Review - posted by Crooked Bee on Tue 22 May 2012, 15:33:13Tags: Carpe Fulgur; Fortune Summoners: Secret of the Elemental Stone; Lizsoft
So anyway, some time ago I played through and then replayed a game called Fortune Summoners: Secret of the Elemental Stone, a 2D party-based side-scrolling action RPG originally released by the Japanese developer Lizsoft and localized earlier this year by Carpe Fulgur, the company who also published Recettear and Chantelise. Initially I didn't plan on writing a review or anything. But yesterday I thought 'why not?', and here's the result. Have a snippet:
Not just the AI, but the enemy variety is quite pleasant as well. Enemies block, flank, stunlock, poison and confuse you, fly, jump, do leap and ranged attacks, cast powerful spells, heal themselves, float out of your attack or spell range, and move faster than you do. When defeated, they drop coins and occasionally treasure chests. In the very beginning of the game, you will fight bats who dive in on you at what seems like the most unpredictable moment and evade your attempts to reach them, slimes that deal quite a bit of damage with their tentacles if you get too close, snakes that poison you, and mothbees who put you to sleep and sting you from a distance if you stay in one place for too long. Later you will encounter lightning fast sabercats, ranged archers, mushrooms that release toxic clouds, kobolds more than capable of sword fighting and even blocking your attacks, acorn-throwing cocorats who can also jump-kick your butt, merkids with their long-range tridents and powerful magicians with devastating spells to accompany them, and other regular monsters not to count bosses, each with a unique pattern that is flexible, not rigid, and tries to adapt to your actions. And don't even get me started on the freaking harpies. As a rule, every enemy that appears brings something new - a new kind of frustration - to the table, and that is no small feat on the designer's part. That also makes discovering the best way to handle an enemy type extremely rewarding.
On both Normal and Hard, enemies are fairly tough and don't just go down in one or two hits, draining your MP and always eager to significantly reduce your not too high HP. Some of the enemy moves have a chance of knocking your character down, rendering her helpless for a fair bit of time. Things get especially dangerous when there are multiple enemies of different types on the screen that complement each other with their abilities. In such cases, you have to carefully pick the attack spot and choose which foes to focus on first and how to evade the rest while timing your moves to take advantage of the enemy's moments of immobility and interrupt their spellcasting. That is also when the combat gets the most tactical, requiring you to put thought into the situation and keep the whole picture in mind instead of just rushing headlong to your inevitable demise. The enemies are also quick to repopulate the previously explored areas - the good thing being, they do not seem to scale to your level, so that low-level areas will remain low-level no matter when you revisit them. Encounters are hand-designed, not random, and many of them are avoidable if you simply run past them fast enough; a welcome thing when you just need to get to the next destination quickly.
Read the full article: JRPG Codex Review: Fortune Summoners: Secret of the Elemental Stone
Next up on JRPG Codeksu~ okay I'm just kidding ^_^
Interview - posted by Grunker on Thu 17 May 2012, 09:20:03Tags: Fallout; GURPS; PnP Interview; Sean Punch
Can you tell us a bit about yourself and your responsibilities at Steve Jackson Games? What project(s) are you currently involved with?
To you, what are the most significant design principles and core values behind GURPS?
- Options. However many expansions it has and however long these run, GURPS is a simple game at heart; e.g., characters are built on one variety of points, and most tasks involve rolling three six-sided dice under a target number. Likewise, GURPS makes no assumptions about genre or power level, and few about realism level or play style (although I'll admit that it does slightly favor verisimilitude, and avoids competitive, PvP gaming). However, it offers all kinds of options to adjust complexity, genre, power level, realism level, and so on. That's the heart and hallmark of a GURPS product: it offers tons of options that enable the gamer to customize her gaming experience.
- Austerity. GURPS is a sprawling product line, and I'd never lie and say that we don't expand it all the time, because we're famous for doing exactly that. However, a few basic systems underlie everything, and we try not to introduce new game mechanics or character abilities until we're sure that the existing stuff won't do the job. Most of the expansions you see demonstrate how to use the available tools to do new jobs. They don't add new concepts that break old ones; they just expand gamers' options.
- Consistency. We make a serious effort to ensure that every product works with every other one, and that new rules respect old rules (although they might add special cases or extra detail). Likewise, we take editorial style and even text formatting seriously, so you know what sections to expect in a particular kind of GURPS book, where to find things, and how to read the stats.
Fallout 1 was initially supposed to utilize GURPS for its rule system, but in the end it did not. The only information we have been able to find on the subject is that SJ Games were concerned about the amount of blood and gore in the game. Can you tell us more about why a GURPS Fallout failed to happen?
For Sean's thoughts on CRPGs and their systems, the future of GURPS on the PC, and lots of RPG design talk, read the entire interview!
