I don’t know whether it was the influence of my RPG Codex Aura of Trolling +3, but Adam and Josh said it was probably the craziest presentation they gave during their entire stay at Gamescom. They even ran into bugs whose existence they had no idea about. For starters, they had to restart the game right after accepting the “main quest” because one of the characters lost the ability to cast magic. Later on, when the fighter got knocked out by beetles, he refused to wake up, and only using one of the limited rests in the wilderness brought him back. And in turn, the resting did not recharge the characters’ used-up memorised spells and abilities, which meant the party arrived at the ogre’s lair seriously gimped. And to make matters even worse, the mage decided to just run off uncontrollably instead of casting spells during the final showdown, and by the time Adam regained control over her, it was far too late.
After the wipe, the presentation proper was over, and it was time for questions. Unfortunately, time was short, and I only managed to ask one question that interested me personally. After learning about the dreaded Bîaŵac ([bi:au:ak]) in a recent Kickstarter update, I wanted to ask about Sawyer’s background, and to get some references for the languages in Eternity. It may be that my question was unclear, because instead he explained how the internal lingua eternia is based on various real languages, like Welsh or Italian, but stripped of real world cultural context, and with some added game world dialectal modifications based on each land's and realm's neighbours. I found this information satisfying enough, but unfortunately, I wasn't able follow it up with more questions. Someone else asked whether Obsidian is marketing the game mainly towards players who played the original Infinity Engine games, or if they are also focused on newcomers. Josh replied that their goal is to create something which is “essentially a classic IE game, but a new and different game in fact”. He also said that the final game’s early areas will be a “big tutorial” of sorts, so that newcomers can get used to the entire deal. That was the last question before the devs had to close up shop.
As you may have guessed, Pillars of Eternity didn’t impress me much. I identified three chief reasons behind this, but I’m not sure which contributed the most. First of all, the overall bugginess, which obviously skewed the game’s image rather significantly. Second, how generic and unexciting everything felt mechanically. Third, the area chosen for the presentation. I mean, if you're showing the game to the press, your motivation should be to sell it. How can you expect me to have positive impressions of your showcase, when all you did was show me a generic_fantasy_village, some adventurers bumrushing a bunch of overgrown beetles and spiders, and a stereotypical ogre with a huge club? Maybe the full game will have plenty of cool-looking areas filled to the brim with creative enemies, memorable encounters and wizard duels, but I simply didn’t see that during the Gamescom presentation.
Read the full article: RPG Codex Gamescom Report, Part 2: Futuristics and the Popping of Moles
Preview - posted by Crooked Bee on Sat 23 August 2014, 22:51:19Tags: Blackguards 2; Daedalic Entertainment; Fire; Paradox Interactive; Runemaster; The Devil's Men
It was a fine August day when, anticipating mountains of Doritos and rivers of Mountain Dew, esteemed community member Darth Roxor stepped into the nerd-filled halls of Gamescom 2014. Rest assured, he found what he was looking for, enough to write his report in 3 parts. In today's Part 1, Roxor recounts his 2-hour presentation with Daedalic Entertainment -- which included such games as the tactical RPG Blackguards 2 and the adventures Fire and The Devil's Men -- as well as his impressions of Paradox Interactive's Runemaster.
Since most people here are probably (hopefully) interested in Blackguards 2, I'll quote a snippet that has to do with that game:
Big changes have also been made to the character system, though I must admit I’m not exactly sure of the specifics. Apparently, Blackguards' basic attributes were too confusing for the average player, so they've been streamlined into even more basic attributes like “offence” or “defence”, although Kai said the original stats are “still there” somewhere. Basically, they figured this was a better way of handling them because it was dumb how three different attributes could influence the same derived stat. This is something that I don’t quite like because, personally, I find abstract values like “offence” to be much more opaque than three different attributes that might (or might not) do the same thing, but are properly described. Maybe it’ll look better in motion. Nevertheless, you still get adventure points for battles, and you still assign them to talents and skills, just like in the original.
Taking into account these changes and the expanded bestiary, I asked how difficult it was to convince the Dark Eye license owner to incorporate them, considering how protective some of them can be (hello, Games Workshop), but apparently, it only took one long meeting of discussions and negotiations.
Now that we're done discussing the game's tactical layer, let’s say a few things about the geoscape. The original game’s chapter-based storyline is gone, replaced instead by what could be described as a “conquest mode”. The whole of southern Aventuria is now visible from the start of the game, and you must go on a blitzkrieg to conquer all of it and become its new ruler. Every location taken over will grant some bonus to your characters or mercenaries, and unlock further “nodes” that you can pillage. That doesn’t mean the “adventure” layer is gone, though, as each city you liberate™ can be entered and checked for quest opportunities, just like in the original Blackguards. Furthermore, you also get your own HQ in the form of a travelling base camp, where you can consult with your advisor, buy equipment, etc.
There are many significant things going on in the game's strategy view, as well. You are not the only force in the land, and just as you conquer lands, the enemy will try to reconquer them. If you fail at defending them, they will need to be re-reconquered, and these reconquest battles are meant to be very hard. I just hope this won’t devolve into GTA San Andreas taggin’ da hood – Blackguards edition.
The final part of the presentation was about the general changes to the narrative and reactivity. As I said, the game is no longer divided into chapters; instead, the storyline changes “dynamically” depending on the course of conquest you take. A playthrough where you first take the southern part of the map under your protection™ might be very different, both in terms of gameplay and narrative, from another where you first scorch the north. Moreover, over the course of the game, you’ll have to make many decisions that will impact the story and gameplay. Fiebig said that this time they are “real” choices, that may lead to all sorts of hilariously bad outcomes, and it’s “very easy to fuck up completely”. A few examples of these decisions include whether to torture prisoners during interrogations, and what to do with captured cities - raze them to the ground, intimidate their citizens through mass murder or leave them alone? Which is the best and why? Discuss!!!
