Interview - posted by Crooked Bee on Fri 5 April 2013, 10:20:55Tags: Julien Pirou; Limbic Entertainment; Might & Magic X: Legacy; Stephan Winter; Ubisoft
Just a couple of weeks ago at PAX East, Ubisoft announced Might & Magic X - Legacy, a new entry in the legendary Might & Magic RPG series. Described by Ubisoft as "a first-person RPG that has pledged to respect the tried-and-tested tradition of its illustrious ancestors, as it leads you to epic adventure and quests while exploring the wild peninsula of Agyn," Might & Magic X is scheduled for release later this year.
Surprisingly enough, in these days of "reboots" and "reimaginings" (Fallout 3, Tomb Raider and Thief being the most prominent examples), Might & Magic X continues to be inspired by World of Xeen rather than something like Skyrim, and features turn-, party- and grid-based gameplay. To find out more about the game, as well as why Ubisoft even decided to make it in the first place -- so far, they are the first and only major publisher to announce an "old school" title -- we sent some questions over to Ubisoft and had them answered collectively by Stephan Winter, CEO of Limbic (the company that develops the game for Ubisoft), Julien Pirou (Writer & Designer), and Gary Paulini (Producer). Have a snippet from the resulting interview:
To us, Might & Magic RPGs are about a party of adventurers exploring a large world in first-person view, meeting a variety of characters, visiting cities, and of course exploring dungeons and fighting monsters in turn-based combat. The specifics may vary from one game to the next (for instance Might & Magic 6 introduced free movement while the earlier games were grid-based), but these basic ingredients were always there and they are still at the core of Might & Magic X - Legacy.
Since there have been several "eras" as far as the gameplay of the series is concerned, we had to think hard about the kind of game we wanted to make. Several pitches were made, more or less faithful to the original games, but we finally decided to go for a gameplay similar to the World of Xeen episodes. We still kept some ideas of the later games, notably our skill system is similar (though not identical) to the skill system featured in Might & Magic 6-7.
Might & Magic games have always been open-world and not just corridor-based, which distinguished them from other first person RPGs such as Wizardry or The Bard's Tale. How open-world will Legacy be compared to the previous titles, and how big will the world itself be? Will the game have level scaling of any sort, i.e., will it scale the power or number of enemies in an area to your level (like Might & Magic II did)?
Might & Magic X starts with a smaller area. This is the "tutorial" area, which we call "Act I". Here you’ll explore your first town, get your first quests, complete your first dungeons, learning how to play along the way. When Act I is over, the rest of the world opens and what you do next is really up to you. If you want to go to that mountain over there despite the fact it’s notoriously full of angry Cyclopes, nothing will stop you.
There will be no scaling of the monsters depending on your level. We feel it’s one of the great pleasures in RPGs to become a demi-god and then return to those Cyclopes and teach them a lesson. However as you progress through the main story some new creatures and monsters may appear in some areas.
While it’s too early to talk the specifics of the game’s world, we can already say it’s bigger than the world of Clouds of Xeen for instance.
Could you elaborate on how training for skills is going to work in Might & Magic X? When will you need to look for a trainer and when will you not?
While, as mentioned earlier, you don’t have to train just to level-up and gain your skill points, we did keep the idea of teachers that can allow you to reach the next tier for your skills.
You start as a Novice, and then you can become Expert, Master and finally Grandmaster by locating the appropriate teacher. Of course Expert teachers are fairly common, while there’s only one Grandmaster teacher per skill and they can be pretty hard to find. And when you do find them, you never know what they’re going to ask you to do before they grant you the title. : )
The interview also discusses the game's class, race and skill system, the question of "accessibility" vs. "simplification", the size of enemy groups, the attractiveness of "niche" video game markets, the absence of any "always online" elements in M&M X and the presence of UPlay (which is unfortunately required, but only for one-time activation).
Be sure to read the interview in full: RPG Codex Interview: Might & Magic X - Legacy
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Review - posted by Crooked Bee on Wed 3 April 2013, 14:49:45Tags: BioShock; BioShock Infinite; Irrational Games
I snap into consciousness. Where am I? What is it in my inbox? A Bioshock Infinite review? Codex fanfiction? A hallucination? Written by Castanova? I get home, post it in the staff subforum, and the next hour passes in an instant. Next thing I know--
(Warning: spoilers abound!)
I get home, slide in the disc, and the next hour passes in an instant. The start of the game is intriguing with a fairly atmospheric lighthouse scene and a nice aerial introduction of Columbia. I've already got questions I want answered: what's the deal with this girl I need to find? What about the flying city, how does that work? Unlike most other big budget games I've played, there's no combat sequence at first. I spend a solid thirty minutes or more just exploring the city, taking in the interesting art design, the amusing religious songs. The shooting and Vigor-casting tutorials are so cleanly integrated, I barely even notice them. Slight oddities do start to nag at me (people seem to leave a lot of money lying around...) but I push those thoughts to the side.
Then a fight breaks out. Being a hardcore gamer, I have set the difficulty to Hard and the first firefights with Columbia policemen do not disappoint. My measly shield dissipates near-instantly and I spend most of the time hiding behind things, trying to survive. Sure, the enemy AI is as basic as it gets and hiding behind things isn't exactly rocket science but I, once again, push those thoughts to the side. I have to find the girl, after all, and I'm genuinely interested in what will happen next.
Someone knocks on my door. I glance back to see a guy I don't recognize. "Hi, I couldn't help but hear you playing Bioshock Infinite from the hall." I invite him in. "I'm Youtuber. Youtuber DeStupid," I tell him. "Nice to meet you, Youtuber. My name's Mono. Mono Cull." Mono Cull looks a bit older and, after we talk more, I find out that he's a brilliant graduate student, studying Physics. I agree to let him watch as I play the game since he owns no consoles and his computer only runs Linux.
As I hunt for Elizabeth ("the girl"), I'm forced to fight seemingly endless hordes of policemen. It's still sort of enjoyable but I'm wondering when things will evolve. After all, I'm still using the same basic handgun and my only Vigor, Persuasion, uses a full 50% of my Salt bar with each cast. Mono more explicitly voices his concern about the combat's monotony but I shrug it off. Surely, I'll get some sweet new powers and items soon, right? The game answers my question by giving me the Sky-Hook, a feature lauded by many of Weakstock's reviewers.
Read the full article: RPG Codex Review: BioShock Infinite [Spoilers!]