Read the full article: RPG Codex Interview: Sean Punch, Line Editor of GURPS, on P&P, Digital Media, and RPG Design
Interview - posted by Crooked Bee on Tue 15 May 2012, 22:05:42Tags: Dreadline; Eerie Canal Entertainment; Freedom Force
The art style is pretty unique (unique and pretty), too, as evident from the teaser trailer:
Excited about the game's announcement and premise, we have reached out to Bryn Bennett (Programmer/Designer) and Aaron DeMuth (Artist) of Eerie Canal Entertainment for a short interview that would hopefully introduce the game better than just a usual press release. Have a snippet:
Bryn Bennett: Steven [Kimura, Lead Artist] is a huge Edward Gorey fan, which explains a lot of the look. We are also trying to bring the creepy look of '70's animation, which I don't think has been represented much in video games. Cartoons like The Hobbit and Watership Down were terrifying!
The concept just came from us throwing around ideas for a few weeks. We all generally have dark senses of humor, and this concept really cracked us up. We knew we were on to something right away.
Aaron DeMuth: Yeah, Steve already has a pretty distinct drawing style, mix in Edward Gorey, Quantum leap, and Ancient aliens and I think you'd arrive at the same place.
Dreadline has been announced as an "action RPG/RTS hybrid." From a gameplay standpoint, would it be fair to call the game "a Freedom Force-like, but with monsters instead of superheroes"?
BB: I think that's a good place to start, but doesn't really describe what we're shooting for. The game is going to be much faster paced than Freedom Force. It will still be necessary to control your team well in order to complete levels, but we won't have things like pause-time. We want it to feel very frantic and high energy. Additionally, we are a small indie studio, so we're not going to be making something the size of Freedom Force, since we just don't have that kind of man-power. (people-power?)
The press release says we will control "a bloodthirsty monster squad." How large is the squad the player controls going to be and how many recruitable characters will there be? Can you perhaps give us some examples of the special skills the characters will have?
BB: You will control a squad of 4 monsters at a time. We played around with the number a bit, but larger numbers of monsters started to feel unwieldy. There also may be some early level with less, to keep things simple and allow the player to ramp up with the controls. Then again, they have a time machine, so they could always go back and replay with more monsters and really bring the doom.
Again, I'm not trying to be secretive, but there are a lot of things up in the air right now. Our skill system currently allows for a ton of different types of abilities, so I'm really excited about that.
Right now, our character Cuberik (the Evil Cube), is kind of like a harvester of souls. One of his abilities is to drain life from humans, and can then use that life force to heal his monster friends. He's like a terrifying recycling machine.
So if you ever wanted an RPG that would allow you to play on the side of monsters that kill a lot of people in a bloody way - and with an (ahem) moral justification of "eh, they were all going to die anyway" - this might be just the game for you. We thank Bryn and Aaron for their time, and personally I'll be keeping an eye on Dreadline and patiently waiting for its release scheduled for Q1 2013.
Meanwhile, be sure to read the full interview: RPG Codex Interview: Dreadline, Party-Based Monster ARPG by Ex-Irrational Games, Ex-Harmonix Devs
Interview - posted by Crooked Bee on Mon 7 May 2012, 21:18:51Tags: Arcanum: of Steamworks and Magick Obscura; Blizzard Entertainment; Diablo III; Fallout; Fallout 2; Interplay; Leonard Boyarsky; Retrospective Interview; Troika Games; Vampire: The Masquerade - Bloodlines
Therefore you can imagine how excited we were when Leonard Boyarsky agreed to do a retrospective interview with us, which you can find here. In the interview, Leonard talks Interplay, Troika, and some of the inspirations and design (and business) particulars behind the titles he helped create. Have a snippet -- but be sure to read the full interview as well, it's really interesting!
The atmosphere and culture at Interplay were phenomenal. It was a very creative and inspiring place to work – I mean, they let us do basically whatever we wanted with Fallout. We had almost complete creative freedom on that game. After it shipped, however, it felt like the ‘being left alone in a corner to do whatever we wanted’ era had come to an end. They liked what we had done with Fallout too much to let us run wild anymore, I suppose. Don’t get me wrong – the atmosphere at Interplay was still great, but it felt like we had to move on. Another major factor in our leaving was that we felt that Interplay was going to be facing hard times soon, due to certain choices that were being made. We didn’t want to wait around for it to implode, so we left.
Was founding your own video game developer company something you had long wanted to do, or was it a spontaneous decision? How difficult was it for you as Troika's CEO to balance creative and business challenges?
I never wanted to start my own company, I wanted to stay at Interplay forever. But then Fallout ended and our situation at Interplay changed. It was only then that we seriously started considering starting our own thing. As far as being CEO, that just meant that I was the poor soul who had to negotiate contracts, deal with publishers, write our reports, etc. I spent as little time doing that stuff as possible, which is probably one of the main reasons we didn’t succeed as a company. None of us wanted to do the business stuff, we just wanted to make games. Vampire was really where the management/lead stuff began to crowd out the ‘in the trenches’ day to day work on the games for me.
As you put it in a past interview, "being original is risky." Do you believe originality, and the fact it did not sell, was the chief reason Troika was not able to survive?
Pinning our demise on ‘being too original’ is a bit self-serving for my tastes. For one thing, we were never able to spread our appeal beyond the hardcore RPG market and our sales suffered for it. Not to mention our reputation for releasing ‘unpolished’ games…
Given the recent Kickstarter success stories of Tim Schafer and Brian Fargo, what do you think of crowdfunding as an alternative way of video game publishing? Do you believe it can significantly change the landscape of the industry, and would you consider turning to crowdfunding yourself in the future? (For a Troika reunion maybe?)