That very much concluded the presentation. I was offered a hands-on of the demo, but it was cut short by the incoming unwashed masses with their scheduled presentations. I didn’t mind much, though - as I said, the game does pretty much look and play exactly like Blackguards, so I doubt I’d have derived any new information.
For Darth Roxor's further impressions, be sure to read the full piece.
Codex Interview - posted by Crooked Bee on Wed 20 August 2014, 14:12:19Tags: Phantasie IV; Retrospective Interview; StarCraft Inc.; Toshio Sato; Tunnels & Trolls
Today, Japanese role-playing video games are usually associated either with "JRPGs", exemplified by the likes of Final Fantasy, or with niche Wizardry-inspired dungeon crawlers. The first Dragon Quest game may have been famously conceived as a cross between Wizardry and Ultima, but since then JRPGs have evolved in a different, distinct direction.
There was a time, however, when it seemed that some of the other, more "advanced" kinds of Western computer RPGs might also take root in Japan. The Japanese company that ported the early Ultima games to Japanese computers, StarCraft Inc., also localized other important WRPGs — from Might and Magic to Phantasie to The Magic Candle — which even sold fairly well in the Land of the Rising Sun. In this interview, we talk to Toshio Sato, who worked with StarCraft and programmed many of their important titles. In a way, this is a continuation of our interview with Winston Douglas Wood, the Phantasie creator, since Mr. Sato was part of the team that made the Japanese-only Phantasie IV (which Doug Wood designed himself). Aside from that, Mr. Sato worked on New World Computing's Tunnels & Trolls: Crusaders of Khazan, the only Western RPG to be coded in Japan first and then ported to the West, as well as on many of StarCraft's localizations. There isn't much information in English on StarCraft's history, so we also talk about that in the interview, as well as about the difficulties they had in porting English-language CRPGs to Japanese computer systems. Here are a few snippets:
Toshio Sato: In comparison to the Japanese RPGs of its time, the Phantasie series had plot, dungeon crawling, events, etc., that were miles better than what was being done then. It was also featured a lot in magazines, and thus its popularity was on the rise. StarCraft ported the Phantasie series starting from the first game. Phantasie III especially got a Macintosh Plus-like interface with icons, mouse and windows which caught the eye of the users. I heard it also received praise from SSI.
With such potential, responding to the fans' enthusiasm, the director made the decision to continue releasing sequels and thus, after the release of Phantasie III, I believe he went into negotiations with SSI and Doug.
RPG Codex: On the projects that you were involved with, what were the main challenges when it came to localizing and porting the Western role-playing games? Was it mostly a smooth process, or did it involve many technical or other difficulties?
Toshio Sato: One of the company's mottoes was "Never make lifeless copies". At that time, Japanese PC monitor resolution was quite high. It felt like a waste to simply port the games, so the main challenge was to make something that would surpass the original [from the technical standpoint].
We had some technical problems with the memory size and the drawing speed. As the resolution was higher, we had more graphical data to compute and so we needed to figure out how to make the drawing speed faster. Again, window and icon systems were new and experimental. We had to match the mouse cursor to the terminal's scan lines refresh timing, meaning we had to find a way for the process to take very little time. Oh yes, we also worked on the data organization to lower the number of floppy disks necessary.
There were other difficulties too. For example, in Might and Magic II, in order to learn how the experience system and the item selling calculations were done, we had to learn the 6502 assembly language from scratch.
Regarding the question about porting, at the time we couldn't just casually get in contact through the internet. We usually met once in America, and then the rest was done by fax... Isn't it hard now to believe how it was done back then?
RPG Codex: To what extent do you think these RPGs that you worked on managed to influence the Japanese video gaming landscape? In retrospect, what do you think came of StarCraft’s efforts to bring Western-style, non-Wizardry-like RPGs to Japan?
Toshio Sato: If you look at the Japanese game industry as a whole, I don't think my work had a big influence. However, I think what we did was make the yet-unknown game company New World Computing into a recognized name in Japan, although I don't think that's such an achievement.
RPG Codex: To build on the previous questions, although they were a huge fever in the late 80's and early 90's, Western RPGs' popularity in Japan seems to have declined afterwards. What changed, the games or the audience?
Toshio Sato: I cannot tell you much about that, but I can at least tell you three things:
-First, the RPG genre was getting overcrowded, game development was rushed and the product quality dwindled.
-Secondly, the new fad was simulation games.
-Then there is the hardware. In the 90s, Sega and Sony changed their business from consumer goods to game development platforms. Nintendo also released the Super Famicon, but as far as small development companies are concerned, the fact was that the best platform to develop for became the Playstation.
Furthermore, as the players' age group shifted, mature RPGs became less and less popular.
Read the full interview: RPG Codex Retrospective Interview: Toshio Sato on StarCraft Inc., Phantasie IV and Tunnels & Trolls
Review - posted by Angthoron on Sat 16 August 2014, 23:49:39Tags: Divinity: Original Sin; Larian Studios
Divinity: Original Sin, the latest entry in Larian Studios' series of Divinity games has finally been released from its Early Access status, and the ever-speedy RPG Codex staff embodied by Angthoron has already provided a review a mere two months after the game's release. Is this game divinely good, sinfully bad or stuck half-way in purgatory? Here are but a few spoilers:
The writing in Original Sin is by its nature fairly light-hearted and humorous as is common to Larian Studios’ style. [...] It does, however, occasionally suffer from jarring tone deafness and anachronistic expressions. Being addressed with “Sup, mate” by a rooster, or have a ram admire a cow’s derriere is certainly amusing, but not quite appropriate in a context of high adventure in the enchanted lands.
