Review - posted by Crooked Bee on Tue 12 July 2016, 01:01:50Tags: Monte Cook; Numenera; Torment: The Explorer's Guide; Torment: Tides of Numenera
Given that Tides of Numenera is a game a lot of people here are looking forward to, it shouldn't come as a surprise that we agreed to review the new sourcebook. Thankfully, esteemed community member and everyone's favorite Pillars of Eternity reviewer Prime Junta agreed to help us with that, and was prompt enough to write up his impressions that we are publishing this on the day the review embargo has been lifted.
Too bad he didn't really like the book much, though, aside from the Bloom. Here are a couple of snippets from the review:
Sagus Cliffs, the location of the Torment: Tides of Numenera beta, is present in faithful detail in the state it is in before the Last Castoff’s arrival on the scene. The maps and many of the illustrations are plucked directly from the computer game or its concept art. Aligern, Callistege, Tybir, Fulsom, Imbitu, and many other major and minor characters from the game make their appearance. The Guide outlines their behaviour, background, and motivations, and even side quests pop up in “Hearsay” blurbs, although they are presented as adventure hooks only, rather than full-blown quest lines. There isn’t much in the Guide that’s not present, one way or another, in the game – and the game has a good deal of detail the Guide does not cover at all. [...]
With one notable exception, all these locations are standard Numenera fare, not all that different from Guran, Stirthal, or any of the others in the Corebook, although written out in greater detail. They are colourful and filled to the brim with random weirdness, but have little by way of internal logic or coherence, let alone a sense of history or place beyond a general “atmosphere” helpfully described in margin notes. [...] The one area where the Guide rises above its general level of all spice, no curry is the Bloom: a city-sized transdimensional predator inching its way along a ravine near Sagus Cliffs. Thought has gone into what the Bloom is, what it wants, what its capabilities and limitations are, and how it relates to the beings inhabiting and surrounding it. It has some of the internal logic so sorely lacking in the rest of the setting, and consequently the characters and factions in it are much more engaging and relatable than anywhere else. The Memovira is more than just a crimelord in fancy armour. The Bloom cultists and their lost prophet Chila are more than just another robe-wearing victim-sacrificing evil cult. The deranged, damaged, or changed human wrecks circulating in the Bloom’s bowels are more than just local colour. The Bloom shows that an imaginative world-builder can take the random bits and pieces of weird scattered around the Ninth World and make something genuinely exciting out of them. [...]
Other than the relatively unproblematic descriptors and foci, the translation of cRPG gameplay into pen-and-paper form has not been altogether successful. One of the most notable features of Castoffs is their extreme resilience and rapid healing. The Guide mentions this in the description, but provides no mechanical explanation of its gameplay effects, leaving that entirely to the GM to arbitrate. Instead, it introduces a Tidal Surge mechanic which triggers whenever the Castoff takes damage: the Surge passes some of that damage to someone else in some particular form, fixed on character creation. One castoff might cause a selected enemy to go blind, another might cause him to get stunned, or run away in fear, or take extra Intellect damage. This is shallow and repetitive, an automatically-applied awesome-button mechanic requiring no thought to use, and which will get boring fast – more so if playing with a full party of Castoffs.
Worse, however, is the Tides mechanic as described in the Guide. [...] The mechanic, in other words, requires the GM to be so intimately familiar with what each of the Tides is that he can award and track Tidal points on the fly, without interrupting the flow of the action or conversation, and the outcome is a vaguely-defined “reputation” plus something which allows attuned players to awesome-button every single tidally-conformant action with pyrotechnic critical successes every time. This, in a game explicitly intended to be as fluid, low-accounting, and low-arithmetic as possible, and one where most actions are already trivialised through the Effort and Recovery mechanics. Both the awarding/bookkeeping and eventual and occasional scripted results of tidal affinity can work perfectly well in a computer game, but defined this way for pen-and-paper… really, people, did you even playtest this?
Ouch. I believe George Ziets was involved with the computer game version of the Bloom, so I wonder if his designs influenced how it's portrayed in the sourcebook too - and why it stands out compared to other locations.