I think it’s great. It’s wonderful that old school games are being funded this way. I don’t know that it will have much of an effect on the publishing industry, though, unless one of the games is a huge hit.
And I’m happy working at Blizzard, so I don’t see crowdfunding in my future—especially since I have no desire to run my own company again.
I repeat, be sure to read the interview in full: RPG Codex Retrospective Interview: Leonard Boyarsky
We are grateful to Leonard Boyarsky for taking time out of his demanding schedule to do this interview for us, and Che'von Slaughter of Blizzard Entertainment for kindly allowing it to take place. We also thank everyone who suggested their questions for this interview; unfortunately, it was impossible for Leonard to answer all your questions, but I hope you're satisfied with the result!
Interview - posted by Crooked Bee on Sun 29 April 2012, 14:51:51Tags: Faster Than Light; Kickstarter; Subset Games
FTL had a dedicated thread here on the Codex, which got many of us interested in the game. Unfortunately, however, not everyone had the chance to try out the game's demo that was only available for a limited period of time via OnLive. Therefore, as the game nears its beta (currently scheduled for May), we have reached out to Justin Ma and Matthew Davis of Subset Games to ask them a few questions about the game, the things they plan on adding for the beta, and related matters. This interview is the result. Have a snippet:
While the more typical ‘pure’ roguelike games are a lot of fun, what excites us most is when developers take elements of roguelikes and combine them with other established game archetypes. This interest began after being moderately obsessed with Spelunky.
We tried to pull our favorite aspects from the roguelike genre and put them into FTL. This can be seen in the randomly generated galaxy, the way unexpected loot influences your strategy, how permadeath dramatically increases tension, and an end-state that seems just out of reach.
With its streamlined interface, FTL seems to be developed with a more casual audience in mind compared to "hardcore" roguelikes. What will the game have to offer to a veteran roguelike player? How do you ensure that such a player finds enough variety and depth in the game's mechanics to warrant multiple replays?
As much as we love classic sims, we hate the burden of over-complicated UI. We value simple controls and ease of use, but we are still hardcore gamers at heart and FTL was designed specifically for players like us. The game truly shines when players are faced with managing power issues, environmental hazards, boarding parties, injured crew, and an enemy ship... all at once.
Our ultimate goal is to have an intense and difficult game where each failure can be traced back to a decision the player has made; making them want jump back in with their knowledge and strategy refined.
What are the most important features you are still to implement before release, and have your plans changed in any way now that you have collected $200k via Kickstarter instead of the $10k you initially asked for?
By the beta, we want to restructure the map and enemy generation system, create the end-game state, and add the meta-game elements / achievements. In addition to those major features, we’ll be adding more content in the form of additional encounters, weapons, and enemy ships will be added as well. The significantly increased funds are allowing us to hire contractors to improve various aspects of the game. However, our aggressive release schedule could mean that major, previously unplanned features will have to wait until post-launch when we’ll release them as free updates.
We thank Justin and Matthew for their time and look forward to the beta! Meanwhile, you can visit the official FTL website.
And be sure to read the full interview: RPG Codex Interview: Faster Than Light, Spaceship Simulation Roguelike
P.S. Special thanks go to Zed for his input on the first version of the questions!
Interview - posted by Crooked Bee on Fri 27 April 2012, 20:10:49Tags: Retrospective Interview; Robert J. Woodhead; Sir-Tech; Wizardry II: The Knight of Diamonds; Wizardry III: Legacy of Llylgamyn; Wizardry IV: The Return of Werdna; Wizardry: Proving Grounds of the Mad Overlord
To start things off, we present our interview with Robert Woodhead, the co-creator of Wizardry, one of the most revered series here on the Codex, and a pioneer of the industry. Wizardry was a huge success for Sir-Tech, and it continues to inspire video game designers to this day. In this interview, Robert talks about some of the design and coding decisions behind Wizardry, nerds, groupies, and related matters. Have a snippet:
In the early days, we were very isolated; the only time we really interacted with other creators was at conferences and conventions. The rate of change during that period was very slow due to the lack of communication -- a 1200 baud modem was the gold standard!
How did your decision to leave the industry after you parted ways with Sir-Tech come about? Have you ever thought of going back to designing video games?
I actually moved to Japan to build what would have been one of the first MMOs (code-named "Sunday"), in the early 90s, but the project lost funding when Japan's economic bubble burst. But at the same time, AnimEigo grew from a fun weekend project into a real company, so things worked out. And the girl I was chasing after allowed me to catch her.
It might be fun to work on another game, but it would probably have to be in a design role. I still program quite a lot but I'm a lone-wolf coder; I've never worked in a big programming team.
Did you code the first four Wizardry games by yourself? What programming challenges did you face that you were most proud of overcoming?
I did the code for the first 4 games. The most interesting hacks I did were the copy-detection system, and the "Window Wizardry" retrofit that added overlapping windows to the UI, which got done from idea to implementation in a single 80-hour coding marathon.
Were there any design ideas that you wanted to implement in the series but had to reject because of programming or other technical considerations?