The character system in Original Sin is a simple enough thing that most RPG developers in the recent years have managed to screw up. Fortunately, Larian hasn’t, and the result is a simple and solid system based on genre-standard ability scores, skill points, slightly less standard traits as well as minor boosts coming from playing the characters consistently in dialogue.[...]
[...]The world is well designed, with distinct locations, appealing vistas and high attention to detail. Characters and objects clearly stand out from the backgrounds, effects are almost always obvious and visible and the secrets are obscured within reason. The side character models are also more detailed than certain models from Dragon Age 2 despite the isometric perspective instead of third person, so there’s also that. If it’s better than a game from the masters of the RPG genre, it’s gotta be good.[...]
The co-op multiplayer mode in Original Sin isn’t just a hasty afterthought – it’s one of the game’s major hooks. Larian’s intentions from fairly early on have been clear: they wanted to make an RPG that could be played together by friends, couples and strangers alike, where all parties involved would have their say at critical moments, and where all would find something to do. With but a few minor issues, their intentions can be considered a success. The multiplayer experience can be a great amount of fun thanks to the chances for distracting the NPCs (and stealing all their paintings), creating unexpected scenarios in combat and arguing through loads of dialogue[...]
Read the full article: RPG Codex Review: Divinity: Original Sin
Review - posted by Crooked Bee on Tue 12 August 2014, 23:27:12Tags: Lords of Xulima; Numantian Games
Last week, the isometric-meets-first person RPG Lords of Xulima got released on Steam Early Access. For this preview, I am joined by the esteemed community member felipepepe and we just talk and talk and talk about what the game currently has to offer. (We could've talked even more, but you have to stop somewhere.) Short version: we enjoyed it. Have a few snippets:
Using a musical metaphor, Xulima isn’t a cheap "Best of RPGs" CDs done by a mediocre cover band. It’s one of those albums where a good musician makes readings of his favorite songs in a new, amusing coating. [...]
CB: It feels like every corner of the world has at least something interesting to it, something that makes it worth exploring and clearing out that fog of war. The only thing I kept wishing for was edge scrolling for the camera – sometimes you just want to have a good overview of the surrounding area, which the zoomed-out map can’t really give you. You can also explore in any direction, or venture into any dungeon, as long as you’ve found the key and/or can defeat the encounters in your way. I wouldn’t call the game fully "open world," since – similarly to Divinity: Original Sin, to use a recent comparison – enemies that are significantly higher-level can be essentially undefeatable, but it does give you enough freedom and sometimes even alternative paths to reach the same objective.
F: I also like that dungeons have a unique feel. Some are just combat areas, others a clever mix of traps, enemies and hazards, and some just one big elaborate puzzle. They aren’t very long, but usually entertaining. Inside, you’ll often spot traps (as long as your Perception skill is high enough). Some of them appear as red areas that can be disarmed, similarly to Baldur’s Gate. But there are also spikes, which should be carefully navigated around (you can even use the keyboard for more precise navigation), or hazards, such as a room on fire, webs full of spiders, or venomous gas, that you can either endure or neutralize by using expensive magic scrolls. [...]
F: Every action you perform, from simply walking to forcing doors open to resting, consumes food. Run out of food and you'll suffer a massive debuff, or even die of starvation on the Hardcore difficulty setting. And man, is food expensive. In fact, everything is expensive, especially healing your characters of status effects. In the early game, lifting the curse from two or more characters can mean selling a piece of gear to pay for the bills. [...] There are also various other ways to find yourself broke, as beside food you need torches, lockpicks, magic scrolls, and so on, and those blasted peasants keep raising their prices as you level up! (Not the most elegant of game mechanics, but it works well enough.) Not to mention the thieves roaming the roads, who will steal a fortune and run away unless you kill them quickly, or a vast desert requiring huge amounts of food to be crossed. I honestly don’t remember ever playing anything like this before, even 30 hours in I was still counting coins and thinking about the cheapest way to do stuff. [...]
CB: I had to stop playing the game after the second temple just so we could discuss it and do this preview, but I am really looking forward to what the rest of the game has to offer.
F: I’m happy to inform you that after the second temple things get even more diverse, and exploration opens up a lot. I could access three other temples at once, deciding which to face first. There were huge deserts, burning gardens, and some other nice surprises. Surprises that I hadn’t thought the game would be able to deliver.
This all goes back to what I think is Xulima’s main issue: the presentation constantly makes you think less of the game. A lot less.
Read the full article: RPG Codex Preview: Lords of Xulima
Editorial - posted by Infinitron on Fri 8 August 2014, 01:28:57Tags: Temple of Elemental Evil; Troika Games
In the year 2003, if you were a serious RPG fan, and you weren't interested in playing Neverwinter Nights expansion packs and console ports from BioWare, or in playing slam dunks from Black Isle while watching all their good games get cancelled, Troika Games was your only hope.
Founded by the trio of developers behind the original Fallout, Tim Cain chief among them, Troika's obvious raison d'etre was the development of further roleplaying games of that type. That meant heavy on choice and consequence, extremely non-linear, and perhaps most importantly, possessing a fresh and original setting and premise - at least for an RPG. For that reason, it must have been odd when in that year, Troika released The Temple of Elemental Evil, a turn-based dungeon crawl based on the classic D&D module by Gary Gygax.
Although generally praised for its faithful implementation of the 3rd Edition D&D ruleset, to this day TToEE remains in the eyes of many the black sheep of Troika's oeuvre. But there is one man on the Codex with a keen interest in isometric dungeon crawls. One man whose idol would not get a chance to develop his own game to completion again until 2010. One man who is always eager to share his controversial opinions on video games. And although I would have preferred if he continued his survey of the career of J.E. Sawyer, we'll just have to make do with this.