Anyway, be sure to read the full review: RPG Codex Review: Torment: The Explorer's Guide
Review - posted by Crooked Bee on Mon 4 July 2016, 23:02:17Tags: Spiders; The Technomancer
Now, we've never reviewed any of Spiders' games before, and I never imagined we'd end up reviewing this one either. However, somehow, esteemed community member and Codex Gamescom reporter Bubbles has gotten hold of a review key for the game - and has a few things to say about it. So if you feel like playing a low-budget action RPG that's somewhat rough around the edges, or simply reading about one, here's what The Technomancer has in store for you.
[...] Overall, I would describe The Technomancer's writing and presentation as “not great, but entertaining.” Going into my playthrough, I was prepared for a low-budget experience with a unique atmosphere; the game not only met those criteria, but also provided a bit more depth than I expected. Still, the quality of the writing by no means comparable to the greats of the genre, and if you go into this story expecting another New Vegas or Alpha Protocol, you're going to be most severely disappointed. If I say that the writing is more interesting than the typical mainstream fare, I mean to say that I liked it more than Fallout 3, Fable, Drakensang, or Venetica – no more, no less. [...] Maybe I've been spoiled by the likes of Age of Decadence, Fallout New Vegas and The Witcher 2, but in this day and age, I simply can no longer see the merit of stuffing so much purely cosmetic c&c into your game. If Spiders could not offer a properly reactive main quest on the budget they had available, then they would have been better off cutting the game down to a more manageable size and providing proper branching. I'd much rather have a 15 hour RPG where my decisions have a real, noticeable impact on the story than a 30 hour game where even murdering a major character will ultimately only affect a side quest or two.
[...] The Technomancer is billed as an action RPG, and thankfully its combat system is fluid and fast paced enough to accommodate some fun, fast paced gameplay. Certain experienced hardcore RPG players have actually levelled harsh complaints against this system; they consider the combat to be far too difficult even on normal settings. Supposedly, the enemies deal far too much damage and have access to game breaking attacks that are not available to the player, which makes the main character feel “normal” and “weak”, and not like the superhuman badass he is supposed to be. Strictly speaking, these complaints are accurate; you have to play carefully and evasively, making constant use of dodge or block moves and carefully timing your strikes if you want to have any success against the many large groups of enemies and the decently dangerous bosses in the game. The controls are also slightly clunky, especially when it comes to locking onto enemies for ranged attacks; it's not enough to ruin the game, but it will force you to adapt to the system. At least one of your abilities even deals friendly fire (!!!), which is a truly bold and dangerous move in a time when even old-school devs like Obsidian are moving away from friendly fire mechanics.
[...] What does all of this amount to? In my appraisal, The Technomancer is a good low-budget game with a few significant flaws that might be alleviated by future patches. As far as the current version is concerned, prospective players should search their souls whether any of the game's positive sides can outweigh the tedium of clearing out endless respawns in the same area again, and again, and again. For me, the benefits still barely managed to outweigh the cons, though I would never consider replaying this game until the respawn rate is reduced.
Of course, I also received this review key for free, so I could afford to approach the game without worrying whether I was getting good value for my money. The Technomancer is currently being sold for 44,99€ on the Steam store, and that price may be hard to justify for a game that was very obviously made on a tight budget. Every player has their own idea of what a good purchase price looks like, but if you want my advice, I'd wait until the game is fully patched and at least 60% off. It is worth playing, but there's no need to rush.