Community - posted by Grunker on Tue 26 March 2013, 12:06:17Tags: Best RPGs; RPG Codex Awards; Top10
Ladies and gentlemen, once again Jaesun has gathered the Codex and forced it to vote on its favourite computer role-playing game pastime. After tallying and compiling, Jaesun sent us the finished list of the ten games the Codex just wouldn't be able to live without. Simultaneously, Felipepepe decided the decline in this place wasn't strong enough, and he set out to gather votes for a similar list of the Codex' favourite console RPGs.
Today, we bring you the results of the polls. Will the final list be monocled? Will it be scandalous? Is it incline? Is it decline? We ask some of the Codex' staff, resident mascots as well as random people on the forum willing to contribute, about their comments on the games the Codex found to be the greatest RPGs ever made. Read the full article to see the results!
Read the full article: RPG Codex People's Awards: Best RPGs
(also, don't forget to help the Codex achieve immortality in Torment: Tides of Numenera - click me!)
Review - posted by Crooked Bee on Fri 1 March 2013, 18:50:10Tags: Driftmoon; Instant Kingdom
Just a few days ago Instant Kingdom released their light "adventure RPG" Driftmoon. In this review, esteemed community member Haba tells you what he thinks about the game. Have some snippets (and then be sure to read the review in full):
Excuse Me Sir. I am Looking For a Hidden Fish
So if not combat and character development, what does the game really has to offer? Pixel hunts, for one. The game locations are filled with items you can interact with, hidden treasures and secrets. Crafting ingredients, gold, attribute increasing bonuses... There is a tonne of stuff for those with the obsessive compulsive hoarding habit.
Besides hunting for material, you also obtain a wealth of information. Despite the tongue-in-cheek approach of the game, it is by no means a joke. The in-game lore is well fleshed out, with monster encyclopaedias, small stories and item descriptions.
The real meat of the game is the adventure. Almost every character has something to say; even most of the sentient enemies can be heard grumbling about their miserable duty. Quite surprisingly, the myriad of different followers you recruit on your journeys are quite reactive to the things that happen around them. Sometimes the wealth of one-liners even gets tiresome. Overall the dialogue is well written, even if a bit too simplistic. There are dialogue trees, and occasional choices that lead to a different outcome. [...]
Despite its shortcomings, would I recommend the game for anyone? To much of my own surprise, I find myself saying "yes". Driftmoon has a certain flavour to it. In a way, the magical journey you undertake reminds me of those good-hearted children's fables. And maybe that is where the real target group of the game exists. This would be a good introductory RPG for younger players. Maybe something you'd make your own children play, in the hopes that they'd turn out less fucked up than you did.
The game certainly has something to offer for mature audiences as well, presuming that you go in with the right set of expectations. Building a game of this scale with a two person team is no small feat. I am especially looking forward to seeing what kind of results the community will be able to produce with the rich modding tools the game comes with.
If you doubt your ability to stomach simple light-hearted fun with no gritty grim dark dressing, give the demo a go. Who knows, maybe you'll rediscover your inner child. And if that doesn't work out... you can always find a well...
Read the full article: RPG Codex Review: Driftmoon
The game is on sale today at $11.99. There is also a large demo available at the developer's site.
Codex Preview - posted by Grunker on Mon 25 February 2013, 11:26:52Tags: Expeditions: Conquistador; Logic Artists
Expeditions: Conquistador is a turn-based RPG with a focus on exploration and strategy. It is being developed by a small Danish development outfit named Logic Artists, and scheduled to be released on Thursday.* I decided to pay them a visit this week, to have a look at their studio, take some pretty pictures and have a chat with the developers. We spoke about the game, about Kickstarter, and about the trials of making an oldschool RPG in the day and age of cover-based shooters.
*EDIT: Since the release of this article, Logic Artists have post-poned the release date of Expeditions: Conquistador due to distribution-issues. See more here. Ah, Thursdays and their RPG releases.
One of the oldschool RPGs funded by Kickstarter is the difficult to define Expeditions: Conquistador, which is coming out soon (February 28th, in fact), and as such looks like it will be delivered on the schedule promised by the developers during the Kickstarter. One of the few Kickstarted games, it seems, to meet its deadline. As one of the first Kickstarted RPGs to actually be released it is of obvious interest to the Codex, and since their studio is located a manageable 20 minutes on foot from my apartment, I decided to pay Logic Artists, the developers of Conquistador, a visit.
Read the full article: RPG Codex Report: Expeditions: Conquistador, Logic Artists and Kickstarter
Interview - posted by Crooked Bee on Fri 15 February 2013, 17:19:53Tags: Phantasie; Phantasie II; Phantasie III: The Wrath of Nikademus; Phantasie IV; Phantasie V; Retrospective Interview; Star Command; Star Craft, Inc.; Strategic Simulations, Inc.; Winston Douglas Wood
Back in the 1980s, there used to be a popular CRPG series that would vie in popularity with the two titans, Wizardry and Ultima. That was SSI's Phantasie, designed and coded by Winston Douglas Wood, who also co-designed (with Eric Liebenauer) another SSI-published CRPG, Star Command. Today we present you our interview with the man himself.
The West saw Phantasie as a trilogy, but actually - and this is major news that hasn't been known before - WD Wood went on to design Phantasie IV after Japanese company Star Craft, Inc., approached SSI for a publishing deal. Unfortunately, as the interview tells us, Winston didn't have the time to adapt the fourth game to non-Japanese PCs, so SSI never published it in English and it has remained a Japanese exclusive. In other news, old-time Phantasie fans will also be excited to find out that Winston is currently working on a Phantasie V in his spare time! We'll be sure to keep you informed about the game's progress.
Here are some tidbits from the interview:
Those skills came from RuneQuest and D&D. They encourage the player have a greater variety of characters so that all of these skills are well balanced in their party. To imagine that your characters are listening for monsters and searching for traps gives a greater sense of realism and danger that was typically more present in tabletop games. I would have liked to have added rock climbing to Phantasie and generally make better use of the other skills but time and resources prevented that.
In 1990 Phantasie IV was released exclusively in Japan for MSX, NEC and Sharp computers. The game credits you as the creator of the series, but the actual development is credited to a Japanese company called Star Craft, Inc. What do you know about this game and did you have any involvement in it at all?
I designed Phantasie IV completely. I was able to go to Japan and meet the programmers from Star Craft but I was never able to test the game to any extent. I did consider doing another fantasy RPG but decided to do Star Command instead.
That's exciting to hear! Did you design Phantasie IV specifically for Star Craft, or have you already had it designed (for SSI perhaps) by the time Star Craft approached you? And why wasn't it published in the West?