That's right, it's time to gripe about...
Read the full article: RPG Codex Retrospective: Roguey dismantles white privilege in Tim Cain's Temple of Elemental Evil
Codex Interview - posted by Crooked Bee on Thu 31 July 2014, 15:31:32Tags: J.E. Sawyer; Obsidian Entertainment; Pillars of Eternity
On June 17th, esteemed community member Sensuki sent a number of miscellaneous questions to Obsidian Entertainment's Josh Sawyer, project lead on the upcoming fantasy RPG Pillars of Eternity. As you may know, a backer-exclusive beta of the game is coming next month already. Now that the work on the E3 presentation and the gameplay video has been finished, Josh got back to Sensuki with the answers.
Sensuki has also added his comments to some of the replies, and incorporated a few of Sawyer's recent tumblr and forum posts into the interview where relevant. Have some snippets and then read it in full.
Number of overall areas is getting close to BG2. I think we now have over 150 maps with a healthy split between cities, dungeons, towns, and wilderness maps. I'm happy with the number of wilderness areas we have. I think there will be good content density in them and there are enough of them off the critical path that players will feel rewarded for exploring.
Sensuki: For the record, BG2 has over 275 maps in the original game. I counted them the other week in Infinity Explorer. However, BG2 has stacks of tiny interiors such as houses or child areas of main dungeon levels, so the size of the game may well be getting close to BG2.
The Stronghold update revealed that Pillars of Eternity would use an Act structure instead of a Chapter structure. The IE games used Chapters and generally had up to seven of them. An act structure is common in ARPG games because of Diablo 2, but I can't help but wonder if the use of Acts refers to literal acts in a story, such as a three-act or five-act story structure. Can you elaborate on the use of Acts instead of Chapters for PE?
Eric [Fenstermaker] chose to use acts to consciously follow the classical (Aristotelean/Horatian) concepts of an act structure within a story. His feeling was that chapters do not have the same implications of dramatic progression that acts do.
While Races will give players different bonus attributes, what kind of mechanical bonuses can players expect from choosing a Cultural Background in Pillars of Eternity?
The only mechanical bonuses currently afforded by culture are attribute modifiers and class-based starting equipment sets. We are open to modestly expanding those bonuses based on feedback.
Regarding encounter design, is there anything in Pillars of Eternity that rivals or surpasses the complexity of some of the encounters in Icewind Dale 2 (Orc Shamans beating War Drums to summon reinforcements, Goblins falling off Worgs)? Will there be pre-stealthed enemies? Are there any new scripting features that were built for PE that made things possible you couldn't do in the IE games?
Honestly, I think it will take us a while to exceed the complexity of IWD2 fights. IWD2 and BG2 were built with a lot of tried-and-true scripting functions that programmers and designers developed over previous titles and expansions. Like any other feature, AI in PoE is being built from the ground up, so we have to add layers of complexity over time.
Did any "C priority" features or assets make it into the game besides character/creature art?
I don't use C-priority on the projects I direct. I require the developers on the team to divide requests into "must have" and "would really like to have" (A/B). If by some miracle we complete everything we need and everything we would really like to have, we can discuss third string ideas. This has literally never happened. That said, we did get a healthy amount of B-content in (mostly art).
The full interview also discusses stances, talents, the combat idle, spell FX, the Gilded Vale location, and some other things.
Review - posted by Crooked Bee on Sat 26 July 2014, 11:04:33Tags: Pyrodactyl Games; Unrest
Unrest is the Kickstarted adventure RPG set in a fantasy version of ancient India, developed by Pyrodactyl Games and released just a couple of days ago on Steam and GOG. In this review, esteemed community members Deuce Traveler and VioletShadow tell you about the experience they've had with the game - what they have, and haven't, enjoyed about it.
Have a snippet:
Deuce Traveler: The world of Unrest is certainly a kind of medieval fantasy setting, but different enough to interest players tired of the all-too-familiar pseudo-European fare. The architecture is eastern, as is the dress of the people. The culture is post-Gupta Indian, featuring an entrenched caste system and Hinduism with nary a hint of Buddhism or Islam. The game's story fleshes out the motivations of its various characters, including the villains, who believe that they were right for making the bloody decisions that propel the plot, despite the catastrophic results. This is not a story of noble heroes pushing back darkness, but instead a tale of survivors with opposing viewpoints going through their lives, which are interrupted on occasion by short outbursts of charity or wickedness.
[...] Finally, there are some major decisions you can make in the game that seem to have little effect on the overall story. In one playthrough, I decided that I was going to put my character in harm's way for the sake of diplomatic niceties. That character was killed. On the second playthrough I decided to be especially conceding during the diplomatic discussions, but then rigidly refused a request for my character to put himself in harm's way. This caused my character to step down from her diplomatic station and retire. In the character's narrative this made a huge difference, since she was now alive rather than dead. But from my perspective as a player the result was the same, since the character would have no further impact on how the story unfolded.
Read the full review: RPG Codex Review: Unrest
Review - posted by Crooked Bee on Sun 20 July 2014, 17:15:56Tags: Cryptic Comet; Elder Sign: Omens; Fantasy Flight Games; The Occult Chronicles
Last year, two somewhat similar games, The Occult Chronicles and Elder Sign: Omens, were released for Windows within an interval of a few months. Both feature board game mechanics and settings inspired by Lovecraft’s Cthulhu Mythos. With such a unique premise, esteemed community member Gragt decided to review both of them in the same article.