Read the full article: RPG Codex Review: The Technomancer
Review - posted by Infinitron on Wed 15 June 2016, 20:06:46Tags: Serpent in the Staglands; Whalenought Studios
Clearly, only a Codex-sanctioned official review could clarify this matter once and for all. After two abortive attempts to produce such a review, including one that resulted in the mysterious disappearance of the reviewer from our forums, the esteemed Deuce Traveler volunteered to take a break from his Elder Scrolls review marathon to write one himself. It's fitting that today, just days after the success of Whalenought's second Kickstarter venture, I can finally offer you the official RPG Codex review of Serpent in the Staglands. Both the good:
This is going to sound odd, but my favorite aspect of Serpent in the Staglands is how it treats the player like an intelligent human being. You won't find a 30 minute tutorial explaining how to walk, manipulate items, or fight in this game. You will have to read the huge and detailed manual, and most likely consult it several times while you play, in order to understand its arcane user interface. I recommend ditching the in-game journal and writing down your own notes using good old pen and paper, and taking your time to read the dialogue. As stated earlier, combat can be extremely deadly and character progression is initially rather slow, so you'll have to pick your battles. There were many locations in the game that were too dangerous for my party at the beginning, so I had to temporarily abandon the idea of exploring them and find other, easier areas to develop my characters' combat proficiency before I could take them on. Money never ceases to be a concern - there always seemed to be some special item I wanted at the blacksmith's shop that kept me motivated to quest for further loot, even towards the end. It's hard for me to recall the last time I played a game that started off so challenging and didn't hold my hand, and it's hard to describe the thrill I felt when I finally earned enough money to buy my main character a better set of equipment, or when he reached his third level. Character progression is well-paced - slow enough to make you feel that you earned it, fast enough to prevent frustration.
And the bad:
Serpent in the Staglands' combat is real-time with pause, but it's pretty tactically simplistic. Although I enjoyed trying out new spells and skills, I ultimately found it to be a boring experience. Because combat is so fatal and I didn't want to experience the game's ridiculously long loading times (about 53 seconds on average) every time I lost a character, I ended up taking advantage of its poor enemy AI. My main tactic was to position one of my melee characters just at the edge of an enemy's field of vision to get him to attack, then retreat back to the rest of the party, overwhelming the suicidal enemy with ranged attacks and superior numbers. Wash, rinse, and repeat to get through an entire dungeon or wilderness area. Enemy encounters aren't very diverse, either. Even in the game's final stages, my party was still mostly fighting heavily armored melee opponents, with very few ranged and magic-using enemies to be found. Enemies often drop loot that does not match what you'd expect them to have. Sometimes I fought bandits and found a weapon and shield but no armor, even though they seemed to be be wearing leather. But then again, with the game's low level of graphical detail, maybe they were wearing just brown clothes?
Read the full article: RPG Codex Review: Serpent in the Staglands
Codex Interview - posted by Infinitron on Sun 5 June 2016, 00:32:19Tags: Chris Avellone; Fallout 3 (Van Buren); Star Wars: Knights of the Old Republic III; Wasteland 2
MCA: So it was gonna be a little bit different. So basically, I think I've said this before, but the player would be following Revan's path into the Unknown Regions, and he goes very, very deep into the Unknown Regions and finds the outskirts of the real Sith Empire. And that's a pretty terrifying place. The intention was that it would be structured on a basic level like KotOR 1 and KotOR 2, but what would happen is you'd have a collection of hubs, but every hub you went to had an additional circuit of hubs, that you could choose which ones you optionally wanted to do to complete that hub, or you could do them all. But ultimately there was just a lot more game area in KotOR 3, just because the Sith Empire was just so fucking big. But yeah, so, on some level it was a similar structure, but it was intended to... so one of our designers, Matt MacLean, had this idea for Alpha Protocol mission structure, where what would happen is, you'd sort of go to a hub, but it wasn't really a hub, it was like a big mission you had to do as an espionage agent, but then there were like six surrounding missions, that central mission, and you didn't have to do any of them, but by doing some of those, you would cause a reaction in the main target mission that could even make your job worse or easier. Or you could choose to try and do all of them, and he let each of them like cater to like, a speech skill, or stealth mission, or shoot 'em up mission, and that would cause different reactivity. And I always liked that, because I felt like you were being given a larger objective, but you were getting a lot more freedom in how to accomplish it and how to set the stage, so it was easier for your character. And that's kind of the mission structure I would have liked to have bring to KotOR 3, because I thought it was much more intelligent design.
