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NSFW Best Thread Ever [No SJW-related posts allowed]

RK47

collides like two planets pulled by gravity
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Dead State Divinity: Original Sin
only to get beat by a guy who read the fine print better
It's not an issue of print, it's about stretching the rules so much they turn into something else. It comes from the way how open game is (ton of armies, true LOS, open board (no hexes)), but mostly it comes from murdering grammar in all the hilarious ways.

11153.jpg
Sounds p. banal.
 

Shadenuat

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only to get beat by a guy who read the fine print better
It's not an issue of print, it's about stretching the rules so much they turn into something else. It comes from the way how open game is (ton of armies, true LOS, open board (no hexes)), but mostly it comes from murdering grammar in all the hilarious ways.

11153.jpg
Sounds p. banal.
You're making me nostalgic for Mr. Buckethead.

It is not far from truth though. Holywaring for rules is a routine in tabletop games I guess.
 

No Great Name

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It's not an issue of print, it's about stretching the rules so much they turn into something else. It comes from the way how open game is (ton of armies, true LOS, open board (no hexes)), but mostly it comes from murdering grammar in all the hilarious ways.
Almost sounds like the US Constitution.
:troll:
 

Infinitron

I post news
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Codex Year of the Donut Serpent in the Staglands Dead State Divinity: Original Sin Project: Eternity Torment: Tides of Numenera Wasteland 2 Shadorwun: Hong Kong Divinity: Original Sin 2 A Beautifully Desolate Campaign Pillars of Eternity 2: Deadfire Pathfinder: Kingmaker Pathfinder: Wrath I'm very into cock and ball torture I helped put crap in Monomyth
Fun description of Ultima Online from an article in the New Yorker from 2001: http://ultimacodex.com/2014/07/pimp...online-profiled-in-the-new-yorker-circa-2001/

A “massively multi-player online role-playing game,” or, only slightly less awkwardly, an M.M.P.O.R.P.G., Ultima Online is managed and operated by Origin Systems, a gaming company based in Austin, which charges subscribers nine ninety-five a month to maintain a character, or “avatar,” in Britannia. Players manipulate tiny two-dimensional figures who move jerkily through a computer-generated landscape of spells and dragons and ridable ostriches. The game has no beginning and no end, and there is no way to win or lose, although it is possible to be killed. Nearly a quarter of a million people subscribe, and each player logs an average of thirteen hours a week, meaning that in the course of a year Ultima absorbs more than a hundred and sixty million man-hours.

Ultima’s appeal is clearly that of an escapist fantasy, yet the most striking feature of the game’s brief history is its perversely recurrent social realism. In its original design, the game gave players a choice of professions: they could train their avatars in any of some three dozen fields, ranging from archery and alchemy to animal taming. No sooner was U.O. up and running than a player introduced a new line of work by operating two characters, one named Jenny and the other Pimp Daddy. On top of hyperinflation, Britannia has suffered a wave of extinctions, paralyzing hoarding, and a crime problem so intractable that at one point the game was forced to, in effect, split itself in half. Considered as an inadvertent and largely unsupervised experiment, U.O. raises questions about whether people can manage to coexist peacefully even when they don’t really exist.

U.O. took more than two years to design, and, according to Koster, who joined the development team in 1995, a great deal of that time went into trying to perfect what was known as the “resource system.” Under this system, both natural and man-made objects were coded according to the imaginary resources that went into them—a sheep, for example, was a couple of units of meat and a couple of units of wool—and the total pool of each resource was fixed, so that there would always be a certain amount of meat in the world and a certain amount of wool. One of the goals of the system was to produce a naturalistic and therefore dynamic environment: the sheep would get eaten by wolves, and as the wolf population grew the sheep would decline.

The resource system had many features that participants in the early tests of the game found cool. “Players really liked seeing the wolves attack the sheep,” Koster said. “If wolves stayed alive a long time, they got cannier and stronger and smarter and deadlier, so you’d run into these old grizzled wolves that had been around the block. These wolves would eat sheep even if there were no players nearby. They were actually living out their little artificial lives out there.”

