Codex Interview - posted by Crooked Bee on Mon 7 July 2014, 18:08:43Tags: Blackguards 2; Daedalic Entertainment; Kai Fiebig
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!
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
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
Community - posted by Crooked Bee on Sat 10 May 2014, 23:05:55
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
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
Codex Interview - posted by Crooked Bee on Sun 4 May 2014, 19:44:05Tags: Heaviest Matter; Prisonscape
We reached out to Prisonscape's designer, Pekka Kallioniemi, to ask him some questions about the game's concept and the Kickstarter campaign. Here's a snippet:
We are two Finnish guys who decided that developing games could be our thing and decided to give it a try. Tuomas used to be in QA of a Finnish gaming company, Universomo, but I had no prior experience in game development. As a designer, I draw a lot of inspiration from pen and paper RPGs, such as AD&D 2nd edition, Twilight 2000 and Cyberpunk 2020.
Originally, Tuomas (the programmer) wanted to do an arcade/action game similar to the hospital scene in the Amiga classic It Came from the Desert. Eventually the game evolved into an adventure/roleplaying game. We felt that prison from the inmate's perspective was something that wasn't done properly before. Thematically the biggest inspiration comes of course from HBO's Oz, but also from classic prison movies like Shawshank Redemption, Midnight Express and Escape from Alcatraz (see a pattern here?).
Before this we have said that mechanics-wise most of the inspiration has come from classic JRPGs, but this isn't really true anymore since we moved from 1 vs 1 / ATB battle system to grid-based, tactical combat with henchmen, and there aren't many other similarities between classic JRPGs and Prisonscape. The current combat system is probably closer to Fallout, but actually most of the stuff we've come up with comes from pen and papers. This is a bold statement, but I think that AD&D 2nd edition with the Player's Option expansions is THE best combat system ever made, it just needs a lot of adjustments so that it fits in a cRPG taking place in modern prison.
Among the non-combat skills on the stats screen, there is a skill called Literacy. I'm curious: what does it do? There's also a screenshot on your Kickstarter page that shows the main character "reading up on some high school materials" in order to raise different attributes - is Literacy connected to that? How does training and raising your skills and attributes work?
Literacy is kind of a 'hard mode' - when you start the game, you can select your background and there's an option for being illiterate. Many of the jobs require you to be able to read and/or write, but the main story doesn't require this, and you can try playing the game through as an illiterate inmate if you want. This also limits your Intelligence score as you can't get all that knowledge that's available in the books. You can also learn to read inside the game if you start it as illiterate.
Skills and attributes can be increased by training - the most effective method being actually using them. For example, getting into melee fights exercises your Fighting skill and trading with other inmates exercises your Haggling skill. This is the most effective way to learn, but there are others, too. After every game turn (about a week in prison) you can choose what you want to do during being locked inside your cell or at rec time. These are related to either training your attributes or skills. Attributes are better in all-around stuff, whereas training skills gives you expertise in more specific areas. You can also get trainers to boost your training by hiring them or getting them through jobs.
Read the full interview: RPG Codex Interview: Prisonscape
Review - posted by Crooked Bee on Thu 1 May 2014, 16:28:34Tags: Crystal Shard; Heroine's Quest: The Herald of Ragnarok
Having nothing to do with mind-altering substances, Heroine's Quest: The Herald of Ragnarok follows the adventures of a female protagonist in a Viking-themed land. It also follows the Quest for Glory formula almost to a tee. In this review, esteemed community member Aeschylus tells you why you should abandon whatever it is you're doing and go download Heroine's Quest right now, especially if you're a Quest for Glory fan. Have a snippet:
Heroine's Quest is a game that does not so much politely borrow from Quest for Glory as it does tackle it and steal its stuff. Thankfully, it does so for the most part without damaging any of the elements that made QFG great; most everything from the originals is still there, including the three character classes, connections to real-world mythology, adventure game puzzles, stat-building through practice, exploration of a large, hostile forest, goofy, awkward humor, and multiple solutions to almost every situation. The only real difference is that your character has lady-parts. Because of all this it is almost inevitable that Heroine's Quest will be played through heavily tinted nostalgia goggles, but it is also a game that is worthy of consideration on its own merits. The borrowed mish-mash of features for the most part comes together successfully independent of its influences, though not without a few stumbles along the way. There are many elements to discuss, so let's get to it.