One thing I wanted to do was set up the game so that if it detected it had been copied, and there was a modem attached to the computer, it would wait until it had been idle for a while and then call us up and drop a dime on the pirate. And of course it could be a 900 number... : ) But wiser heads prevailed.
The early Wizardry titles were first developed for Apple II and then ported to other platforms. How did you go about this process?
We wrote Apple Pascal p-code interpreters for each target machine. That plus a little assembly language code to abstract the graphics did the trick. We also had a text localization system that moved all the text in the game into a database; it got done for the Japanese localizations and permitted us to create any message we needed on the fly, with all the variable parts inserted into the right places.
In Wizardry I, the player did not even have to explore half of the dungeon levels in order to beat the game. What prompted the decision to leave so many levels unused?
I think we underestimated how fast people would power-level -- and at the time, nobody knew what power-leveling was. So while there were shortcuts, we expected they would be used only after people had explored all but the final level.
Can you share your favorite anecdote or piece of trivia from the days you were working on the Wizardry series?
When the industry first got started, all the programmers thought we'd be the rock stars of the '80s, complete with groupies.
Well, it turned out we were right about the groupies. Unfortunately, they all looked just like us -- nerdy guys. : (
Heh, the story of a Codexer's life.
We are extremely grateful to Robert Woodhead for taking his time to do this interview. Stay tuned for more retrospective interviews in the future!
Be sure to read the full article: RPG Codex Retrospective Interview: Robert Woodhead.
P.S. Thanks to cboyardee, MMXI, Alex, Zed, and JarlFrank for their criticism and suggestions on the first version of the questions!
Interview - posted by Zed on Wed 25 April 2012, 22:35:28Tags: Alexander Dergay; Aterdux Entertainment; Kickstarter; Legends of Eisenwald
The interview also comes with brand new screenshots.
What are your favorite strategy RPGs, and how do they influence the concept behind Legends of Eisenwald?
AD: For this we have a quite definite answer – Disciples 2 and King’s Bounty. Not only King’s Bounty: The Legend but also the first one from 1990. That was the game that inspired making Discord Times and it was released 4 years before King’s Bounty: The Legend. We believe that zest of King’s Bounty lies in RPG gameplay on a strategic scale. You lead an army, travel to many distant places but you don’t need to worry about such prosaic things like economy or resource management. You are not a king, you are a knight, a vagabond and it’s great! This romantic feeling is what we aim to reproduce in Legends of Eisenwald.
As for Disciples we love these series mostly because of its unique combat system and as many fans we were very disappointed when Disciples 3 abandoned it. But we decided that we have to fix this situation and not let that unique system die : ) Our combat model is inspired by that particular model. Its rethought and improved version is used in Legends of Eisenwald.
Legends of Eisenwald's combat is turn based, yet at the same time you want to make it fast-paced enough for individual battles not to take too long. How do you strike a balance between complexity and speed of combat? Can you describe the move-and-strike system in more detail?
AD: First of all like in Disciples 2 and Discord Times our units don’t have a feature like “move points”. Close range fighters can attack any enemy if the way to him is not obstructed by another enemy. There is no command like “go and stand there” so for every move you have to attack someone or stay in defense position. Moreover, we aim to balance units’ characteristics to increase the importance of every strike in a battle. For example: you chose to attack one enemy unit and you finish the battle having lost two of yours. You played again, you chose to attack another one and you finish the battle with no losses.
Anyway, we understand that describing our combat system in words is not that convincing. In the next couple of days we plan to present a combat video with detailed commentaries that will show a full picture of battles that await you in Eisenwald.
How non-linear can we expect the campaign to be? Apart from the character class you choose, are there any other ways to impact how the game (and the story) plays out?
AD: Many decisions will influence how a player goes through scenarios. In some cases a player will choose himself which alliance to choose or whom to fight. The quests that he receives will also depend on that. But it all will be within a framework of coherent large campaign. In Legends of Eisenwald we plan to have “hidden” non-linearity where choices in one scenario are reflected in another scenario. For example, you received an item after a battle. You can sell it and get gold or you can use it to finish one of the local quests. But if you decide to keep it, you may find out many new things in the next scenario.
* Eisenwald is German for "iron forest". Now you know.
Read the full article: RPG Codex Interview: Legends of Eisenwald, Strategy/RPG with turn-based combat
Review - posted by VentilatorOfDoom on Mon 23 April 2012, 12:50:38Tags: BioWare; Mass Effect 3
It is worth noting that the renegade options have generally grown up a bit. Previously renegade choices were random acts of violence (such as this defenestration), or killing an NPC you just met for the greater good. The renegade choice in the Tuchanka story line involved you literally shooting a likeable NPC in the back, and potentially having the betrayal blow up horribly in your face if Wrex is around to find out. Having party members mention 'shame that Mordin had to die curing the Genophage' knowing you shot him to ensure it remained uncured was much more emotionally engaging that their canned tragedy routines.
There are other cases of similar complexity where the C&C shines. Resolving the conflict between the Quarian and the Geth is one example, talking down Ash/Kaidan at the council coup another. This sort of thing has only really been matched by Alpha Protocol, and would that other games join in.
