Every now and then, a game comes along that sounds so insanely good on paper, that it doesn't really need salesmanship to get it out the door and into the eagerly grasping hands of gamers. But that didn't stop Bethesda hyping the ever-loving shit out of fourth Elder Scrolls RPG anyway. So is it the second coming? Is it even a decent game? These are the sort of questions that rattled through my mind as I sat back and watched the Patrick Stewart narrated introduction to Tamriel's Imperial province of Cyrodiil, where the game takes place.​

Unlike most other hack’n’slashers, The Bard’s Tale has no inventory to speak of nor does it have any loot that you can physically acquire from fallen enemies. All the items the Bard can acquire are either purchased at weapon stores and taverns, or handed out at several fixed points in the game’s story with the weaker equipment being automatically converted to the game’s currency. It's not hard to imagine some sort of brief setup on why this happens - considering the Bard's big mouth and penchant for making rash decisions, he might have angered some wizard or genie that made his desire for coin come true but at the expense of never being able to acquire items unless he spent the gold he cherished so much. But nothing ever explains the logic behind this quirky mechanic, ingame or otherwise. And since the Bard's equipment is improved once in a while by picking up better weapons and replacing the ones he has automatically with shinier and deadlier versions, why am still I finding poor weapons that are instantly changed to gold? Instead of just finding a ton of weapons the Bard won't equip and since automation was apparently a design goal, why not have enemies just drop gold right away? There's no point showing the player a weapon or item the Bard has picked up but won't be able to use. There could be a certain charm to the items you find on slain enemies but seeing Wolfs dropping the likes of picnic baskets and red hoods isn’t exactly pushing humor to new heights.
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The depth of the character system really allows for some good party design and this shows in combat. There are all sorts of combinations one can pull off that take advantage of the strengths of party members. You can focus on going for direct damage spells to quickly take out single targets or use status changing spells to reduce enemy resistances then send frontliners to clean them up. You can have spellcasters depend solely on spells at every turn or equip them with ranged weapons to cause some damage while saving spell points for more drastic situations. Or just have Bards play their instruments and Gadgeteers use their gadgets while spellcasters cast Stamina on them. Working with each character's skill levels is also important. For instance an Alchemist may create potions but if he is not skilled at throwing them he may fumble and drop it on the party instead. In which case a Ninja might be a better choice given his excellence with thrown items. Frontliners who have problems with our of reach enemies can invest in ranged weapons, bomb throwing, or protecting weaker members by taking blows directed at them. You can also hire RPCs which may benefit the party by bringing in skills no one else in the party has. Eight characters not enough? Open a can of Canned Elemental on your enemies too. Dozens and dozens of ways to handle combat are available. And honestly, how many other games allow you to play as a Faerie Ninja?​

5. You've also mentioned that you feel that a "purely turn-based system only addresses a minority of today's RPG audience". Even though I agree with you 100%, unfortunately, here is a simple question: why? Do you feel that the era of turn-based RPGs is over and no TB game, no matter how successful it is, can bring it back? Or do you feel that a TB game simply can not be successful these days, at least not the way a Baldur's Gate-like game can?

Bernd Beyreuther: That is a good and very interesting question. I don’t think that a round-based RPG can not be a success, quite the opposite, I played “Advance Wars” obsessively for several weeks on my DS not long ago. I do believe that you can still make turn-based games that reach the masses. In fact, we are working on several concepts in this direction, especially with the new portable systems in mind.

It is another question, whether an RPG that aims to captivate and entertain – which needs to have cinematic, dramatic, emotional aspects in addition to the rules and combat system – is well served by interruptions. I believe that the intellectual, pondering chess-like style of a TB game does not mix well with atmospheric elements, story and emotion, as it breaks the player’s immersion.​

2. You must have realized that the game won't sell as much as an action RPG or at least as a somewhat familiar RPG with orcs and elves and knights in shiny armors would. Yet you made it anyway. Why?

Our goal was to build games specifically for hard core role playing gamers. Both Mat and I had worked at video game companies before, but it didn't take much foresight to tell where the industry was headed. Overhead costs were soaring and people were becoming much more conservative with what kind of creative risks they were willing to take on a game. They lacked originality and required no thought whatsoever. So, we decided to proceed even though there was not so much money to be made initially. It was more important to us to build a sustainable business model based on the creation of good games. We thought it would be feasible because our margins would be lowered via exclusively distributing through the internet.​

9. Tell us about factions. It's been mentioned that you can join more than one faction, and that you can leave a faction. Can you explain how that works? Also, why did you decide to move away from the "join one faction and stick with it" model? Any Orcish factions/clans?

We have increased the degree of freedom in most aspects of the game. To create a coherent gameplay, the guild-concept needed a little more freedom, too. The general idea is to turn limits into options. In the predecessors, joining a guild meant being forced into only one third of the game. So in fact one would have to play the game at least three times to get the big picture. In Gothic 3, the hero can pick out the plum jobs and sympathize with more than one guild, or with none. Whether or not a guild offers him a quest does no longer depend on his affiliation to the guild, but on its attitude towards the player.​

13. How does Gothic 3 handle choices & consequences? How important are choices and what would they affect? Would my character (not the player!) ever get a reason to regret a previously made choice?

Gothic 3 is all about choices in the first place. Yes, there are great sword fights, powerful magic, a lifelike gaming world... but yet choices are the main gameplay element. The player can literally shape the world and influence the story through the way he's handling things. Most decisions have to be made in the field of human relations. The way the player is treating others influences their attitude towards him, and thus their cooperativeness depends on the right choice of words. With a dexterous tongue the hero can even talk a whole city into a revolution. This can also backfire on him, of course. If he falls out of favour with someone, he will most likely not get useful hints or lucrative quests. And yes, if the whole world wants him dead, he might at last regret his choices.​

7. Choices & consequences. CD Projekt has mentioned previously that different paths have different consequences, and that there are no right or wrong choices. Can you elaborate on that?

Because we present a fantasy world that has no true distinction between good and evil there really isn’t a right or wrong choice. The Witcher is morally ambiguous. Within the story there’s a large political struggle occurring between the races and Geralt is struggling with his own existence. As a lone wolf you are not affiliated with any group, but your reputation, based on your previous actions and choices, has a major impact your future actions and choices.​

Completing quests will have consequences, improving your relationship with some races, and completely pissing other races off. Also, those damn aliens lie to you and a seemingly innocent mission may turn into an insult to another race. I was once asked to deliver a rare animal specimen to a certain planet as an act of friendship from one race to another. Turned out, you have just delivered an abused ambassador back to his native planet in a cage. Needless to say, a few quests like that will ensure that next time you are in the neighbourhood, you will see battleships speeding toward you to inform in an up close and personal manner that they would really like to see you dead. If you do manage to land on a nearby planet, you will be taken to a local prison, which is a lot more fun than it sounds.​

7. What other non-combat activities are in the game? What does a skill like Cartography do? How do they affect gameplay?

All the Skills are based on a 1-100 range, with 100 being godlike and would require a lifetime of devotion to achieve. Cartography is a good Skill to talk about: the automap in the upper right corner of the screen does not work at all until you have at least one point in your Cartography Skill. With just one point, your automap will work but it will only produce a crude outline of your surroundings. The more points you allot to your Cartography skill, the better the automap will look as color and details emerge. Eventually you can even get creatures and NPC locations to show up on the automap if your Skill rating gets high enough. Other non-combative Skills such as Lockpicking, Skullduggery (trap disarming), and Move Silently work the same way.​