[...] The overall difficulty of the puzzles, aside from the few previously mentioned, is fairly moderate. You'll have to think a bit and explore the world carefully, but there are no puzzles that are so out-of-this world logic-wise that they're likely to be a major stopping point. That plus the fact that you generally have a fair number of things to do -- there is a large amount of optional content in the game, though it's only 100% optional for the Rogue -- mean that being completely stuck is likely to be a rare occurence. Getting full points on the other hand is quite challenging and requires you to always do the things appropriate to your class; a Rogue should always steal when possible, a Sorceress should strive to use spells, and a Warrior should always enter combat and search for new weapons. It's worth trying to max out your score, as you're likely to find a few interesting optional sections you would have otherwise missed.
So, after all that, is it worth playing? The answer is very much yes, particularly given that it's free. Heroine's Quest is of a good enough quality that it could be considered a proper entry in the original Quest for Glory series, and that is high praise indeed. It's a well-crafted look back at an era of games that we haven't seen for a long time, but it can very much stand on its own independent of any nostalgia.
Read the full article: RPG Codex Review: Heroine's Quest
Codex Interview - posted by Crooked Bee on Sat 26 April 2014, 17:59:14Tags: Carrie Patel; Obsidian Entertainment; Pillars of Eternity
Esteemed community member Hormalakh has reached out to Carrie to ask her some questions about Pillars of Eternity, RPGs, as well as various narrative design and writing-related things. Have a snippet from the resulting interview:
It's hard for me to pinpoint who I actually emulate, but I'll tell you who I'd love to follow. I love Neal Stephenson -- his books are funny, smart, and thrilling all at the same time, and I'm convinced that the first two pages of Snow Crash would hook anyone. I loved Umberto Eco's The Name of the Rose for the way it bound a fascinating mystery, two surprisingly lovable characters, and interesting theological questions. And I'd also have to mention Dune. I liked the story, and beyond that, I loved the way it fleshed out an entire universe of political and economic conflicts.
On the games front, my big formative experiences were with the old Sierra adventure game series -- King's Quest, Quest for Glory, the Colonel's Bequest. I loved playing through stories that were also puzzles, and it was always satisfying to explore, explore, and explore again and finally find the thing (an old boot, a soup bone) your character inexplicably needed. It was fun even though it was way too easy to play yourself into an unwinnable corner without realizing it.
I've also loved Morrowind -- it was the perfect blend of sandbox and story in a nontraditional world, and it just goes to show that you don't need to play a plumber to travel a world with giant mushrooms. I had tons of fun with both the combat and the storyline of the Mass Effect series, and I loved stealthing my way through Deus Ex: Human Revolution. For something a little different, Braid and The Stanley Parable did amazing things with experimental storytelling while unfolding their narratives with unique but fitting gameplay. The Stanley Parable is one of the funniest games I've ever played, and even though it's brief, I was as engrossed in it as I've ever been in bigger, more produced games. And the end of Braid is one of my favorite "aha" moments in any game. And, of course, Planescape Torment is a great example of a unique and immersive narrative -- even though character customization is limited, the choices presented to the player make the experience every bit as personal as if you'd built the character from scratch.
What do you find the most difficult aspect of writing for a video game like Pillars of Eternity?
Accounting for all of the extremes of player agency is challenging. One of our goals is to create a story that people can play however they want, but that means that when you're writing and scripting, you have to consider all of the secondary ways someone could try to complete the game. What if the player kills this NPC? Would exploring this area too early break the story? You don't want players to feel shackled, but you don't want to create situations where they might end up with an unplayable mess. So you set up failsafes to guide them through the key moments so that they can ultimately play however they want and still enjoy the full game.
Read the full interview: RPG Codex Interview: Obsidian's Carrie Patel on Pillars of Eternity
Editorial - posted by Crooked Bee on Mon 21 April 2014, 18:17:28Tags: Chris Roberts; PAX East; Star Citizen; Tim Schafer
I walked up and explained that I had been tasked by the RPG Codex to report on my PAX experience, and he went “Who?”