Sadly, it isn't all that good, and the 'Bioware choices' which lead to at-best-cosmetically-different outcomes are out in force. If a party member died in previous installments, their role will be replaced by a functionally (and often word-perfect) equivalent stunt double: Mordin gets replaced with a scientist Salarian, Grunt with another Krogan Leader, Jack with a leader of biotic students, Tali with another Quarian Geth expert, etc. Supposedly important plot decisions count for little: destroy the Collector base and Cerberus still 'recovers' the human Reaper and hangs it up in their headquarters, kill the Rachni queen and you still meet another Rachni queen 'created' by the Reapers, get Anderson to be councillor and Udina takes over the role anyway. And so on. It got to the point that whenever I saw an interesting little wrinkle in the game it made me wonder 'how would things have turned out differently?' I reminded myself that, in all likelihood, the difference would have been cosmetic. There are only so many times you can offer illusory choice before you prejudice the audience against you.
Read the full article: Mass Effect 3: A Narratological Review
Preview - posted by Zed on Thu 29 March 2012, 03:37:37Tags: OlderBytes; Swords and Sorcery: Underworld
Something that might get on your nerves is the fact that you do not see enemies approach you before an 'encounter!' box pops up and you get thrown into combat. You will enter combat everywhere, too. Even in towns. This can make it challenging to strategize, at least during your first playthrough. When my healer died early in the game, it was pure hell getting back to the temple to resurrect her because of all the random in-town encounters along the way.
Read the preview in full here: Swords and Sorcery: Underworld Gold Preview. There's also a thread for the game in the Codex Workshop subforum that you might want to check out.
Interview - posted by Crooked Bee on Thu 22 March 2012, 11:43:53Tags: Brian Fargo; Kickstarter; Wasteland 2
BF: Every project that I have managed has started with a vision document that calls out the important things we must deliver on. In conjunction with those call outs I make the team deliver examples of such things. If we say great characters with interesting dialogue then I want to see a sample. If we think gorgeous character portraits are important then I want an artist to show me one. It is one thing to promise a feature, but another to deliver. So instead of my relying on my instincts or team meetings I am able to solicit the feedback from the fans to make sure we nail what is important. The process now is very similar but actually better than ever since I don't have to be flying in the dark. We are not going to try and satisfy EVERY desire of EVERY fan, or it would be a mess. My instincts for this game have been pretty much in line with what I have seen, but there have been new ideas or priorities that were not intuitive to me and I was thankful for having the input that has been supplied. And there will be an extra step soon where I post the vision document based on all these things, but I have not had a second to type something up that communicates well. I don't think there will be any big surprises on it... we all know what we want to see here.
Wasteland enforced a distinction between the core group of player created characters and the companions that could tag along. The companions would largely control themselves and helped to integrate the player's party with the game's setting and quests. Is the autonomy and personality of these companions something you would like to expand upon in Wasteland 2? In what ways?
BF: I absolutely want to expand on the NPCs' self directed nature. I do want control to tell them to move, fire, evade, etc., and probably most the time they will obey. Some NPCs will waste ammo like in the first game, but I want to take it further. Some will steal from you, which will be funny to notice your canteen is missing. Maybe he will return it and maybe he won't. And you may have another powerful NPC in the group, but he just hates bikers. Walk into a biker bar and he starts attacking without regard for consequences. Those are fun moments for me.
Most cRPGs today seem to feature voice acting in some capacity and it has been hinted at that Wasteland 2 will be no different. Many believe that the financial burden and inflexibility of voice acting will have an impact on the dialogue and quest design. Do you share this belief? To what extent would you like to use voice acting in Wasteland 2?
BF: I don't want to give away all my surprises, but people have made an assumption that voice acting is just talking heads or a narrator. There is some very interesting audio bits I have been wanting to try for years that will really up the drama but without the design or cost impacts. The classic RPGs like a Fallout or a Torment had a heavy literary vibe with all the great prose and descriptions, and that is a large element that people liked. I'm not talking about stepping on every square and getting a paragraph, but there is definitely a place for good writing. Also keep in mind that we will design the game as if there was no conversation audio, so we won't even consider that as a limitation.
Be sure to read the full interview here.
We are grateful to Brian Fargo for taking the time to answer our questions!
Interview - posted by Crooked Bee on Sun 18 March 2012, 22:38:35Tags: Alex Thomas; Kickstarter; Stoic Studio; The Banner Saga
The Banner Saga -- a 2D turn-based tactical strategy/RPG hybrid currently being developed by Stoic Studio, a small team of ex-Bioware employees -- is about to go the crowdfunding way, with a dedicated Kickstarter page scheduled to be up tomorrow. The game got quite a few people excited over here already by its promise of turn-based tactical combat as well as by taking its inspiration from King of Dragon Pass, among other games. We even have a lively thread about it here in the General RPG Discussion subforum.
That's me interviewing Alex Thomas on The Banner Saga
Therefore it should come as no surprise that, before the launch of the Kickstarter campaign tomorrow, we've sent some questions over to Stoic Studio's Alex Thomas and he was kind enough to answer them for us, this interview being the result. Have some snippets:
As a game designer, what do you think of the current state of the video game industry, and strategy/RPG industry in particular? Are there certain trends that are worrisome to you or, on the contrary, that you particularly appreciate?