Starcraft approached SSI with the idea of doing Phantasie IV in Japan. SSI then contacted me and I designed the game. SSI would have published it if anyone had been available to adapt it to computers like the Apple II or Commodore 64 but that never happened (I was busy designing and programming other software).
As far as I'm aware you left the industry at some point after the release of Star Command. What was the reason for your departure and what have you been up to since?
After Star Command I designed three games for Japanese companies. I thought designing the games without doing the programming would give me a chance to improve graphics quality and game play. However only one of the games (Phantasie IV) actually made it to the market and I found that I missed the opportunity to interact with the games during the design process.
At the same time I was given an opportunity to do some programming for a civil engineering software company (KYPipe, LLC). This proved to be a more stable source of income since sales of one product would continue for years instead of just a few months. I am still in that field to this day as part owner of KYPipe, LLC.
By the way I am currently working on Phantasie V. I don't get much time to work on it so its a very slow process. If you want you can check back with me in about a year and I will let you know the status of the project.
We will be sure to! Can you maybe tell us a bit about how you approach it? Will it look and play similar to the previous Phantasie games, or are you aiming for something new with it?
It is still very early in the development stage and it's really just for fun right now. I haven't given any thought to publishing. It will be a PC game though if it turns out well I may consider Android and IOS versions.
In general the scope should be quite a bit bigger but it should play very similar to the previous Phantasie games. I don't yet know how it will look but the main visual feature will still be the scrolling map on which all combat and exploration takes place.
Be sure to read the full interview.
Interview - posted by Zed on Mon 11 February 2013, 20:24:58Tags: Dan Vávra; Kingdom Come: Deliverance; Warhorse Studios
Dan Vávra and his Warhorse Studios are no strangers to intricate open world games. So when they announced that they were working on an open world RPG set in a realistic medieval setting, many people wanted to know exactly what they were up to. After two years... we still don't really know anything. We did get a glimpse of the game engine however, so we now know what to expect graphically. But what goes into the design philosophy behind the game? How will they approach the open world design? How do they balance it with strong, coherent storytelling? This and more is what I tried to wrangle out of Dan in an e-mail correspondence, resulting in this interview article.
It's not about making a simulation of any kind—it's about creating a believable, coherent world and a story that makes sense. Because the devil is in the details, every detail counts when making that world. So, it's not important how many things there will be in the game, but rather that the things are well-executed and makes sense.
A real-world example: I am making a castle for my game. It might be a fantasy game, so I may mix different architectonic styles or came up with my own, but I still have to stick to some rules. Are there long-range weapons in my world? Are there any flying enemies? Who lives in the castle? How will it be defended? When you think about such things, you could never design those absurd caricatures of medieval castles you may find in most RPGs. The Witcher is one of the few exceptions. Probably because those guys are from Poland, and unlike Americans, they have real medieval castles all around them.
Speaking of the Witcher—The Witcher 3 was announced recently, with the main feature being that the game will have an open world approach. We have also heard speculation about Dragon Age 3 moving towards having a more open world as well. Why this sudden interest in open worlds for RPGs, do you think?
Skyrim! When something sells 20 million units, it will attract some attention. Publishers were hesitant about RPGs in the past—they are usually very buggy, complicated to develop and very hard to judge whether they're gonna sell or not. Open worlds are also very expensive, and being open world doesn’t guarantee a success. Look at True Crime, Sleeping Dogs, Dragons Dogma, or Amalur… But when they are done right, it's the ultimate entertainment.
Ah yes, Skyrim. I suppose it's the de facto king of the hill. What are your thoughts on Skyrim?
Well, as they say: In the kingdom of the blind, the one-eyed man is king. For me, Skyrim (or the Elder Scrolls series as a whole) is the one-eyed man. So far, it is the only western open world RPG worth mentioning. For that reason, I was more grateful for it than anyone else, but I have lots of issues with the game. It's an American vision of a medieval fantasy world and as such, it's more like Disneyland with bizarre architecture, medieval knights using katanas, half-naked female warriors, illogical quests and story that is often morally very uncomfortable for me (for instance offering no other than evil choices in quests). The RPG I would like to play was still not made, so I am trying to make it. I'm also eagerly awaiting the new Witcher, which seems like it could be something I will enjoy.
Read the full article: RPG Codex Interview: Dan Vávra (Warhorse Studios)
Review - posted by Crooked Bee on Sat 12 January 2013, 20:53:32Tags: Alpha Protocol; Obsidian Entertainment
Much to our own surprise, it turns out we never got around to reviewing Obsidian's espionage RPG Alpha Protocol. Good thing esteemed community member TNO has finally got us covered. In this review, he looks back at Alpha Protocol to see where it succeeds -- and why it fails.
Have a snippet:
Well, too bad the gameplay sucks.
[...] Games can be crippled by a single bad gameplay element. Every element of Alpha Protocol's gameplay - from stealth, to shooting, to bosses, to minigames - ranges from bad to awful. Incredibly rarely does it all come together to something interesting: the game forcing my stealthy character to crack out the big guns to clear the bad guys from the ticking bomb in Italy is the only thing that springs to mind. The rest of the time it varies from easy tedium to dashes of irritation.
I wanted to love Alpha Protocol - it does a lot of things right, and there is much in it that other games should strive to imitate. These elements would be more than good enough to carry a merely mediocre gameplay experience: such was the case of Planescape and Arcanum or, for example, Deus Ex, which had below average stealth and shooting but gained a lot in the way it mixed these elements. Sadly, Alpha Protocol's gameplay isn't just mediocre - it is plain monstrous. It's one of the few games I found both boring (the 'stealth bits') and painful (the bosses, minigames and shooting) to play.
In the end, Alpha Protocol is an interesting experiment, but ultimately a failure. For gamers so addicted to climbing the heights of the (let's face it, pretty low lying) field of computer game storytelling that they're willing to go through the purgatory of playing this game, it's worth a go. Otherwise, steer clear.
Read the full article: RPG Codex Review: Alpha Protocol
Review - posted by JarlFrank on Wed 26 December 2012, 14:35:29Tags: Drox Operative; Soldak Entertainment
Yours truly has explored several solar systems and traded with galactic empires to bring you a review of Soldak Entertainment's newest effort, Drox Operative!