Have a few snippets on both games:
[...] this is a terrific little game. It features no animation at all, yet manages to convey a tense and heavy atmosphere thanks to its excellent design. Zane Reichert’s drawings illustrating the various events fit the game’s pulp fiction atmosphere very well, striking a good balance between comic-book and creepy. The slow and brooding music by Stian Stark, who also composed the music for Solium Infernum and Six Guns Saga, is perfect for this kind of game; there are no memorable tunes to speak of, but it sets the tone without intruding. While every adventure follows the same basic structure, there is a decent amount of randomly generated content to experience, and I am still surprised to see events that I missed, connected to quests that weren’t available before. As a horror and occult-themed roguelike, I guess the closest thing to it would be the bona fide roguelike Infra Arcana, but the board game aspect makes it fairly unique. If you can get past the clunky interface and obtuse ability descriptions, there are many hours of quality entertainment to be had. A game takes only a few hours to complete, the atmosphere is thick, the challenge is high, and the different backgrounds and scenario options keep it replayable.
[...] The second game is Elder Sign: Omens by Fantasy Flight Games, released for Windows in November 2013, a mere three months after The Occult Chronicles. This is actually a port of the 2011 game for Android, Apple, and Kindle Fire. Now, it may seem weird to review a game with such a dubious pedigree, but humor me for a while.
The reason it is reviewed here alongside The Occult Chronicles is that both games share many similar elements, from theme and setting to the board game-like gameplay. Of the two, Elder Sign: Omens plays the closest to a traditional board game, which is par for the course considering it is an adaptation of an actual board game, Elder Sign. There are some differences between them, but for the most part Omens is quite faithful to its cardboard sibling. This also makes it a much simpler game than The Occult Chronicles, if only because it could be easily set up on a table with cards, tokens, and dice, whereas The Occult Chronicles, just like other Cryptic Comet games, would be a nightmare of cyclopean proportions to play that way. The basic scenario has you control a team of four investigators in the ’30s, of various backgrounds and talents, who must prevent the awakening of an Ancient One from the Cthulhu Mythos. To achieve this goal, you must explore the Miskatonic University Museum at night to gather supplies and artifacts, including the titular Elder Signs required to seal the cosmic horror. This time the game makes direct use of the Mythos, and you will encounter familiar figures like the Deep Ones, Ithaqua and even Cthulhu himself. Truth be told, the Mythos is used here more as a coat of paint to give a strong and familiar theme to a horror-themed board game that is light on plot, but it does the job rather well. It may not be as involved as Call of Cthulhu: Dark Corners of the Earth, but it's good enough to give you your Lovecraft fix as long as you don’t expect a great plot, great characters, or great dialogue — which isn’t something usually found in a Lovecraft story anyway. [...]
Both games have their flaws and merits, and while none ascends to greatness, they are well worth a look, especially if you need a fix of horror and Lovecraft pulp fiction.
Read the full review: RPG Codex Review: The Occult Chronicles and Elder Sign: Omens
Review - posted by Crooked Bee on Sun 13 July 2014, 18:44:59Tags: Hanako Games; Long Live the Queen
Back in the decline-plagued year of 2011, with no proper RPGs like Divinity: Original Sin or tactical RPGs like Blackguards in sight (and with Age of Decadence remaining the all-too-easy subject of "vaporware" jokes), our very own Darth Roxor did a review of the CYOA RPG Academagia. Our readers generally prefer "full-fledged" RPGs, or at least those with good combat or interesting "choices & consequences" (C&C for short), so Academagia didn't really gain a lot of traction around these parts. However, CYOA RPGs are still RPGs, at least to some extent, and so it shouldn't be too surprising that another one, Long Live the Queen!, has caught our attention.
In this quick review, esteemed community member Deuce Traveler tells us what's good about the game -- but also what's bad, and not particularly exciting, about it. Have a snippet:
That brings me to my final point. Long Live the Queen is a fine story as seen through Elodie's eyes, and the character works as a quirky slate for the player. However, the supporting cast is full of unsympathetic arseholes. Even Elodie's father hides critical information from her, despite having a vested interest in her survival. Her friends are fickle, the nobility behave as vultures over a rotting carcass, and the peasants are either dull or violent. With so many unlikable characters, I often found myself playing Elodie as a martial character, mastering warfare, weapons, and magic. To the game's credit, however, you can play as a much more cultured and peaceable character and still win. I have read, for instance, that there is a winning path for someone who becomes a master musician. You can also develop romantic relationships with many of the different characters, despite a range of ages and genders. Because of this, the game has some replay value for those willing to work through its trial-and-error gameplay loop.
Read the full review: RPG Codex Review: Long Live the Queen
Codex Interview - posted by Crooked Bee on Mon 7 July 2014, 18:08:43Tags: Blackguards; Blackguards 2; Daedalic Entertainment; Kai Fiebig
As you may recall, we quite enjoyed Daedalic's tactical RPG Blackguards. Its unique combat design and difficulty have already earned it a prominent place among this year's released or to-be-released oldschool RPGs (which also include Might and Magic X, Divinity: Original Sin, Wasteland 2 and Pillars of Eternity). Next year is promising to be interesting too, and not only thanks to Torment: Tides of Numenera's release, but also because Daedalic has recently announced a sequel to Blackguards, Blackguards 2, to come out in 2015 as well.
For this interview, we reached out to Kai Fiebig, producer on Blackguards and Blackguards 2. Have a snippet:
My personal inspiration for Blackguards was mainly good old pen & paper combat, with the ambition to put as much of the diversity of tactical options and creative use of the environment pen & paper combat can offer into a video game.
Ideally, every single battle fought should tell a small story in itself, with the player „writing“ the part of his heroes. The game presents only the challenges and a huge variety of abilities, spells and environmental interactions the player can choose from, combine and improvise with, to overcome those challenges.
This ideal remains an ideal, as video games cannot accomplish the same level of interactivity as pen & paper games. But getting as close as possible is a great motor for making these kind of games.