JMR: When you worked on Van Buren, what aspect of it did you like the most?
MCA: I liked the idea that the interface was kind of like a mini-dungeon you could explore. The idea when Van Buren was... your Pip-Boy actually didn't start out with all its functionality. Like you had some basic programs, so it acted like a normal interface, but the more you did certain things in the environment, like if you discovered, like, how to set off a fire alarms or you set a fire in a building and the fire alarms went off, suddenly a new functionality of your Pip-Boy, ”Here, let me find all the emergency exits for you!” And then suddenly all of those would be lit up on the map. And you're like, “Oh, wait a minute, I can use this as like a tracking mechanism to figure out where all the exits are.” And you could do that for things like fire suppression system, things like... like where the power sources are in buildings. You could use it to do autopsies on robots and steal their programs, and suddenly your Pip-Boy sort of became like this arsenal that you could use to sort of like navigate the environment. That was cool. And the other thing was... the adversaries in Van Buren could also use your Pip-Boy against you to both cloak their location and track where were you going, so you could actually end up in like a Pip-Boy war, where you're trying to track down each other using a Pip-Boy. So we tried to do a little bit of that in Fallout: New Vegas - Dead Money, where the Botherhood of Steel guy was trying to use the... which basically could have taken over your Pip-Boy, but that was axed, and they were like, “No, you can't do that”, so like, “Oh, shit.”
JMR: Van Buren was supposed to have another party in the world that would wander around and complete quests. Can you tell us how that was supposed to work?
MCA: Yeah, basically what they would do is they would go to alternate locations, and they had their own agenda path they were trying to follow to accomplish certain objectives. And the trick with them is each one of the rival party members actually had a separate agenda, which they didn't fully share with everybody else in the party. So sometimes they would do certain things at locations where it worked with one of their agendas but nobody else's, but the other guys wouldn't know about it, so you could use that against them, where you're like, ”Well you know that guy in that location left a note for us to follow you”, and they're like, “Oh my god! Are you a traitor?” [shooting sounds] But... it was basically a very heavily scripted NPC mechanic, where we were like, we're trying to increase reactivity and the sense the world was moving on. So, when the player characters would go to one location and do a bunch of stuff, they would be notified that something else was happening in the location and those guys would take care of the quests in an area or conquer that location, and you were like, “Oh, shit”, like, “We gotta move.” But it was all intended to give the sense that something else was happening in the world without waiting for you.
However, as interesting as those answers are, I have a feeling they might not be the most commented on part of this interview. You'll understand when you read the full article: RPG Codex Interview: Chris Avellone at Digital Dragons 2016
Codex Interview - posted by Crooked Bee on Tue 24 May 2016, 22:13:20Tags: Dwarfs; Feargus Urquhart; Hidden; Leonard Boyarsky; Obsidian Entertainment; Tyranny
Luckily for us, esteemed community member Jedi Master Radek from Poland volunteered to attend the event. We got him the press accreditation, and arranged the interviews. Today, we're posting his conversation with Feargus; Chris Avellone will be next.
Here's a snippet, with Feargus talking about Tim Cain, Leonard Boyarsky, and everyone's favorite RPG feature - romances:
JMR: They are not working on Eternity? [I didn't hear Eternity in the previous sentence]
JMR: They are working together?
FU: They are working together, yeah.
JMR: How is Leonard Boyarsky doing? Is he working on-site?