On the start of a new game, a map of a galaxy's sector is created and different civilizations are placed in it. These civilizations then go on to colonize space and compete with each other, forging alliances, trading technologies and going to war, just like you would expect from a 4X strategy game such as Master of Orion. The galaxy sector consists of multiple solar systems, each containing a jumpgate that allows for quick travel to any other solar system in the sector, starlanes that allow travel between two specific systems, and a couple of planets. The civilizations explore the galaxy on their own, founding new colonies in other solar systems and building an empire.
Read all about Drox Operative and how it tries to spice up its ARPG gameplay by adding 4x-like elements in my little review here. And try out the demo if you got interested!
Read the full article: The Codex Reviews Drox Operative
Preview - posted by Zed on Sun 9 December 2012, 20:02:56Tags: Alexander Dergay; Aterdux Entertainment; Legends of Eisenwald
Legends of Eisenwald, the turn-based strategy/RPG influenced by the original King's Bounty and Disciples 2, was one of the earlier success stories of Kickstarter that we covered here at RPG Codex. A little while back, we were given a closed beta copy to preview the game for our readers, so I snatched it and did just that.
Here's a lil' bit from the preview:
You will also come across NPCs wandering the map. Although these NPCs are rarely more than guards and patrols, they help make the world feel a little more alive. While the writing may not be the game's strongest point, the gossip in taverns and the NPC interactions can be quite funny, albeit a little silly at times.
The combat of Eisenwald is initiative-driven and turn-based. This means that units will take their turns based on unit type and equipment. For instance, a ranged combatant will act faster using a longbow than a crossbow. Heavy armor also seems to burden the initiative of units. But, movement is not affected. This is because every single turn in Eisenwald requires an action. You can't choose to move somewhere specific and then end the turn without doing something. Instead, you must choose a target to attack, and your unit will automatically move there and do so. That is, unless the path is blocked by another unit. The only alternative is to skip the unit's turn entirely. This rather simple approach doesn't mean that there is no tactics involved, or that you can just click wherever and be victorious. In fact, combat feels very volatile in that any one unit may suddenly mess things up completely, and your initial positioning of units and how you use them will greatly affect the outcome.
Besides the actual preview, I also asked Aterdux' head Alexander Dergay a few questions regarding their experience with using Kickstarter:
“Before our campaign on Kickstarter, we didn't know much about how it all worked and there was very little information available - no postmortems or other articles on how to do a campaign for a video game on Kickstarter.”
There's more in the preview!
Read the full article: RPG Codex Preview: A peek at Legends of Eisenwald
Review - posted by Crooked Bee on Sun 25 November 2012, 16:35:24Tags: Klei Entertainment; Mark of the Ninja
Having read JarlFrank's Dishonored review, our esteemed community member Mrowak, who you may remember for his Diablo III and Inquisitor articles, decided to counter it with reviewing what he considers to be a much better stealth game - namely, the recently released 2D stealth side-scroller Mark of the Ninja. Have a snippet:
The enemy AI is satisfactory for the most part. Your foes react to noise and visual contact from a far distance - they go to the place of disturbance to check it out. Being discovered triggers an alarm whereby the enemies from the entire screen rush to your last seen position and inspect the area. Interestingly enough, guards have basic psychology. By default they are relaxed, patrol the area in a stroll, smoke cigarettes and chat with one another. When they are agitated, they raise their gun and carefully approach the source of the disturbance. If they spot you they become alarmed, hold the gun at the ready and move at a brisk pace - they will remain in that mode even if the alarm is called off. Lastly when they witness something horrifying, e.g. see their ally drop dead in a gruesome “accident”, they fly into panic and start shooting blindly around, possibly killing other guards.
Taking advantage of these psychological states is one of the cornerstones of gameplay. You will find yourself acting akin to an evil genius, exploiting the fears of your puppets and having them do exactly what you want: from turning their gazes away from the path to your goal, to disabling security systems for you, to killing their own allies.
[...] Mark of the Ninja is a very solid game. “Focused” is the keyword that underlies its every aspect. True, it targets a very specific niche, ignoring certain facets of gameplay which could not work in a 2D format. Nevertheless, within the limited framework it establishes, it gives no quarter - it does not know what “compromise” means, opting to be a very polished, singular experience rather than everything to everyone. It comes from developers who clearly know their own limitations, but instead of being discouraged, they are eager to work around them to deliver a thoroughly unique experience.
Mark of the Ninja is a model example of what happens when unrelenting passion meets ingenious foresight. It does have some shortcomings, but most of them result from a curious paradox: it is a rare example of a game that leaves you craving for more, even though from the very first moments it offers you plenty. It is the game a true fan of stealth games should not ignore.
Read the full article: Stealth Game Codex Review: Mark of the Ninja
Interview - posted by Crooked Bee on Wed 21 November 2012, 16:09:32Tags: Barkley 2: Revenge of Cuchulainn; Barkley, Shut Up and Jam: Gaiden; Eric Shumaker; Kickstarter; Tales of Game's
Barkley, Shut Up and Jam: Gaiden appeared out of nowhere in 2008 and took the internet by storm, soon becoming a hit indie title. Basketball-themed, humorous and parodying traditional JRPGs and the RPG Maker community, Barkley was one of the most unorthodox and best-written PC RPGs of recent years. And now that 4 years have passed, a sequel has been announced and a Kickstarter is to be launched next week by Tales of Game's (sic), the team behind the first game. The Magical Realms of Tír na nÓg: Escape from Necron 7 – Revenge of Cuchulainn: The Official Game of the Movie – Chapter 2 of the Hoopz Barkley SaGa, TMROTNN:EFN7-ROC:TOGOTM-C2OTHBS for short, is an unlikely title for a game. But then again the sequel itself was long considered unlikely by those who enjoyed the first game.
You may know that the core person behind Barkley, Eric "Chef Boyardee" Shumaker, goes by the name of cboyardee on the RPG Codex forums and posted about the sequel's development in the Codexian Game Development Thread. So I guess, the developer being a Codexer, it should come as no surprise that while the first game was more of a (faux-)JRPG, Barkley 2 is going to be much more of a WRPG: non-linear, with complex character development and choice and consequence. In this interview, we talk to cboyardee about the game's concept, fully non-linear gameplay and C&C, class-changing character development and character creation that lets you influence not just the character's statistics but also the state of the world, and other exciting matters (such as Arcanum influences on Barkley and Barkley 2). Have a snippet:
Let me give you three examples of how this game is non-linear -
First, the world itself is completely open. You can go anywhere you want or do anything you want so long as you are strong or clever enough to handle the challenges. This doesn't mean it's recommended! Think Gothic.