The press release talks about "faction-based" gameplay and the need to conquer lands and defend them. It sounds like a big change from the first game. Could you elaborate on how that is going to work, exactly? Is Blackguards 2 going to be more open-ended, or do you prefer to continue focusing on tactical turn-based battles at the expense of non-linearity?
Yes, in Blackguards 2 the goal is to conquer a small province in the south of Aventuria. We are not operating on a military scale with huge armies, though; more like clans or war bands. The main goal is to capture the capital of the province. How many and what kind of fortifications, cities or other strategic points the player conquers before attacking the capital is all up to them. Every conquered point on the map gives the player certain bonuses, so it's a good idea to choose a route that grants bonuses matching the personal play-style and preferred tactics. Once the walls of the capital have been breached, there are multiple endings with different outcomes for each of the heroes, depending on player's choices.
The press release also mentions some "revisions and simplifications" to the RPG system. Understandably, many of our readers (who were quite happy with the first game) are worried that you might remove complexity instead of adding or iterating on it. Could you go into some detail on the "simplification" part?
Like already mentioned above - we have absolutely zero intentions to lower the level of complexity. We love complex turn based combat. We are just going to simplify the character sheet so players know which knobs to turn to improve in which discipline of combat.
In fact, we even increase the complexity a bit by introducing Stamina, which basically works like Astral Points, only for warriors and their special abilities. There will be attacks and spells that drain Stamina, and of course Special Abilities that increase the Stamina regeneration.
Although Blackguards was about scoundrels and anti-heroes, the storyline was quite heroic and featured some pretty altruistic moments. What are your own thoughts on the original game's balance between the heroic and the non-heroic stuff? How dark of a journey can we expect this time?
Blackguards 2 will be darker. And the player will be presented with some really fucked up moral choices.
Read the full interview: RPG Codex Interview: Blackguards 2
Preview - posted by Crooked Bee on Mon 16 June 2014, 23:14:09Tags: Dr. Dungeon; Madman!
Esteemed community member Deuce Traveler has written up a short preview for the upcoming Ultima-style retro RPG Madman! by Robert "Dr. Dungeon" Deutsch. (We have a dedicated thread about Dr. Dungeon's games on our forums, in case you didn't know.) Here's a snippet:
The game also has puzzles, which are better than its combat. You'll really have to pay attention, even with the game's very effective quest log system. Although at times the quest log practically walks you through the steps of your current quest, in general the clues you receive tend to be vague, and you will often find yourself having to go back to the quest giver and pay greater attention to his dialogue in order to piece together what you must do. The game has plenty of fetch quests, but there are also puzzles which pose a larger degree of intellectual challenge. For instance, at one point you're required to insert artifacts into some niches in the ground. You are not given much of a clue as to where these artifacts are, but if you've been paying attention you might realize that some seemingly worthless artifacts you saw before have the exact same shape as the tiled niches. Some quests can be frustrating in their logic, however, such as when you're required to leave the domain of a strange race, who send you to solve a series of puzzles before you can get an important quest item from them. I found this particular set of quests to be quite nonsensical. But then I remembered that the game was called Madman! - nonsense is kind of the point. [...]
So, would I recommend the game? It depends. Action-RPG fans are not going to be comfortable playing this game and should probably avoid it due to the interface, graphics, and simple plot. However, I think that those who enjoy firing up the early Ultimas or Might and Magics would be comfortable here. Also, if you've played any of Dr Dungeon's Ultizurk games you will be right at home, as his unique writing style and sense of humor is instantly recognizable. There is even a suggestion in-game that your character in Madman! is the same person as the protagonist of the Ultizurk series, though with a scrambled set of memories.
Read the full article: RPG Codex Preview: Dr. Dungeon's Madman!
Review - posted by Crooked Bee on Tue 27 May 2014, 04:39:23Tags: DreamForge Intertainment; Sanitarium
It's been a while since we posted any AdventureDex content, hasn't it? In this review, esteemed community members Deuce Traveler and VioletShadow cast a look back at DreamForge's horror adventure game Sanitarium (1998). Here's a snippet from the full review:
There were a couple of action sequences which involved using an object on enemies while avoiding their attacks. These weren't much of a challenge, as failure meant the character was 'reborn' and free to try again without losing any progress. My favorite puzzle was a maze, which tends to be a headache in many other adventure games but in this case was nicely challenging and fun to complete.
Deuce Traveler: Some of the puzzles in the beginning were so simple that the game nearly felt like a visual novel where you are focused more on reading dialogue than gameplay. The difficulty picks up a little bit more after the initial chapter, but never really becomes challenging to a player who is willing to click on everything he or she sees, or use every item in the inventory on every object and person in the environment. There is a lack of real death in the game, which reduces the tension of the experience. A limited inventory and smaller, contained locations reduced the amount of actions you had to employ to solve the puzzles. This is definitely one of the easier adventure games I have ever played. Your enjoyment in solving puzzles won't come in feeling how clever you are in defeating them, but instead their bizarre nature. For that reason, I enjoyed some carnival challenges the most.
VioletShadow: Now, as for the interface it isn't awful, but has several flaws that may frustrate players to no end. Firstly, sometimes the character must be standing in a certain position to be able to interact with objects and maneuvering him until he is at the right place can take several tries and become a minor annoyance. Secondly, click/hold RMB to slowly walk didn't work that well and the character often ended up moving in the wrong direction. This takes me to the next issue: stairwells. *Screams*. Whenever the character walks in the wrong direction and gets close to a stairwell, he will go into the 'stairwell animation' and you have to wait for him to finish walking up or down. Many stairwells in the game plus awkward movement controls equaled lots of frustration for me.