FU: [laughs] Yes. So, yeah. Leonard's doing good. It's been interesting... it's funny to... you know, we worked so much together in '96 and '97 and we then... of course, Leonard left and I've talked to him a number of times, but not a ton since they left, I mean because when they left Black Isle, it was... it was complicated, you know. There was... I was... I would say, I was angry to an extent, because it was frustrating. I now had to go make a game, you know, suddenly and Interplay needed the revenue, so I had to get a game done fairly quickly and that was frustrating to me. And while this was all going on they were hiring people away from us... so I was sure some of it with Leonard was that I... I certainly didn't reach out, but you know, we've talked a number of times, you know, since Obsidian started and you know, it was interesting... he actually reached out to Chris Jones, who is one of the founders of Obsidian, who also worked, he worked at Troika and it was about like: Hey, you know what about and he's just really interested in doing single player RPGs again. And hey, we're the spot for single player RPGs. And so it's been easy in a lot of ways because it's like going back to someone you know, like, you worked with so much, so we kinda know each other even though twenty years have gone by. [laughs] You know, and I think it's worked out and I think Leonard's learned an amazing amount of stuff from having to run a company and then working at a big developer like Blizzard and so I think that... no, it's been good. I'm very hopeful that we'll come up with something cool.
JMR: A question you'll like - what does Obsidian think of romances?
FU: [laughs] So I... this is such a weird thing. I play romances in video games. I'm probably getting in trouble for saying this... I play the romances because it gets me experience and I get perks or I get things for doing them, right? So I don't gravitate to doing them. I know that's me personally. And I know, like... because I read a lot of fantasy books and to be honest, I... there's the romance part in the fantasy books and I like that part. Not too much, right? But I like that aspect of fantasy books. I don't read romance, like full romance, but I like that part. So it's interesting, I like it as the part of the book, but I just don't gravitate towards it in a game. But I reckon it is that people really enjoy them, and also what romances are, it's like when we don't talk about them, it's like we're ignoring this whole part of sort of, you know, the human experience. Like people are, people will go out and you know. So it seems like, you know... I think if we were to do them, like I want them to not feel forced. Like I think there's a number of games out there, which I'm not gonna name, that the romances feel forced. It just feels like I'm going through the motions. I feel like I'm just clicking the dialogue. Now I think some people really enjoy them, but still that's what I wouldn't wanna do. If we do them I want them to feel real. I don't know... I can't tell you if that means there needs to be full, you know, CGI sex scenes or not full CGI... I don't even know how would we do it. But apart from... you know, the goal is to have them feel natural.
For the rest of the interview, be sure to read the full article: RPG Codex Interview: Obsidian's Feargus Urquhart
Review - posted by Crooked Bee on Fri 13 May 2016, 20:51:31Tags: Mordheim: City of the Damned; Rogue Factor
But before you get all excited for a Warhammer tactical game, you have to ask: is it actually any good? This question is where esteemed community member Darth Roxor comes in with his review.
Here's his conclusion if you're curious:
Simply put, Mordheim is just a solid game of squad tactics. If you’re a sucker for the genre and for the world of Warhammer, you should get it immediately. But even if Warhammer is unknown to you, The City of the Damned offers loads of content and plenty of good, old-fashioned fun. You just have to make sure to turn a blind eye on its remarkably bad technical side.
To be honest, I have no idea how many of the things I’ve praised or lambasted in this article can be traced to the original tabletop, and which are the work of Rogue Factor. But whatever the case may be, as a debut loaded with expectations from an unknown studio, Mordheim is proof enough that the lads have talent.
Read the full article: RPG Codex Review: Mordheim: City of the Damned
Review - posted by Crooked Bee on Tue 3 May 2016, 21:10:26Tags: Alexander Mirdzveli; The Dwarf Run
Still, the Codex is the kind of site to review an obscure super-low-budget Russian indie RPG - and it looks like this time there may be a gem behind the rough facade. Good thing esteemed community member Bubbles actually played the game, liked it, and wrote this review almost literally overnight. Here's his conclusion:
Over the course of this review, I've compared The Dwarf Run to Blackguards 1, Anachronox, and Frayed Knights; I find all three of those games to be highly enjoyable, and putting The Dwarf Run in the same category is high praise indeed. However, I'm not blind to the fact that all of these titles only have niche appeal, even by Codex standards. Perhaps The Dwarf Run is one those games that can only be successful on an extremely low budget; Steamspy claims that it's currently sold about 1,000 copies at “full price” (meaning €8.99) and another 9,000 in a super cheap bundle sale. Fortunately, that seems to have been good enough: TDR's developer Alexander Mirdzveli has already started development on a prequel, and the franchise's future seems assured. I'm quite happy about that.