Second, there are multiple ways to accomplish the same thing. For instance, the very first part of the game is all about getting out of Tir na Nog, this awful megacity that the main antagonist, Cuchulainn, is corralling dwarfs into. You can do this by escaping through the sewers or this whole goofy quest where you impersonate the newly-appointed governor or through other ways.
Lastly, many of the choices you make with your character are permanent and irreversible. You can change classes, but the statistics you distribute and the choices you make for your character last forever. There are a lot of very big choices that change the entire game. For instance, over the course of the game, you can acquire robotic parts. If you acquire enough, you permanently become a robot and you can never change back. This affects mechanics - robots equip items entirely differently and have a different set of skills - as well as how certain people react to you and even the endings available to you.
I don't know if there will ever be times where your character build, or the distribution of your base stats, will ever stop you from completing things but there is a lot of content available only to certain classes. I mentioned the robot thing before. The content available to you is based more on the choices you make with the world than the choices you make with your character's statistics - but there may be times when certain options are only available if you have X amount of piety or luck or whatever.
About the complex character development - can you elaborate on how it's going to work? What new RPG mechanics does Barkley 2 have in store compared to the first game?
You start the game by creating your main character, going through a very long and detailed creation process that was inspired by games like Megatraveller 2, Darklands and Ogre Battle. You make choices at different stages of your character's development that determine not only personal statistics like their alignment, attributes and class, but also crazy things about the world, like whether certain things exist (the legendary Blue Duergar...), character names and the game's starting time (which is a lot more important than it sounds!)
When you level up, you get to distribute points into your attributes and sometimes your class changes. I don't want to say how or why your class changes, but it's pretty simple and it spoils the fun of figuring it out on your own. Classes give you passive abilities that boost your stats and active abilities you can use during combat, so they act more as a way to increase your available tactics than as something you rely on, but you may find there are some classes or abilities that help your particular play style more than others so you try to build your character around them. That said, there are certain classes that have plot or quest significance and a few that drastically alter gameplay. This is a game that highly encourages experimenting, so mess around. You really can't ruin your character, there is no "optimal build".
You posted about the sequel's development in the Codexian Game Development Thread, and when we discussed this interview you told me that, while Barkley was a straight up JRPG, Barkley 2 is going to be more of a WRPG, "fully non-linear," with "complex character development and building mechanics" as well as some "serious choice and consequence." What motivated you to expand the game's concept like that? Do you believe Barkley 2 may appeal to the Codex crowd?
It's weird, because the idea for Barkley 1 and Barkley 2 developed simultaneously. We talked about Barkley 2 a lot as we made Barkley 1 and we even drew ideas from it. For instance, the characters of Cyberdwarf and Cuchulainn were originally from Barkley 2 and we put them in Barkley 1. To me at least, this whole game feels like a very organic extension of the first. This is what we always had in mind from the beginning.
At the same time, we want to do very new things (not just for the series, but RPGs as a whole) with this game and differentiate it from the first in some ways too. It does feature a completely open world, much deeper character development and a very different combat system - so mechanically it is very different, but the tone and themes and humor are very much coming from the same place.
I think there will be people who will pass over this game like mondblut because it's an action RPG, and that's fine. This isn't a turn-based game so it's not going to be everyone's thing here. I like turn-based games more too, but turn-based games with one character suck, so we decided to make it the best ARPG we possibly could. I think people who like games about exploration, choices and mystery will enjoy this!
Be sure to check out the game's screenshots and read the interview in full: RPG Codex Interview: Barkley, Shut Up and Jam: Gaiden 2 (Soon on Kickstarter)
Interview - posted by VentilatorOfDoom on Thu 15 November 2012, 11:55:32Tags: Attic Entertainment; Guido Henkel; Realms of Arkania; Retrospective Interview
Today we bring you the next entry to our retrospective interview series, this time featuring Attic co-founder Guido Henkel. Main topic are, of course, the Realms of Arkania games. Here's a snippet:
2. Blade of Destiny and Star Trail were fairly unique RPGs that stood out even in the Golden Age of games. How did they come to be? What were the goals? What influenced the design decisions?Thanks to Guido for his answers and to Vault Dweller for his contribution to the questions and the nice intro paragraph.
The genesis of these games was quite intriguing, actually. We had just completed Spirit of Adventure at the time, the first role-playing game that attic did, and it was published by Starbyte, a German publisher. As it turned out, Starbyte told us that they had the rights to the Pen&Paper game that the Realms of Arkania series is based on [editors note: Das Schwarze Auge, The Dark Eye in english] and asked us if we would like to do a product for them using the license.
The kicker was that we were dying to do that, but we had serious issues with Starbyte. It was a horribly crooked company that cheated us and all of its other developers out of their money. So naturally, we were reluctant to work with them. However, when we talked to the actual rights owners of the Realms of Arkania Pen&Paper games, it turned out that Starbyte had been bluffing. They did not actually have the rights… yet. They were in negotiations, but when the licensor learned about their dirty business practices they decided to sign with us instead, and off we went to make the games. For us it was a great way to obtain the license, and for them it was a great way to do some work in the computer games field, because some of the original designers of the Pen&Paper games were itching to do some cRPG work.
The general consensus was at the time to create a computer RPG that was as close to the Pen&Paper game as possible, so there were no shortcuts at all. We implemented the entire set of game rules, the entire set of attributes and talents from the Pen&Paper original and worked them into the game as best as we could.
Read the full article: RPG Codex Retrospective Interview: Guido Henkel on Realms of Arkania
Community - posted by DarkUnderlord on Tue 13 November 2012, 23:20:52Tags: Cleveland Mark Blakemore; Codex Server Slush Fund; Grimoire: Heralds of the Winged Exemplar; RPG Codex; Sir-Tech; Wizardry 8
The time comes in a website's life when it needs to grow up and move to new premises. Premises that cost money. Today, that time has come for the Codex. However, there's other stuff happening too and so, due to the length of this proposal, the rest is over here.
Here's the short version so we don't have a huge sticky here for the next month:
2. We'll also be bidding on some of the items in the Sir-Tech Auction (prices and items to be determined. Trust us).
3. If we get enough spare cash (another $2,500), we'll throw some at Cleve's Indie-Go-Go Project.
4. If we get a LOT of spare cash, it will be held for Future Codexian Purposes, like server space for my own web games and hookers. But mostly hookers for the Codex' benefit.