“It’s a prestigious magazine/forum.” I said. He just stared blankly at me.
“We thought the game was too easy.”
He looked down at me, clearly not expecting criticism and said, “No it's not. You say that or they say that?”
“Well, the consensus was that that the puzzles were too easy,” I replied.
I will always remember his response to that. He said, “Tell them they're playing it wrong.”
Read the full article: RPG Codex Report: PAX East 2014
Review - posted by Crooked Bee on Fri 11 April 2014, 20:36:12Tags: Anachronox; Ion Storm; Tom Hall
Deuce Traveler: Let me answer the most important question: Is the game worth playing? I have to say that it is, and I have to thank VioletShadow for suggesting the game to me. I really did not have high expectations going in, and I wasn’t sure I would enjoy playing it, since I usually care more about the gameplay and combat than about the story and graphics. While there were some tactical options in the game's combat system that helped make the experience more enjoyable, ultimately the story and setting are its biggest selling points, and they are done incredibly well. This is a science fiction game with a certain degree of technobabble, but lots of it is actually based on scientific theory, and the game definitely expects a bit of intellectual maturity from its audience. I also liked the characters, and the way in which the story was told. It is a shame that we will never see a sequel, as it is quite obvious that the tale was meant to continue. I finished the game with about half of the side quests done, around the 35 hour mark.
VioletShadow: Anachronox is a wonderful game; weird, charming, unique, and original in its presentation. I’m glad that I chose this game for Deuce and I to play. Despite a bit of a slow start and often repetitive combat, it manages to provide an engaging experience with superb writing, storytelling, setting, humor, music and voice acting. I had a blast playing it and highly recommend it, especially for those with a soft spot for the bizarre and unconventional. Even though there’s hilarity at every turn, the game also explores serious topics such as corruption, bureaucratic ineffectiveness, the infinite nature of the universe and more, and not half-heartedly.
Read the full article: RPG Codex Retrospective Review: Anachronox
Codex Interview - posted by Zed on Mon 31 March 2014, 05:54:44Tags: Serpent in the Staglands; Whalenought Studios
It was just before this weekend when Whalenought Studios' Serpent in the Staglands caught the attention of the Codex by showcasing its lovely-looking pixel art graphics and name-dropping genre classics Darklands and Baldur's Gate in their Kickstarter pitch. It was a great pitch too, but it left us pondering about a few things, so we got in touch with Whalenought for an interview.
The interview mainly covers the game in question and its mechanics and design. Here's a few Q/As to wet your appetite:
Thank you! That was absolutely what we were going for (and budgeted for). We’re keeping the art gritty and ground in some amount of realism.
Similar to their classless skill system, our system involves building your character by selecting any combat, spell or aptitude skills you’d like. This allows for a vast amount of customization and personality — rewarding creativity with your own custom build types. The Darklands combat is frenetic and pretty ruthless and we’re trying to capture that as well. Nothing was more satisfyingly demoralizing than failing to best some bandits and getting told they stole all your equipment and money and left you for dead. Their story scenes were the original inspiration for our Aptitude creation and uses outside combat.
On the Kickstarter page, you mention a few locations such as Emerald Mines and the forest domain of the Wandering Lady. Will the player travel seamlessly between these areas or do you use a world map system like the one found in the Infinity Engine games? Is the progression linear or can the player choose which areas to visit and in what order?
We designed a system that’s completely open for the player to explore at will. Enemies and conflicts don’t level with you, so there isn’t necessarily an order, but general areas are safer out of the gate than others.
Similar to other crpgs, maps are individual scenes that you can exit near the edges that will bring you to an overworld map with markers that you manually traverse. You can have random events and ambushes take place while traveling, along with uncovering secret locations.
Where do you see Whalenought heading with Serpent in the Staglands? It's a certainly a departure from your earlier, perhaps more accessible, mobile games. Are you looking to become the next Spiderweb Software or Basilisk Games, focusing on throwback CRPGs?
Our plan is to continue to explore the world of Vol (where the Staglands lies) in future games. We have a lot planned for other continents to explore and are excited to continue unraveling the lore in other campaigns.