Read the full review to learn about the game in more detail: RPG Codex Review: The Dwarf Run
Purely coincidentally, the game is 60% off on Steam this week.
Review - posted by Crooked Bee on Sun 24 April 2016, 18:52:27Tags: Baldur's Gate: Siege of Dragonspear; Beamdog
Hence, it should not come as a surprise that a lot of people did not expect much from Baldur's Gate: Siege of Dragonspear, Beamdog's recently released interquel set between Baldur's Gate 1 and 2, which got heaps of praise from none other than Chris Avellone pre-release. We all know Chris is the ultimate paragon of game industry friendliness who'd never say anything mean about any of his fellow devs' work, especially when it comes to projects he himself worked on - and he did apparently give some feedback on BG:SoD's writing and main plot. So, in search of a more impartial opinion (in before it's not impartial at all), we enlisted esteemed community member Delterius to act as the Codex judge of what the game manages to achieve and where it fails.
Here are some excerpts from his review:
While I didn't find Siege of Dragonspear's monsters to be incredibly innovative, it's good that Beamdog didn't shy away from combining Baldur's Gate and Icewind Dale's bestiaries to keep things fresh. Ghouls and Shadows have joined forces with Shades and Imbued Wights to make (un)life a bit more colorful. When helping the dwarven clerics I mentioned earlier, I had to deal with level and attribute draining, stuns, long-range health draining and enemy healing, not to mention those bastards who open fights with salvos of magic missiles. The dungeon caps it off with a final boss who far outclasses you, and who you may only be able to defeat by using a special item, much like the Unseeing Eye quest from Shadows of Amn.
Of course, enemies are more than just blocks of stats and abilities, and the AI in Siege of Dragonspear has also seen some good progress. I'd describe it as in between vanilla Baldur's Gate and the popular Sword Coast Stratagems mod. Thieves make use of invisibility and stealth to harass your squishiest party members (which won't always be your mage - the AI recognizes Stoneskin and other defensive buffs). Mages use their spells more judiciously and always buff themselves up with protective spells like Otiluke's Resilient Sphere and Minor Spell Turning. Archers in particular love to retarget, always on the lookout for an easier mark. Just about everyone uses consumables and even classic trash mob enemies like orcs and hobgoblins travel in larger numbers and have a few tricks up their sleeves.
Siege of Dragonspear's encounter design occasionally makes use of terrain. In one battle, poor Dynaheir was pelted by arrows fired through a broken window by a group of skeleton archers inside a locked room. Other highlights include an encounter with a squad of hobgoblins positioned on the other side of a bridge and an ambush in a dead magic zone. Unfortunately, battles like these are more the exception than the rule in Dragonspear. The expansion's more open areas tend to be stuffed with scores of filler trash mobs. [...]
I did not have high expectations for Siege of Dragonspear after my short playthrough of Baldur's Gate: Enhanced Edition. The new characters clashed mightily with the original game and Beamdog's original maps were atrocious. But now things are different. Simply put, the combat is what ultimately left me with a positive impression of the expansion. Sure, having played the original saga I've already seen most of these challenges in one way or another. Nonetheless, I feel that Beamdog have made good use of the wealth of assets built into the Infinity Engine games to deliver a solid experience.
Read the full article: RPG Codex Review: Baldur's Gate: Siege of Dragonspear
Review - posted by Bubbles on Sun 10 April 2016, 20:41:34Tags: Bethesda Softworks; Fallout 4
...As it is, I got the feeling that Bethesda were more concerned with making the game look fun and visceral and exciting and “Whoa!” instead of actually doing the hard work of making it play that way.
...Intelligence gives 3% bonus experience per level and reduces the number of possible solutions shown in the hacking minigame. And that's it. That's what being intelligent means in the sequel to Fallout 1 and 2. Why couldn't they just remove the damn stat altogether? To be perfectly fair, Intelligence is also used for the three only (!) proper stat checks that I found in the entire game world, but that's not exactly a reason to rejoice and praise the Incline.