5. Donors will get a special tag, ad-free status and other goodies (to be determined). MAKE SURE YOU ENTER YOUR USER NAME IN THE LITTLE NOTE BOX PEOPLE
6. If you only wish to donate to a specific cause, say so in your donation note. This will all be handled manually anyway for now, so why not make it harder on me?
And enter your username / details here:
The future of the Codex rests in your hands. Now is the chance to take those hands and help the Codex. Our future rests on them!
Read the full article: A Codexian Fund-raiser
Review - posted by Crooked Bee on Sat 10 November 2012, 16:29:47Tags: Ice-Pick Lodge; Pathologic; Quickie
We've been waiting for a long time for the prestigious Quickie Nr. 3. Well, here it is. It's Konjad again, and this time he's trying to explain why Pathologic is worth playing. Here's an excerpt:
Prices in stores fluctuate, usually going up, but sometimes going down as well... Thus, you never know if the item you're saving money for is going to cost twice as much tomorrow. Moreover, most of the food rots with time, and sometimes it may be better to save money to buy it at a later point than to purchase everything at once... but then the price might spike up. You never really know. You can also trade with children running around the town, they sometimes happen to have useful things to offer, not to mention that they are the ones you get ammunition from.
Apart from that, there's a karma system. Many actions will increase and others will decrease your karma. Sharing your food, medicine and painkillers with others will make you more popular, but you need to keep in mind that you need these things for yourself as well as for characters crucial to the story. Stealing will make people dislike you, and killing someone (except in self-defense), especially a child, will make them loathe you.
Every day you get various tasks to accomplish, but you’re not alone. Many people will help you as much as they can, often doing the job for you if you fail… but they might pay the ultimate price for their commitment to your cause, and their absence may lead to your doom later on. Every day, the disease spreads and the town attracts attention of the police forces and eventually even the military, who try to do everything they can to stop the spreading of the epidemic. Decay, in both the physical and the metaphysical sense, is the main theme of the game, followed by sacrifice and the idea that everything comes at a price.
But the important question is: is it an RPG? Please discuss.
Read the full article: [Quickie Nr. 003] Konjad and Pathologic
Codex Interview - posted by Crooked Bee on Tue 6 November 2012, 17:03:45Tags: Al Escudero; Deathlord; Electronic Arts; Retrospective Interview; Spelljammer: Pirates of Realmspace; Strategic Simulations, Inc.
In this retrospective interview, we talk to Al Escudero, the designer behind two notable and unique if relatively obscure CRPGs, Electronic Arts' Deathlord (1987) and SSI's Spelljammer: Pirates of Realmspace (1992). The interview's main focus is Deathlord, but it also touches on Spelljammer's development and Al Escudero's career as a whole. As you can see from the interview, both Deathlord and Spelljammer had it really rough during development, to the point where the publisher would change the entire theme/concept of the game on the fly - something you would expect from Electronic Arts, I guess.
Have a snippet:
Honestly, no. Though I had a budding interest in Japanese culture at the time, the game was originally created with a Norse/Teutonic theme, and I had the game finished that way. It was the marketing dept at EA that insisted we change it (at the last minute) to an Oriental/Japanese theme. I was given 5 weeks to change all the art, story, spell names, equipment names, location names, etc. I was quite upset about it. I had a game I had crafted over a year and a half I needed to convert to an entirely different style at the 11th hour and wasn't given sufficient time to do the new style justice. It felt like a hack to me, and I hated doing it. If I'd had a few months, time to do reading on Japanese culture and myths, time to craft a tale that tapped into their rich Mythology, I feel I could have done a far better job, as it was I felt very dissatisfied.
What were your goals and intentions with Deathlord? What kind of game did you set out to make, and in what ways did you intend Deathlord to be different from other games of the era?
There were a number of goals, but primarily I wanted to make it BIG. I loved playing rpg's, but they seemed to be over so quickly, and the content often felt very thin. The RPGS of the time were ones like Bard's Tale and Wizardry that were a single dungeon, or Ultima 3, which had a small world with a lot of generic dungeons that were all more or less the same. I wanted to make Deathlord feel like a real world, with big oceans, climate zones, and different lands with different customs and styles. To accomplish this we created a huge streaming world with dozens of dungeons that had unique themes. In the course of creating the ones integral to the main story line, we also created numerous 'just for fun' dungeons that were explorations of various concepts - mazes, elements, illusions, etc. I ultimately added those into the game anyway as 'filler'. Akin to the Oblivion's and Skyrim's of later years so that there were new things to explore even if you had finished the game.
What were the challenges involved in Spelljammer's development, and were you pleased with the state that the game was released in? In hindsight, to what extent would you say you succeeded in your goals and how do you feel about the game today?
Similar to Deathlord, another mid-project change in direction happened. Initially Spelljammer was going to be an rpg. You would fly through space, and explore abandoned Dwarven citadels, floating castles and dungeons on alien worlds - but a few months into development, the game was cut back to a strategy game. I had to take my ambitious space-rpg and pare it down to something more like interceptor with magic. The game I got isn't really the one I set out to make.
You call Spelljammer's schedule "aggressive." Why did SSI rush Spelljammer's development? What were their reasons for that, as well as for the mid-project change in the game's concept?
I was never told explicitly why it was rushed. If I had to speculate, Dark Sun was over schedule and presumably over budget. It was probably the single most important title the company was producing at the time and had a huge development team and a lot riding on its success. I got the impression that anything that took resources away from Dark Sun was being reigned in.
Read the full article: RPG Codex Retrospective Interview: Al Escudero on Deathlord and Spelljammer CRPG
Review - posted by JarlFrank on Fri 2 November 2012, 20:56:57Tags: Arkane Studios; Bethesda Softworks; Dishonored
While it's technically not an RPG, I've written a review for it anyway. Read all about being invisible while leaning and levels that look like rectangles here!
Overall, the AI seemed a bit more aware to me than it was in Thief, but it's roughly the same in capabilities: it can see and hear the player, but it doesn't react to any environmental manipulations. Some Thief Fan Missions and The Dark Mod have an AI capable of noticing open doors or switched off light sources, so it's slightly disappointing to see that Dishonored doesn't incorporate any such more advanced AI behaviours. One positive surprise the AI gave me was that sometimes, guards would notice that a comrade is missing and would take over his patrol route, if it was a more important route than the one they currently had. In one of the later levels, I took out a guard who held a position that overlooked the entire area, only to see another guard take his place a few minutes later. One slightly silly feature of this game’s stealth system, however, is that you cannot be seen when leaning as long as your body is behind cover. So you can stand at a corner, lean to your right to check out the hallway – and nobody will detect you even if you lean right into somebody’s face.P.S.: I forgot/was too lazy to take screenshots myself. Thanks to Multi-headed Cow and Raghar, who have contributed the screens I used for this review!