Deuce Traveler: Heh. I didn't find the interface nearly as rage-inducing. In fact, I thought it was beautiful in its simplicity. If I had issues with anything, it was the lack of solutions to puzzles. There was always a certain item that had to be used in a certain way to progress, which admittedly is a frustrating staple of such adventure games. For example, I couldn't electrocute a creature with jumper cables, but had to find an artifact to use as a conduit. Said artifact was in a small pool of water and looked to be within easy distance of an adult arm, but the game forced me to locate a fishing rod in order to retrieve the object.
Unfortunately, the pathfinding in this game is nearly non-existent, so when I try to talk to someone the game often tells me I can't reach him or her to do so, even if I am standing next to them. This is because the game's animation requires the conversation to occur at a different angle from where I made the attempt.
Read the review in its entirety: AdventureDex Retrospective: Sanitarium
Codex Interview - posted by Zed on Thu 22 May 2014, 21:48:55Tags: Adam Heine; Colin McComb; George Ziets; InXile Entertainment; Jeremy Kopman; Torment: Tides of Numenera
What was first meant to be a catch-up interview with George Ziets, now the Lead Area Designer for Torment: Tides of Numenera, turned into a much broader interview as we also managed to get a hold of a few other game designers as well. So, for this interview, George Ziets is joined by Creative Lead Colin McComb, Design Lead Adam Heine, and Crisis Designer Jeremy Kopman. Holy moley.
Here's a slice of it:
This is partly a matter of personal taste, but I place much less value upon familiarity in new settings. Audiences are a lot more flexible than we often think. To me, it’s more important that character motivations and emotions feel believable and identifiable, regardless of setting. If you create characters who feel and act in a believable way, have problems that players can identify with, and are likable, audiences will tolerate a lot of weirdness in setting details.
Presentation is also a major issue to consider in a new setting. If you try to throw a lot of unfamiliar setting details at a player in the first ten minutes of gameplay (or, worse, in a convoluted opening cinematic), you’re likely to lose your audience. If, on the other hand, you drop them into a world that is full of mysteries, and the player is learning about the new world as an integral part of gameplay and story, their unfamiliarity with the setting can actually be an asset – it encourages a sense of ongoing discovery that can help keep the player engaged throughout the game.
I think problems arise in new settings when characters are flat and boring, stories are clichéd, the audience isn’t emotionally invested in what’s happening, and the creators are relying upon the details of the setting itself to interest the audience. A lot of hard science fiction falls into this trap. Writers can become so focused on communicating the details of the setting that they fail at job #1, which is creating an engaging story.
Josh is a really smart guy, and he’s right that many gamers place a great deal of value on familiarity so that they have touchstones on which to base their experience with a game. Using standard fantasy tropes is a great way to get people to ease into acceptance of the stranger aspects of the setting – for instance, the novel soul mechanics of Pillars of Eternity. This is the right decision for their game, which deliberately takes on some of the trappings of a magical, medieval setting. Given their vision and the experience they’re targeting, it would be a mistake for them to introduce too much abstract weirdness into the early part of the game.
Our vision was about something else altogether, and I think – I hope! – that we made our backers aware of just how weird and wonderful our setting is. Part of why we chose Numenera in the first place was because we want to deliver a setting that is intentionally strange and mysterious to our players, and one that will come to make coherent, internally consistent sense through the course of the game. We’ve said before that the game takes the player through the life of the Last Castoff, and we meant that. When the player enters the game, he or she will do it as an infant to the world. The world should be unfamiliar, just as it is to a newborn. The player will gain familiarity through experience.
That said, sure, a game could get too abstract or too weird. But I believe that if we create strong characters with believable motivations, realistic choices, and interesting situations, the strangeness of the setting becomes an inextricable part of the pleasure of the game.
Planescape: Torment had some very combat-oriented zones, particularly in the late game, while other parts of the game remained relatively combat-free. These combat zones could cause problems for socially invested characters. Is this something you're looking to address in Torment: Tides of Numenera?
Because the Crisis system leads us to build fewer but more expansive turn-based, tactical portions of the game, we don’t plan to have any areas densely populated with groups of mobs you are forced to fight. While all Crises present tactical challenges, some are more likely than others to lead to combat, and at times combat will be the most straightforward solution to the problem at hand. But even if the player finds him/herself in a spot where they have no choice but to fight, non-combat build options (Skills, Esoteries, Tricks of the Trade) will frequently offer a benefit. Players can attempt to converse with intelligent enemies, using their PC’s features to broker peace, frighten their opponents into losing morale, or simply distract them so their allies can gain the upper hand. In addition, many esoteries grant Fettles (the TTON term for status effects) that could weaken opponents’ resolve and leave them more susceptible to conversation options, disable them long enough to flee, or even charm them into helping the party. If your party is still in danger, exploration abilities and skills can be used to open paths to escape or inflict damage on the enemy without any attacks (as in the gantry example in the Crisis question above).
As we’ve stated before, we plan for it to be possible to complete TTON without engaging in combat at all. Players can finish or avoid every Crisis using social, stealth, and exploration abilities. Having said that, we haven’t promised that it will be easy. It will likely require very careful decision making and smart character build choices to complete the whole game without throwing a single punch/self-propelled energy projection device.
You really ought to read all of it, like, right now.
Read the full article: RPG Codex Interview: Torment: Tides of Numenera
Editorial - posted by Crooked Bee on Sat 10 May 2014, 23:05:55
Back in January, esteemed community member felipepepe staged a vote so we could find out what our community's all-time best computer RPGs actually are these days. As a result, we got a hefty list, with graphs and stuff, of 70 titles - or actually a bit more: some games were tied, so you may notice that this Top 70 list features more games than just seventy. Then we asked our users to submit mini-reviews for the games that made it on the list. Around 50 Codexers and one Watch spy took the call, and here's what came out of it.
I'll quote the winner here for you, but be sure to check out the full list.