If you think this game sounds balls-off-the-court awesome after having read the interview, be informed that the Kickstarter is still ongoing!
Read the full article: RPG Codex Interview: Serpent in the Staglands (Now on Kickstarter)
Review - posted by Infinitron on Tue 25 March 2014, 21:43:28Tags: Deus Ex: The Fall; Eidos Montreal; Square Enix
Well, fortunately, that turned out to be true. Unfortunately, it turned out that what they were working on was Deus Ex: The Fall, an iOS-exclusive mobile game. Released last July, The Fall was subsequently ignored by every gamer smart enough to know that you don't play shooters on a tablet, a description that happens to fit most of the Deus Ex fanbase. I have no idea how well it actually sold on Apple's platform, but as it happens, the game was pushed to Android in January, before finally finding its way to PC last week. Now fully within our sphere of attention, we realized that we had to bite the bullet and give Deus Ex: The Fall a closer look. Expecting the worst, but hoping for at least some redeeming qualities, we dispatched our Expert On Popamole Affairs™, DalekFlay, to play the game and write a report on his findings.
Without further ado, I present...
A Review by DalekFlay
Read the full article: RPG Codex Review: Deus Ex: The Fall
Review - posted by Crooked Bee on Fri 14 March 2014, 17:37:57Tags: Harebrained Schemes; Shadowrun Returns; Shadowrun: Dragonfall
[...] I did say difficulty was still a problem, and unfortunately, two significant issues with it remain: the Heal Wound spell is as broken as ever, and the enemy AI is as retarded as ever. I have absolutely no idea who the hell decided to keep the hard-coded routine that makes enemies never use more than one offensive action per turn, but he should be yelled at. Seriously, I mean it. There’s nothing that keeps the difficulty down more than this – even if you are severely outnumbered, your team still effectively has more actions per turn than the enemy, and it is downright absurd when you see a foe shoot you once and end his turn, even though you know he has 4 action points because a flashbang that hit him on a different occasion for -3AP didn’t knock him out. If the AI was actually using its potential to the fullest, Dragonfall might have actually been a very challenging game. I have no idea why they couldn't make the “Very Hard” difficulty setting remove this "enemy action limit".
Read the full article: RPG Codex Review: Shadowrun: Dragonfall
Review - posted by Crooked Bee on Sat 8 March 2014, 19:49:06Tags: Limbic Entertainment; Might & Magic X - Legacy; Ubisoft
[...] In summary, MMXL does not quite live up to the expectations that I had when reading everything that was released by Limbic about the game, as well as the Codex previews. Perhaps no game could have lived up to the expectations one builds after 12 years of waiting for the next entry in a beloved series, an entry that no one ever expected would see the light of day. The game departs from the M&M formula where it matters the most, the overworld exploration. Additionally, it has quite a few flaws in its combat system. But it also preserves and improves core M&M tenets. The character system, the dungeons, the puzzles, the Relics, and yes, even many aspects of exploration have been lovingly recreated to please fans of the series, but also improved - something that the old series excelled at doing in almost every new iteration. Despite its flaws, the game's combat can be a lot of fun and it is certainly the most serious attempt at tactics that the series has attempted in a very long time. What matters is that none of the game's flaws are serious enough to warrant depriving oneself from the pleasure of playing it. After all, the Codex's favourite games are all flawed gems. We have always preferred games that try for challenging and tactical combat and for meaningful non-linear exploration, to ones that give up and go for typical modern formulae and restrictive cinematic experiences. MMXL certainly tries very hard, and it often succeeds. Even the exploration, despite being such a departure from what M&M did best, is excellent if divorced from the series' expectations and taken on its own terms.
The final verdict should be obvious by now: MMXL is a must-buy and a must-play. Limbic did a superlative job in bringing together many beloved elements from the series, improving where they could and not dumbing down where it matters. The flaws are immaterial in the grand scheme of things; Limbic have proven they can make a real (and good!) M&M game, and they have certainly proven that they can make an excellent turn-based tile-based blobber with all the joyful gameplay elements that entails. All Ubisoft needs to see is that there is a market for this kind of game, no matter how niche. MMXL may not be the best M&M game to date, but it's more than good enough, and if Limbic can iron out the flaws in the combat system and improve exploration and other aspects, then MMXI will really be something special. I'm certainly looking forward to it.