...It's no hyperbole to say that the writers at Bethesda are some of the worst storytellers in the AAA gaming segment. They are fatally attached to the idea of making a cartoon world full of cartoon characters living through Very Serious Stories. Unfortunately, this combination of narrative elements clashes rather badly, and results in a bunch of utterly idiotic stories that positively dare the player to find any sort of intelligent design behind them.
...And here's my analysis: Jesus Christ, are you fucking kidding me?
Yes, but did he like the game?! Follow this MUST CLICK link to find out: 13 Shocking Facts about Fallout 4 That Will Forever Change the Way You Think about RPGs
Review - posted by Infinitron on Fri 1 April 2016, 20:45:25Tags: Bethesda Softworks; The Elder Scrolls IV: Oblivion
[...] Honestly, I can't really get too upset with all of this streamlining, even if it dumbed down the game (100% casting success rates), took away roleplaying options (quest-related chests can't be opened by lockpicking), and broke any semblance of the world being governed by reality (omniscient guards). Oblivion isn't really much of a game anyway - I see it as more of an adventure construction toolset with nice presentation than as an actual roleplaying experience. The game world itself is so dull compared to what we saw in previous games. In Daggerfall, the various regions of the map were distinct from one another in architecture, terrain and mode of dress. In Morrowind even more so. Oblivion's version of Tamriel, in comparison, is incredibly bland. Except for a few Norse villages, the majority of the cities and towns look as if the art team took photos of Disney castles and stills from the movie Gladiator and used them as a template to build a squeaky clean civilization of white marble and bloom effects that don't make any sense in a world that still depends on burning wood and coal for heat. The actual daedric realm of Oblivion is even more disappointing, after the first ten minutes of initial terror. In Battlespire, Oblivion is described as an odd realm that is a sort of hell which the daedra fall into when 'killed'. It is a chaotic place that even they fear. This description is completely retconned in the game Oblivion - the realm is now highly organized and populated with enemy forces prepared to invade Tamriel. You gradually realize that it looks the same no matter where you decide to explore, with no surprises to be found after your first visit. There is only so much dark crimson and orange a player can take before it loses its charm. Which leads us to the topic of the game's main quest and the reason for entering the Oblivion gates in the first place.
[...] Oblivion starts off with your character in prison, a common theme in the Elder Scrolls series, before once again becoming entangled in a secret mission assigned to you by the Emperor. However, this is the last time he's going to get you involved in one of his schemes, as he is assassinated by daedra worshippers in front of your eyes. These cultists murder the Emperor because of his never-before-seen daedra-stopping magical powers, and now there's an invasion that only the last surviving descendant of the Emperor can stop with his magical bloodline powers. Note: You are not the Emperor's last surviving descendant, but rather his chosen fetch quest participant. While the last descendant is hanging out and training (which should totally have been shown as an 80s-style training montage), your character has to ensure that all of the actual work gets done for his final confrontation with the daedra leader. It's a generic, lazy, and forgettable plot, with only a few bright spots that stand out like jewels in dust.
Codex Interview - posted by Infinitron on Sun 6 March 2016, 00:07:34Tags: Eric Fenstermaker; Obsidian Entertainment; Pillars of Eternity; Pillars of Eternity: The White March
That's why after the end of the winter holidays, I asked Crooked Bee to establish contact with Obsidian and set up an interview with Eric Fenstermaker, Pillars of Eternity's Lead Narrative Designer and Lead Writer. Eric is a Harvard-educated computer science graduate who has been employed at Obsidian since 2005, playing key roles on games such as Neverwinter Nights 2: Mask of the Betrayer and Fallout: New Vegas. Some people in the industry have described him as a genius, although he's never managed to occupy the spotlight the way George Ziets has, to say nothing of Chris Avellone.