The levels are not only very vertical, they are also pretty open. There are always two or more ways to approach your objectives, and there’s ample opportunity for exploration. However, some of the levels do feel slightly linear despite being open and offering multiple paths to your goal. It is most apparent in the mission where you have to kidnap the Royal Physician Sokolov: you need to cross Kaldwin’s Bridge in order to get to his residence, and, due to it being a bridge, it is rather linear. It does offer you several paths to cross it, but they’re all more or less parallel. It’s similar in most missions: the levels are usually roughly rectangular and you start at one end of the rectangle, while your target is at the other end. The levels are very open, yet there’s still a pretty set path. It’s hard to describe, but I think the rectangle analogy fits very well here.
Read the full article: Dishonored: A Taffing Review
Interview - posted by Crooked Bee on Wed 31 October 2012, 13:07:46Tags: Mark Yohalem; Primordia; Wadjet Eye Games; Wormwood Studios
Today is adventure game interview day. Primordia is an upcoming point-and-click adventure developed by Wormwood Studios and published by Wadjet Eye Games, heavily inspired by such classic CRPGs as Fallout and Planescape: Torment. It also features unique art by Victor Pflug and voice acting by Logan Cunningham, the narrator of Bastion. In this interview, we chat to Mark Yohalem, Primordia's designer/writer, about the game and its inspirations and features, including its ties to the RPG genre. Have some excerpts:
Please introduce Primordia to our readers. What is the game about, what kind of world is it set in, and what character(s) do we get to play as?
As you might expect if you've played the original Fallout, things turn out to be less simple than just finding a missing part, though we never veer into the "save the world from the demonlord and his army of orcs" scenario that Fallout has. Rather, I would say that that Primordia has a much more personal story, along the lines of Planescape: Torment.
As for the world of Primordia, it's one populated entirely by robots. These robots have seen better days, and most of them are eccentric if not outright insane. You meet characters ranging from tiny machines the size of bugs to god-like automated factories as big as an entire city. The environments form a post-apocalyptic, post-organic setting: junkpiles, rusting cities; crumbling edifices; giant, buried robots; leaking subway tunnels; and so on.
Aesthetically -- and here I can't speak as well as the game's artist, Victor Pflug -- it's a different kind of post-apocalyptic vision than what you've seen before. Fallout has a sort of 1950s retro-futurism; Bioshock has a 1930s art-deco retro-futurism; things like Mad Max or Terminator just have a kind of industrial-waste / desert futurism. To the extent you can stick a label on this, it's art nouveau mixed with HR Giger motifs (though Giger himself seems inspired by Gaudi, who was arguably part of the art noveau movement). So you have these elaborate, almost organic stylings that are crumbling apart, revealing their inorganic, mechanical core.
Apart from telling a story, video games often explore a particular theme or set of themes. What are some of the themes you aim to explore with Primordia?
Regarding decline: Post-apocalyptic settings are actually pretty common in gaming, but typically games starts at the point where things have bottomed out and are getting better. For example, the hardscrabble towns you see in Fallout have become a fairly advanced nation state by Fallout 2. In Primordia, you're still on the downward slope. While there are ways for the game to end on an optimistic note, it's not like you've saved the world or even arrested its decline. More like there's a small bubble of hope in a tub of water that's rushing down the drain.
Regarding the other themes: Basically, I hate games that take a strong philosophical or political position (like "corporations are evil!") and then just rig the plot to showcase why that position is true. In Primordia, Horatio has certain views on the themes in the game -- he values independence and he religiously venerates Man the All-Builder -- and so, to some extent, the player is going to take Horatio's side. But the other side gets to make its arguments persuasively, and Horatio is shown to be wrong in many ways. I don't think the player is going to come away thinking, "The creators of Primordia rigged the whole thing to show that the ideal lifestyle is to be like Clint Eastwood in Gran Turino, only really religious." We're hoping they come away thinking that they're no easy answers, just hard choices, as players came away from Planescape: Torment.
Primordia is being published by Wadjet Eye Games but developed by Wormwood Studios. What is the size of your company and how did it come about? Is Primordia your first game?
Our next intended project is a text-heavy, heavily randomized space opera RPG in the vein of Star Control 2 and Weird Worlds. I've been working on the design to it in a serious way for five years, and off and on since I was 12 or so.
Read the full interview: RPG Codex Interview: Primordia, Point-and-Click Adventure Inspired by Fallout and Planescape
You can also check out Primordia's official website.
Editorial - posted by Crooked Bee on Mon 29 October 2012, 16:14:16Tags: Games journalism
We at the RPG Codex rarely run editorials; it's mostly always DU with another of his "Year in Review" articles. This time, however, it's different. First, it's grotsnik, not DarkUnderlord. Secondly, it's the ongoing games journalism debacle - because what else but a scandal could make us get off our arse and (ask grotsnik to) actually do an editorial?
I'd really like to quote it in full right here, but I can't. So have a lengthy excerpt:
This is the real, harmful, bloody-minded naivety of the gaming media community; a collectively-affirmed belief that their closeness with the industry makes them specially qualified to pass judgement upon it, without being able to accept that it might also have legitimately compromised their opinions - a little in the manner of a mother who believes it’s perfectly okay for her to be a juror at her son’s murder trial because she knows him much better than anybody else. And this translates into a defensiveness on behalf of the entire profession; Klepek's article, and to a lesser extent Sterling's, takes a moment to acknowledge the inexcusable (of course it isn't right to consult with a company whose products you're reviewing) before avoiding any in-depth commentary on this undeniable glimpse of an industry operating like a swingers' party - in which journalists are invited to become PR reps by PR reps at PR events, transform into creative consultants, then turn into reporters again, jumping back and forth directly between poacher and gamekeeper without ever having their credibility questioned until a bunch of internet detectives on Neogaf happen to notice their CV details - in favour of abstracts and private reflection; really, this story is all about trust between you and me. Really, it's all about how us critics sometimes can't take criticism. Even John Walker and Rob Florence themselves issued milquetoast oil-on-troubled-waters follow-ups to their initial condemnatory statements, urging the gaming public not to think too badly of gaming journalism as a whole, since from personal experience they can testify that most of the people they know are hardworking, decent, and trustworthy.