In general, what makes a strategy game "deep" in your view, and where should RPG elements come into play?
Elsewhere, you cited King of Dragon Pass, Final Fantasy Tactics and Mount and Blade as influences. In what ways would you want The Banner Saga to be similar to each of those games? Do you have some specific points of similarity in mind?
Final Fantasy Tactics is the kind of mood we want to capture in combat. It was the first game to really feel like it had game mechanics that went way beyond surface level and I would play it for the sheer joy of experimentation. I imagine there were a lot of people like me who had maxed out the characters and classes before even getting to Dorter. That feeling of building a "deck" of characters with abilities that complement each other tactically, the way you would make a specialized deck in Magic: the Gathering, is something we wanted for combat in the Banner Saga.
As for Mount and Blade, well, I can't we've taken much from the gameplay. It's my absolute favorite game and what I really enjoy about it is the mood and setting more than anything else, the real sense of survival in the world and the way politics actually affect the gameplay. More than anything, this is one of those influences that lead us to making games.
We are grateful to Alex for taking his time to do the interview! I'll be sure to edit this post once the Kickstarter goes live and keep you all updated.
Meanwhile, be sure to read the interview in full: RPG Codex Interview: The Banner Saga, 2D Turn-Based Strategy RPG
UPDATE: The Kickstarter page is now up: http://www.kickstarter.com/projects/stoic/the-banner-saga. Check it out.
Competition - posted by DarkUnderlord on Wed 14 March 2012, 07:22:28Tags: Brian Fargo; Codex Statue in Wasteland 2; Kickstarter; Wasteland 2
Want this in Wasteland 2?
Carrying on from this thread (and as suggested by this thread), the Codex is aiming to raise $5,000 for the Wasteland 2 KickStarter currently being run by inXile. If successful, this will score us an in-game statue (we're going for the Codex Troll as created by MCA, shown above) and a Codexian-based location.
Brain Fargo, CEO of inXile has confirmed that he is willing to work something out for us if we can raise the cash:
UPDATE (March 15): Only $1k left to go. Tally is now on the right side of the front-page, where hot topics used to be.
Chris Avellone has also thrown in this offer:
As a thank you from the Codex, everyone who donates will get at least one months ad-free for every $5 donated to the cause (just give me a few days to set that all up). To find out more, including the current (updated as of March 15) list of donors, follow this link.
UPDATE (March 16): We have officially reached our goal with just under $7,000 raised. As soon as I transfer some of my own funds, we will reserve a statue place in the KickStarter for the RPG Codex (under the Codex' name). Due to possible tax / PayPal fee issues, we're putting in $6k towards the KickStarter and will hold the rest until we know for sure how much the charges will be. We now need ideas on what to do if we raise more dosh... And of course, you can still drop in $250+ for your own MCA troll!
UPDATE (March 17): Check the content item for updated donors. Also, please be advised that processing donations takes at least 48 hours. So if you've donated and aren't on the list yet, give it at least 2 days before you PM me asking why you're not on the list. Also, we may have a tax problem... Please stand by.
UPDATE (March 18): Ok, hopefully we've resolved the tax issue and we've changed our PayPal account. Check the content for more details and an updated list of donors! This will likely be the last update in the news item for now, but I'll continue to update the donor list and the tally daily.
UPDATE (March 20): We've decided to end the fund-raising drive when we reach $10k. Also, if you've donated but don't want one of the digital copies we get, let me know (names with an * in the list are those I've noted - some people have advised me but if you've not got an *, advise me again). Updated donor list and additional details are in the content item.
UPDATE (March 22): Updated donors. Going through and working out ad-free patron stuff now...
UPDATE (March 23): Our target of $10,000 has been reached (and surpassed just a smidge). We've now closed the fund-raising drive and will (just as soon as the funds clear) make our contribution to the Wasteland 2 KickStarter for the RPGCodex!
UPDATE (March 28):
It has been done! See the content update for more details.
More details available here, including an updated list of donors.
Interview - posted by Crooked Bee on Tue 6 March 2012, 08:27:11Tags: Kickstarter; Michael A. Stackpole; Wasteland; Wasteland 2
We are extremely grateful to Michael A. Stackpole for taking his time to answer our questions and to Brian Fargo for green-lighting the interview! Special thanks go to @MMXI for the splendid job he did in editing and refining the questions that I originally worded quite clunkily, and to @Monolith for troubling Brian Fargo with the whole thing.
I can't help but quote a good chunk of the interview for you:
MS: The things that players tend to remember the most about Wasteland adventures were not the puzzles per se, but the moral choices players had to make. When I do book signings, now 24 years after Wasteland came out, I still get folks wanting to know what the "correct" solution was to dealing with the rabid dog. Why? Because they felt like hell killing the dog. The dog puzzle, if you will, engaged players on an emotional level. That's not something that happens when you're killing ten orcs to get a key to unlock a chest which contains a scroll which will let you find a treasure which is the sword that lets you kill a monster. Why designers haven't stepped up to engage players emotionally is beyond me; though it may have to do with the difference between making puzzles and creating stories. Ultimately, creating stories is what we did with Wasteland, and what we'll do with the new Wasteland.