Read the full article: RPG Codex Review: Might & Magic X: Legacy
Codex Review - posted by Crooked Bee on Fri 28 February 2014, 23:39:56Tags: Blackguards; Daedalic Entertainment
You see, Blackguards seems to have a different design philosophy behind it compared to other RPGs. When you think about “difficulty” in other games in the genre, the first thing that comes to mind is usually those shitty solutions used by incompetent developers, like enemies with ridiculously bloated HP that kill you in one hit. Others will just keep the one-hit-kill part. More competent ones will come up with superior enemy AI and varied combat encounters. Daedalic obviously went for the last solution, but even then, their approach is still considerably different from other tacticool games you might have played, since it supplements mixed groups of enemies possessing different strengths and weaknesses with complex environmental interaction, that makes many of the game's fights feel a lot like puzzles. You will often be outnumbered and outgunned, against enemies armed with things like poisoned weaponry and traps, but you'll be able to offset that with careful tactical consideration and tool management. [...]
Felipepepe: I said it in the preview, and I’ll repeat it here: Daedalic’s vast experience in adventure games can be fully felt in the way they approach encounter design. Baldur’s Gate 2 is often praised for its vast bestiary and great encounter design. I dare say that Blackguards has equally great encounter design, although from a different “school”.
Since every encounter happens in a unique arena specifically designed for it, the developers had the freedom to play with various things. There are holes that spawn enemies, time limits, movable and destructible objects, healing orbs, falling chandeliers, mechanical blades, flying dragons, falling stalactites, rotating fire traps, swamp gas, giant tentacles, mind-controlling plants, draw bridges, collapsing passageways, a giant cage on a crane… there is not a single RPG out there that offers so many interesting things to do during combat. Honestly, Blackguards is a lesson in encounter design that every RPG player AND developer should experience, to see what a creative team can do when thinking outside of the genre's standard templates. Daedalic even had the guts to make skeletons properly immune to arrows and swords, as they should be.
Read the article in full: RPG Codex Review: Blackguards
Review - posted by Crooked Bee on Thu 20 February 2014, 15:55:27Tags: Paper Sorcerer; UltraRunawayGames
There are four different difficulty levels to choose from: Easy, Normal, Hard and "1980's". During my first trial runs, I went through the first stage of the game on Normal and on 1980's. I played on Normal with my Sorcerer, a Skeleton, a Minotaur, and a Vampire. On 1980's mode I tried my Sorcerer, a Cultist, an Abomination, and a Shadow. Eventually I settled on playing with a Vampire, Abomination and Witch on Hard mode. This party had the benefit of having two characters that could perform strong melee attacks (Abomination and Vampire), two characters capable of healing (Vampire and Witch), and two characters for arcane magic (Witch and Sorcerer). Those that want to go with a more classic party could run with a Goblin thief, Skeleton warrior, and Cultist healer. The combinations are quite numerous and the various classes fun to play and level up, adding to overall replayability. [...]
The main dungeon levels seem simplistic at first, each consisting of around a dozen or so rooms with connecting hallways. Each stage of the prison consists of three dungeon levels to explore, followed by one open area where a boss fight is conducted. It is easy to breeze through these levels, as you can always return to your home to rest up when low on health, and the enemies encountered do not respawn once defeated. However, there are hidden secrets scattered through the game that you can find if you explore thoroughly and pay attention. Finding these secrets is rewarding, as often they lead to treasure rooms with some great randomly generated loot.
Many of the stages have their own architectural style, with the graphics for the doors and walls altered to convey a different atmosphere. Some locations require you to walk across narrow causeways, while others require you to ascend or descend platforms in order to navigate them. This doesn't really make the game any more difficult, but it is a welcome attempt to break up the monotony. A couple of locations in the main dungeon also feature respawning enemies which make it difficult to map everything out, but this is thankfully used sparingly. [...]