Even as experienced gamers, Koster and Vogel were taken aback by what happened next. U.O. went live in late September of 1997, and by early October Britannia was on the brink of environmental collapse. “The creatures had all gone extinct, because people had hunted them out completely,” Koster recalled. “The land was completely deforested, so no more wood was growing anywhere. And all the mines had been mined out.” Players even assembled teams to hunt down some particularly cunning wolves. “These wolves got to be so deadly that a single player had no chance against them, because we didn’t put an upper cap on how smart they could get,” Koster said.

Under the resource system, players could gather raw materials, like ore, and make them into finished goods, like armor, which, once used, would begin to break down and reënter the pool as raw materials. Players, it turned out, liked to make things—they were turning out hundreds, and even thousands, of swords and shields and gauntlets—but instead of using them, or throwing them out, which would have had the same effect, they hoarded them. One player reportedly had a collection of ten thousand identical shirts. The result was that there were hardly any materials available to replenish the pool, which deepened the environmental crisis.

At first, the design team tried to deal with the situation by funnelling in more resources, but these, too, were quickly grabbed and hoarded. No one could figure out how to keep the game going without giving up on the system: in the virtual world, as in the real one, economic growth and ecological stability can be tragically difficult to reconcile.

Now the game is programmed so that the servers continually add more ore and sheep and wolves to the landscape. This largesse has solved the mass-extinction problem, but not the hoarding, which continues, contributing to server lag. Why players hold on to so many essentially useless items remains a mystery. When I asked Koster about it, he said, “Why do you have all the junk you have?”
 

Unkillable Cat

LEST WE FORGET
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Codex 2014 Make the Codex Great Again! Grab the Codex by the pussy
The resource system had many features that participants in the early tests of the game found cool. “Players really liked seeing the wolves attack the sheep,” Koster said. “If wolves stayed alive a long time, they got cannier and stronger and smarter and deadlier, so you’d run into these old grizzled wolves that had been around the block. These wolves would eat sheep even if there were no players nearby. They were actually living out their little artificial lives out there.”

Even as experienced gamers, Koster and Vogel were taken aback by what happened next. U.O. went live in late September of 1997, and by early October Britannia was on the brink of environmental collapse. “The creatures had all gone extinct, because people had hunted them out completely,” Koster recalled. “The land was completely deforested, so no more wood was growing anywhere. And all the mines had been mined out.” Players even assembled teams to hunt down some particularly cunning wolves. “These wolves got to be so deadly that a single player had no chance against them, because we didn’t put an upper cap on how smart they could get,” Koster said.

Under the resource system, players could gather raw materials, like ore, and make them into finished goods, like armor, which, once used, would begin to break down and reënter the pool as raw materials. Players, it turned out, liked to make things—they were turning out hundreds, and even thousands, of swords and shields and gauntlets—but instead of using them, or throwing them out, which would have had the same effect, they hoarded them. One player reportedly had a collection of ten thousand identical shirts. The result was that there were hardly any materials available to replenish the pool, which deepened the environmental crisis.

At first, the design team tried to deal with the situation by funnelling in more resources, but these, too, were quickly grabbed and hoarded. No one could figure out how to keep the game going without giving up on the system: in the virtual world, as in the real one, economic growth and ecological stability can be tragically difficult to reconcile.

:facepalm:

It doesn't matter how smart your game is, if it can't outsmart the stupid players it won't stand a chance.
 

Infinitron

I post news
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Codex Year of the Donut Serpent in the Staglands Dead State Divinity: Original Sin Project: Eternity Torment: Tides of Numenera Wasteland 2 Shadorwun: Hong Kong Divinity: Original Sin 2 A Beautifully Desolate Campaign Pillars of Eternity 2: Deadfire Pathfinder: Kingmaker Pathfinder: Wrath I'm very into cock and ball torture I helped put crap in Monomyth
Yeah, they kinda designed it like a single player Ultima sequel.

Imagine if all that effort had gone into an actual single player Ultima sequel... :negative:
 

Night Goat

The Immovable Autism
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Codex 2013 Codex 2014
:nocountryforshitposters:
Looks like someone doesn't know a thing about Saints Row 4 or Eve Online. Pretty sad when you cherry-pick your data points and still get some of them blatantly wrong.

Also: Odissey :D
 

Suicidal

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So what is the point of this comparison? That the author is not familiar with western games apart from a bunch of shooters released in the last couple of years and a few adventure games?
 

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