- Today's role-playing video games tend to be developed with maximum accessibility in mind. A lot of developers seem to discourage experimentation and exploration by introducing features such as quest markers to guide the players. Wasteland, however, didn't hold your hand at all, and it was therefore extremely easy to miss out on large chunks of content. What is your stance on this today?
MS: A hunk of the appeal of rpgs is the element of discovery. My preference would be to keep everything in world, but quest markers and other visual clues on a mini-map might be something which is useful. Then again, with a top down view, getting and using clear and concise directions is a lot easier than in many a FPS or MMORPG. For my tastes, it would be fun to have a mode in which folks could get that hint information. Maybe a GPS device that functions off and on, so you use it sparingly. Ultimately, of course, we want the game experience to be fun, not frustrating. If navigation becomes a problem in that regard, finding a simple and elegant solution will move up in the list of design elements to be included.
- Wasteland represented conversations through a hybrid system of keyword typing and multiple choice selection, separating knowledge acquisition and quest progression. However, over the 15 years, full-blown dialogue trees have taken over the genre, with games such as Wizardry 8 and Morrowind being the last ones to experiment. Do you see any merit in alternative dialogue systems today? How would you approach conversations in Wasteland 2?
MS: The idea of handling conversations isn't as exciting for me as handling consequences of how the conversations conclude. I'd rather get into the meat of how you know someone is telling the truth, and what you do when you find out they've lied. It's possible to design an interface that not only takes into account player choices in a dialogue tree, but selects responses based on factors which the players might not even know about. Their actions in killing everything that moved in the last town might have a serious effect on how folks deal with them in this town. Ditto an action they take immediately, or even the folks they have in their party. I do a lot of dialogue in my day job. What is said isn't as important as how it makes folks feel. That's for the player. Determining how the NPCs feel and how that tempers their responses is just one more fun part of the design.
- An impression one gets from reading old interviews is that the Wasteland developers, regardless of discipline, were able to make their mark on the actual game world. As you once put it in an interview, "Everyone wanted to have his own map". Do you envisage this kind of collaborative design for Wasteland 2? How delicate is the balance between cohesiveness and variety in terms of locales?
MS: In the past quarter century (it hurts me to say that), I've spent a lot of time coordinating the development of some large worlds, like FASA's BattleTech Universe. I've worked with other authors, like Timothy Zahn, Kevin J. Anderson and Aaron Allston on coordinating elements for Star Wars® books. What I've learned through all those experiences is how to coordinate individual efforts and their contributions into the overall project. Short form, if the overall project has enough flexibility, you can allow designers to go nuts with their maps and not have it ruin the overall design. As long as what they do, and the best case scenario of how a player can come out of their map doesn't upset the balance, and as long as they include any specific design element to speed the overall story, you're good to go. So, we have the systems and room for folks to come in, and I'm really looking forward to their contributions.
Michael also talks about how today's players see video games, Wasteland's character system, "depth and consequence" as that which Wasteland had and "a lot of RPGs lack today," and the importance of a voiced narrator and engaging text. I'm curious to hear what you all think about Michael's answers.
Meanwhile, be sure to read the interview in full: Wasteland 2 RPG Codex Interview - Part 2: Michael A. Stackpole
Interview - posted by Monolith on Sun 26 February 2012, 00:55:15Tags: Brian Fargo; Kickstarter; Wasteland; Wasteland 2
Take a glimpse:
- Being pessimistic for a moment; if the crowd funding approach fails to take off, but you instead attract the attention of a publisher and hammer out a deal, do you feel that the resulting version of Wasteland 2 would differ in terms of style? How do you think crowd funding will affect the type of game produced?
RPG Codex being pessimistic.. cmon.. never. I guess one has to ask the question if the game would have been a sales success if there wasn't enough fan support to fund it. Many RPG players love and respect Wasteland yet many Fallout players don't realize its roots. If the Fallout community truly knew then it would probably will be a successful funding. However, if we took your pessimistic scenario I think it would be a mistake to take this game in another direction other than what we have been discussing with the fans. The fans have made it clear that they want a certain kind of game and if publisher X popped up and said "Good news we are going Wasteland and its going to be an FPS", they would be incurring quite a wrath. Keeping it closer to the original game just seems right.
And a look at the full article
Interview - posted by VentilatorOfDoom on Wed 15 February 2012, 20:24:27Tags: Ian Frazier; Ultima 5: Lazarus; Ultima V: Warriors of Destiny
-What were your primary motivations for recreating Ultima V in a modern engine? How did the Lazarus project come about and how did you get involved with it? Why did you choose to remake Ultima V as opposed to one of the earlier or later games in the series?
The first motivator was simply a love of Ultima. After Ascension came out, I was incredibly sad. Partially because I was disappointed by Ascension itself, but more because I hated for the series I loved so much to finally be over. The idea of bringing it back to life (i.e. Lazarus) in some form was very appealing to me.