The replay value is what makes the game addictive. With nearly a dozen different thralls to summon, you’ll be constantly experimenting with the composition of your party to support particular play styles. I can imagine fans of the game trying to beat it with a party consisting of no tanks or no healers, for example. At the end of the game you are given an epilogue for each character you have in your party, encouraging you to play again in order to see the various endings.
Read the review in full: RPG Codex Review: Paper Sorcerer
Review - posted by Crooked Bee on Wed 29 January 2014, 20:50:46Tags: BloodNet; MicroProse
According to him, the answer is a no:
Any writer worth the title knows that character development is what makes characters have life. In this area, BloodNet falls completely on its face. There is absolutely no character development to be found in BloodNet. Every character is exactly the same at the beginning of the game as they are in the end. Any obstacle in BloodNet exists solely for the sake of gameplay, as opposed to an obstacle that, when overcome, changes a character's outlook. Each character arc is completely flat.
[...] The combat system is by far the weakest aspect of the game, and it's a shame since there are many mandatory fights. The interface is clunky and unintuitive, time consuming when you have to give orders to every party member and stop combat with the escape button, and ultimately just not fun. There is no tutorial for anything, so you'll have to read the manual (which includes false information) to understand exactly what to do. Combat is turn-based, and it comes in two types: descriptive and quick. Quick combat lets the computer make decisions for you, which will invariably lead to the death of your entire party and force you to reload the game. Descriptive combat is where you make the decisions. In this mode, however, combat can become rocket tag, if you know the trick. Most enemies can die in one or two hits, provided that they're not wearing an armor type that absorbs the specific type of damage you're dealing, that you're targeting their chests, and that you're using the right weapon. There are a multitude of weapons in the game, but the one that you'll probably use the most throughout the game is one that's in your inventory at the very beginning: the sawed-off shotgun. One hit to the chest is all it takes for most enemies to die. You can target an enemy's limbs, but there's never any reason to do so.
[...] BloodNet is not a good game by any stretch of the imagination. It's likely to give you a major headache with all its faults, forcing you to give up on it midway through when you've triggered one of the many ways to render the game unwinnable. While the cyberpunk aspect of BloodNet is executed well, the vampire aspect of the game seems to be tacked on as little more than a gameplay quirk. However, if you're willing to look past all of its failings, you may find something to like. BloodNet is a game with some good ideas, but with an absolutely terrible execution.
Read the review in full: RPG Codex Review: BloodNet
Review - posted by Grunker on Sun 19 January 2014, 23:30:51Tags: Monte Cook; Numenera; Torment: Tides of Numenera
On April 6, 2013, 74,405 people decided that the world was ready for another Torment game. They did so even though the developers behind it, Brian Fargo and his company inXile, were unable to acquire the rights to produce a direct sequel. No familiar characters, no familiar story, and most importantly of all, perhaps: no familiar setting.
Instead, Fargo, and his lead designer Colin McComb, had decided to use the Numenera setting, the all-new pen & paper setting by Planescape co-creator Monte Cook.
Numenera itself was the product of a succesful Kickstarter, and the pitch promised it would be a strange and mystical spin on fantasy tropes and science fiction alike. In theory, a perfect substitute for Planescape.
The people gave inXile the green light. Torment: Tides of Numenera has yet to be released, but Monte Cook's Numenera saw release in 2013. Almost instantly after its release, I contacted a few Codexers for the purpose of writing a review. After all, we've had some P&P interviews before, and no P&P setting seemed more relevant than Numenera considering its use in Torment. Blaine wanted to, but then read the damned thing and told me to fuck off, saying that he really didn't "want to waste hours on a pages-long shrug of the shoulders." Not that impressed, huh, Blaine? Alex was more interested, but, honest man that he is, he wanted to actually playtest the damned thing first so he could review it "properly." Hmph. Well, I waited. And then I waited some more.
Until the fateful day when this excellent review appeared in my inbox.
Read the full article: RPG Codex Review: Monte Cook's Numenera
Review - posted by JarlFrank on Fri 10 January 2014, 04:28:01Tags: Drox Operative; Drox Operative: Invasion of the Ancients; Soldak Entertainment
To find out if the additions actually add to the game and whether the expansion is worth getting or not, read on!
Read the full article: Drox Operative: Invasion of the Ancients Review