Jasede: Ah, wretched Planescape: Torment, always Planescape: Torment. This game is so hard to sell. I've many times attempted to get people to play it, only for them to get bored before leaving the mortuary or the bar outside it. If they do keep playing despite that, they are met with terribly shallow encounter design and an RPG system that seems more like a strange cross between Choose Your Own Adventure books and an adventure game, based around puzzles and conversations. Even calling it an RPG is almost a matter of some debate. So why then does this game hold such a high place to so many of us?
The biggest reason is that this game has shown us that story-based games can work. Often likened to a playable novel, PS:T tells the engrossing tale of a man in search of his past - or pasts. Starting from the tired cliché of amnesia, PS:T quickly draws those who will accept it for what it is, warts and all, into an engrossing tale of redemption, love and treachery, covering succinctly many of man's desires and shortcomings. While nobody is going to suggest this is the same level as classic literature, this is the game that showed us that video game writing can be above average, can indeed conjure up fantastic worlds and allow us to visit them. Not one NPC in PS:T does not have an interesting story, not one description of text or snippet of party banter an enticing tidbit that teaches us about the odd, foreign world that the tale occurs in.
PS:T invites us to a strange journey, and those who accept the invitation will, if they have the patience to read the game's copious walls of text, find themselves drawn to into an experience that they are not likely to ever forget.
MicoSelva: Probably the best story in any video game ever, Planescape: Torment is much more than just that. Allowing the player to explore one of the most unique worlds in the history of computer RPGs and interact with some of the most interesting characters ever created, PS:T is also a very solid game underneath it all. Everything you do in this game matters: how you create your character and develop it, how you approach people and what you say to them, what you do and what you decide not to do.
Torment will destroy your assumptions about what to expect from a fantasy RPG, as it comes with zero elves, zero dwarves and only two swords in the whole game, and it will also leave you wanting more from every RPG you play afterwards. Obviously it's not perfect (nothing is), with combat especially in need of some improvement, but so far it is as close to perfection as it gets.
Grunker: This game is unlike anything I'd ever played before or have played since. Everything was strange, and you never knew what to expect. One of the things I miss the most about games from the years past is the feeling of being thrust into a completely alien world, where nothing can be expected and everything is new and surprising. Oh yeah, and "DON'T TRUST THE *spoiler*". That moment was singed into my brain; it's probably the most memorable gaming moment for me.
Planescape: Torment is a game unlike any other, and thoroughly deserves its top spot on this list.
Read the full article: RPG Codex Top 70 PC RPGs (Now with User Reviews!)
Review - posted by Crooked Bee on Wed 7 May 2014, 17:47:54Tags: Obsidian Entertainment; South Park: The Stick of Truth; Ubisoft
It's been around two months since the release of the Obsidian-developed and Ubisoft-published RPG South Park: The Stick of Truth. It reviewed well and, we assume, sold well, too. Now that the initial hype storm has passed, Zed and I sat down to discuss what the game did right and what it did wrong. Our impressions are mixed -- in a sort of positive way, but mixed. For details check out the full review, but meanwhile here's our conclusion:
Crooked Bee: Well, like I said, I personally enjoyed the overdone absurdity. The mechanics though, not so much. Quests, combat, exploration, it’s all very easy to get into – mostly thanks to the writing – but ultimately also very repetitive. That's why it’s a good thing the game is only 12 hours long; but also a bad thing, because I believe the full price is too high for that. (Thank you, Ubisoft, for a review copy.)
Zed: Yeah, while being a subjectively funny game, it’s not very good in terms of mechanics and systems. The social media stuff seems half-forgotten in the later segments of the game and there are rarely any reasons for you to re-visit locations. It’s like a long South Park episode coupled with the gameplay and interactivity of a Newgrounds flash game.
Crooked Bee: Wow, that’s harsh! (Says someone who did nothing but complain about the mechanics for the entire review.) But sure, if we are to judge it as an RPG – this is the RPG Codex, after all! – and not just an interactive South Park episode, it’s definitely lacking, a mixed bag made up of addictive and monotonous in equal measure. Some aspects (writing, atmosphere, loot, animations) are brilliant; the RPG core, however, the combat, quest structure, and character development, are very simplistic. The lack of any kind of non-linearity or improvements to the tired Paper Mario formula is a big downer, too. The flip side of this being an interactive TV show episode, I guess…
Zed: It is what it is, and as that good ol’ Codex saying goes, it’s “good for what it is.” I highly recommend this game to fans of South Park (especially fans of the more juvenile stuff) and fart enthusiasts (like Germans). I can’t really recommend it to grimdark serious-face CRPG players looking for something deep and rewarding. They will find none of that here.
Crooked Bee: Yeah, it’s an ultra-casual RPG lite, albeit a very solid one at that. Despite my nitpicking, however, this is also the best, and most skilfully written, comedic RPG I’ve played. If you can disregard that this is supposed to be an Obsidian game, you’re bound to enjoy it. It is a shame, however, that I can’t help but associate the excellent content with Matt and Trey, and the underwhelming gameplay and design with Obsidian. It may, of course, have been South Park Studios or the evil publisher Ubisoft who demanded that Obsidian should make the actual RPG side as unimaginative as possible, but given Obsidian’s best titles, I refuse to accept any blame for wanting the game to have been something more. Mr. Chris Avellone once mentioned he’d like to design a High School RPG some day; if this were it, I would be highly disappointed.
Zed: It’s a bit funny how Obsidian are often profiled as the CRPG developer, when they haven’t exactly got a lot of releases under their belt to show for it. Imagine us in a year or two, reviewing Armored Warfare and going “Tanks?! Real-time?! Where are mah choices?! We expected more from you – Chris Avellone!”
Read the full article: RPG Codex Review: South Park: The Stick of Truth