The next motivator was that Ultima V itself seemed to me like it had so much potential to be an amazing "modern" game experience. It had this story with shades of gray and this giant cool world to explore and an interesting, dark atmosphere…but all of those things were hinted at more than actually there—after all, the game was from 1987! NPCs had tiny snippets of dialogue, the graphics were archaic, the music was beautifully crafted but sounded very dated in midi form, etc. I wanted to take that core idea and spirit that made Ultima V so cool and bring it back to life with all that 15 years of technological advancement afforded us. (this is also why I didn’t choose to remake one of the later games—I felt Ultima V had the most potential, plus I thought Ultima VII was still playable enough that it didn’t “need” remaking)
The third motivator was selfish: I knew from 6th grade onward that I wanted to be a game designer, and as I was preparing for college I knew that I needed to make a game of my own to learn the skills and "prove myself," because class-work alone was not going to get me into the incredibly competitive games industry. I figured I needed a project and, well, Lazarus was it! Starting my first week of college, I began to sketch out the early designs for Lazarus and start trying to get fellow students and some Ultima fans online to join me in working on this crazy project, and eventually it started to build up steam. A long 5 years later, we finished!
Hope you like the read.
Read the full article: Ultima 5: Lazarus Interview with Ian Frazier
Community - posted by DarkUnderlord on Mon 13 February 2012, 08:25:08
In other news, gallery images will be brought online shortly. The actual gallery itself will take some time. We are enabling file uploads for patrons though, so that you can upload images directly into your posts (which should make updating LP's a breeze). For the time being, that will replace most of the functionality of our gallery.
Our spiffy new Tag feature is also still under-development. Expect that to come online over the coming months. Content Search and News Archives are also still on the to-do list. And then there's TCancer... which I still have to write a bunch of converters for and solve a rather major technical issue before I can bring that back.
Until then, enjoy your New iCodex 2.0 and feel free to complain about missing features / make new feature requests. Hopefully it doesn't over-load the server...
Read the full article: At long last, we're finally back
Preview - posted by VentilatorOfDoom on Sun 12 February 2012, 11:44:36Tags: Iron Tower Studio; The Age of Decadence
... and here it is. Here's a slice:
Read on about how it delivers.
Interview - posted by VentilatorOfDoom on Mon 6 February 2012, 16:25:13Tags: Dragon Commander; Larian Studios; Swen Vincke
Here we go.
Thanks to Swen for his time.
Interview - posted by DarkUnderlord on Mon 5 December 2011, 02:55:22Tags: Bloodlust
Did you ever play the Last Half of Darkness? It was a creepy DOS horror game made by William Fisher and now floats around various abandonware sites. William Fisher (Bill), the game's creator, has made several more games in the series since but now, he's trying something different - he's making a Vampire RPG called Bloodlust. With Bill's pedigree in horror and a seeming interest in making a decent game with choices and consequences, we decided to talk to him about it:
3) Are you funding this game yourself? Have you made any other games apart from this, and if so how did they sell?
Yes, this game is funded by myself. Prior to that, I have released 4 games in the Last Half of Darkness series (Point & Click Adventure style gameplay) - The point and click niche is fairly small and never sells as much as I like... but they all sell good enough.
4) What is the story behind this game? How much of an impact does player actions have over the story, and what year is the game set in? (assuming it is set in Earth)
The player was bitten and is resurrected as vampire fledgling at the start of the game - the story unfolds as the player grows in bloodline and his/her memories slowly come back (Oh no! Please not another amnesia premise? Yes... lol!)
Apparently slight memory loss is a side effect of the resurrection process. But who resurrected you? Who has bitten you? How did you wake up in creepy ruins area? ... It all unfolds as the story progresses.
I am planing on setting it up with choices and consequences for the player to decide throughout the story. Siding and helping certain clans affects certain storylines, quests, etc. and ultimately creates different outcomes, etc. The demo starts off in a ruins/graveyard area with strange creatures and then moves towards the gritty backstreets and alleys of New Orleans where you find more humans and clan members.
Interview - posted by VentilatorOfDoom on Tue 8 November 2011, 15:33:41Tags: Big Huge Games; Kingdoms of Amalur: Reckoning
Kingdoms of Amalur: Reckoning is an open world role-playing game currently in development at Big Huge Games. Ken Rolston, lead designer of Morrowind and Oblivion, does design duties on this title (inbetween his larping sessions), whereas R. A. "Drizzt" Salvatore contributed by thinking up the whole new Amalur universe. Ian Frazier (U5:Lazarus) is Lead Designer of Reckoning and we deemed it a good idea to ask him some questions about the game, which is scheduled for release in February 2012 by the way.
How awesome will the game be? What's Ian's favorite cereal? Can you play a dark elf dual-wielding scimitars? Follow Vault Dweller to find out the answers to these and other important questions:
3. Talking about why you'd want people to buy your game you listed "our combat, our colorful art style—just the sheer size of the world." Is there anything for people who like RPGs?
Combat that’s genuinely fun, a beautiful art style, and a massive world to explore are all things for people who like RPGs! Why wouldn’t an RPG player like these things? I’m an RPG fanatic and I certainly enjoy them! The massive explorable world in particular is something that RPG fans tend to appreciate.
As far as other things for RPG fans, though, how about hundreds of quests to experience? Interesting characters to meet? A unique role to play in various factions? Expansive character advancement, crafting, and loot systems? We’ve got all that, and more.