It’s a pity. Because what the Walkers and Florences (who must genuinely want to improve the situation, indeed, who wouldn’t have spoken out in the first place if they weren't passionate about doing so) have to understand is that for them to start producing apologetics on behalf of a silent majority of honest hacks is completely futile, since nobody believes that every single gaming journalist is corrupt. What people believe is that gaming journalism is institutionally corrupt, built around an imbalanced professional relationship that frequently challenges (and, if appearances are anything to go by, frequently overcomes) writers' principles, and this image is not going to improve as a result of journalists penning earnest columns about how, a few bad apples aside, in their personal experience journalists are honest, (honest!). This image is going to improve if the wider public is provided with tangible evidence that games criticism can occur in a reasonably effective vacuum - that the clowns who announce quite gleefully that they're riding the gravy train of expensive press tours, who copy-paste press statements into their articles and use the word ‘awesome’ in their ‘previews’ and who think they might get a job in the industry themselves one day because that nice PR man gave them a business card are not the same people providing supposedly in-depth objective analysis of any commercial product, that critics are sending back or at the very least declaring the free tat they’ve been plied with (no, saying after the event that you’d meant to give it to charity all along doesn’t count), that editors never have the ability to alter review scores or excise harsh criticism, that advertising is entirely divorced from the journalistic process - and that writers can and will speak up and be heard by the public whenever they encounter misconduct both on the part of the industry and on the part of their peers. Continuing to say, ‘You don’t have the full story, but we do, and we’re telling you that aside from the specific stuff that you already know about, everything is fine, trust us,’ after everything that’s happened, is simply indefensible.
Be sure to read the full article: RPG Codex Editorial: Games Journalism Scandal
We thank grotsnik for writing up this article for us.
Interview - posted by Zed on Sun 28 October 2012, 15:42:40Tags: Cleveland Mark Blakemore; Grimoire: Heralds of the Winged Exemplar
Grimoire: Heralds of the Winged Exemplar is the long-awaited dungeon-crawler from Cleveland Mark Blakemore. This love letter to the golden age of party-based CRPGs has been in development for over 17 years, which is like a world record or something. With Grimoire now up on the crowdfunding website indiegogo, are we finally seeing the culmination of this game development epic? We thought it would be a good idea to catch up with Cleve and have him tell us about Grimoire, what he's been up to and what his future plans are.
Here's a taste of what's in the interview:
I imagined it this way at the outset and hoped it would turn out pretty much the way it has ended up. Sir-Tech would have never let me make this game. They would have had ten mediocre cooks spoiling this broth and it would taste so foul when it was finished nobody could stomach it. This game ended up being pure Cleve Blakemore from start to finish and when people play this game they will have a good idea of what is meant by “pure Cleve Blakemore.” There is plenty of absurdity in the game, lots of humor and the whole thing is meant to be good fun right up to the very end. I mix moments of cosmic horror with abject ridiculousness, terrifying revelations alongside baffling irreverence and some stuff that just never does make any logical sense, the same way I write on the internet. Like it or leave it this is my product and I am proud of it. If you don’t enjoy it then it is likely that you just don’t enjoy my kind of game.
What can you tell us about Hyperborea, the world the player explores in Grimoire? What sort of environments are there to traverse, and what manners of creatures inhabit them? What served as your greatest inspirations when crafting the world and its lore?
Hyperborea is based on the many disparate writings of Greeks and other archivists, from Pliny to Virgil, Pindar, Simonides, Hellanicus and several others. All of these men described this place alongside other accounts of geographic regions that we know are real. Nobody has ever fully understood exactly why Hyperborea was written of so earnestly when all the evidence indicates it was a mythical place. One of the things all the writers were agreed on was that Hyperborea was somewhere on earth but a difficult place to reach, almost requiring some sort of spiritual transformation to arrive in.
Hyperborea was commonly envisioned as a place where there was no sorrow. I began to think about the implications of a place that is perfectly serene and content all the time. Without some conflict, how would any progress occur? Then I imagined I was in charge of Hyperborea and I have been tasked to keep it intact. Would I make the mistake of thinking introducing a bit of trouble might actually be part of my job? Based on this initial premise, the entire story unfolded for me quite rapidly very early on. A recurrent theme present in my ideas about the world from a young age is the notion that humans often try to fix a world that isn’t broken and doesn’t need any intervention by them. In doing so they always manage to make things much worse, even intolerable and they don’t know how to recover what they didn’t appreciate they had. I have always believed that humans often have just enough brains to get themselves into dire straits they do not correspondingly have the brains to get themselves out of. This cycle is repeated in history until it is the rule, not the exception. Why shouldn’t the same mistakes be made in the mythical land of Hyperborea?
I have drawn on a broad assortment of legendary creatures and fantastic writings to populate this world from thousands of different sources. I have modeled characters in the game after figures from Rudyard Kipling, Ambrose Bierce, Kafka and Emily Dickinson. I have a rich interior and I didn’t cultivate it to impress girls. It is the result of hundreds of thousands of hours of reading, including the Western pantheon and all the other books they tell us are not worth reading anymore. I have a peculiar fondness for Cervantes' anti-hero Don Quixote and he appears in the game as a knight errant.
For Grimoire, you take inspiration from Wizardry 6 and 7, but not Wizardry 8. What makes the former superior to the latter, in your view?
Wizardry 8 is a derivative work attempting to copy the superficial mechanics of the earlier two games. I believe it is soulless and empty compared to Bane of the Cosmic Forge and Crusaders of the Dark Savant. There is more atmosphere in the first city you enter in Wiz 7 than the entire game in Wizardry 8. An honest appraisal would conclude that the primitive 3D in Wizardry 8 is manifestly inferior to the hand crafted artwork of W6-W7 for atmosphere and immersion. The graphics in Wizardry 8 were not good 3D environments and they weren’t much for classic dungeon blobbers. Lands of Lore was infinitely superior and they made the same mistake, moving from a beautiful handcrafted appearance in the first game to a sterile, flat and unconvincing 3D engine with flat billboarded sprites in the sequel. I thought the first Lands of Lore looked like a Richard Corben graphic novel from beginning to end.
Wizardry 8 was what flowed into the vacuum left behind by David Bradley and Anthony Greenberg at Sir-Tech. It was the absence of the good, which is the worse thing you can be as far as I am concerned. The absence of the good is worse than merely bad.
We also have three new screenshots of Grimoire on display in the interview, so make sure to check it out.
Read the full article: RPG Codex Interview: Grimoire: Heralds of the Winged Exemplar