To my knowledge, this is the first real interview with Eric about Pillars of Eternity that's ever been done, and we made sure to make the most of it. It took him over a month, but he managed to answer all of our questions too. All 27 of them! Here's one of them:
I'm not sure what the question is referring to regarding Adam and Josh. We made cuts. Some of the cuts made me sad. But they had to be made or the game wouldn't have gotten done.
Two big ones had a substantial impact on the story, although both happened early-ish in production, so the content was never built. One was that we cut the next-to-last level of the game - or rather compressed it down to a single map, which contained little content. (This is Breith Eaman, the prison.) That cut hurt pacing quite a bit. The end came up very abruptly. I'd have loved to spend more time at least doing some more repairs to that part of the story, but that wasn't possible. The time just wasn’t there, and I think I also underestimated the impact. Ultimately, when you are told you have to cut something in the story, you have to be prepared for that and have some answers. In this case, I was able to stitch everything back together so that at least it all made sense, but I'd have liked to have gone back and seen if there was a better way to solve the problem.
The other one was that we wanted to branch the middle of the plot. Some people have expressed frustration at the player's inability to influence the outcome at the ducal palace. Well, originally, we'd wanted the player to be able to do that. But it meant building two versions of the third act, and that's extremely expensive. That cut made me sad, but there was no practical argument to be made for keeping it. It was a clean cut that saved a ton of time and made our schedule semi-workable. Had to be done. Conceivably we might've allowed the player to save the duc without doing a major branching of the story, but even that would've required more time than we had. The game was delayed as it was, so there really wasn't room to add anything. As a developer at the end of a project, I think it's almost inevitable to find yourself thinking "man, the things I might've done with a couple more weeks." You're Liam Neeson at the end of Schindler's List, wishing you could have done more.
Read the full article: RPG Codex Interview: Eric Fenstermaker on Pillars of Eternity
Review - posted by Infinitron on Mon 22 February 2016, 13:06:26Tags: An Elder Scrolls Legend: Battlespire; Bethesda Softworks
Released in 1997, Battlespire was the first of two Elder Scrolls spin-off titles released by Bethesda during their pre-Morrowind hunger years. Largely unsuccessful and nowadays semi-obscure (Bethesda didn't even deign to include it in their Elder Scrolls Anthology boxed set), Battlespire used the Daggerfall engine to create a more traditional first-person action-RPG centered around a single detailed environ - the titular Battlespire. Think of it as the Ultima Underworld to the main series' Ultima.
No big fan of Daggerfall's gameplay even in its original context, Deuce Traveler was understandably not greatly enthused with Battlespire. Still, his review gives it a fair shake. The game's contribution to the Elder Scrolls lore, for example, is singled out for praise:
The planes you explore outside of Battlespire help change up the scenery a bit, while adding to your understanding of the threat that Tamriel is under. You meet various characters and find books discussing what it was like before the daedra invaded. One particular plane is filled with lost souls that cannot easily be killed by the weapons you carry, and you must constantly flee them while trying to find clues on how to lay them to rest. Another plane is the home of an insane mage who was one of the few mortals to get one over on the daedric lords, but at a horrible price that laid waste to the surrounding land. I especially liked one level where you're chased by daedric hunting parties, a frightening charade where they acted as hounds while I was the fox. There's a lot of discussion of the plane of Oblivion - it's described as a purgatory of sorts for the daedra when they are defeated. The game hints that they can never be destroyed, only banished to that bizarre plane. This description of Oblivion does not match what we would later see in the Elder Scrolls game of the same name. It sounds much more dangerous and bizarre than that Oblivion, with odd beings that attack even the more powerful daedra trying to escape it.
Battlespire does contribute quite a bit to the lore of the Elder Scrolls series, specifically the lore of the daedra, who probably have their most in-depth representation in this game. They are shown to be highly arrogant, regarding human beings as we would regard animals. One amusing aspect of this is how often they mistake your character for another human survivor, despite age, race and gender differences. The invaders are often more concerned with jockeying for status and avenging ancient slights than they are with their invasion, and so are often willing to negotiate with you if it means you might be able to cause problems for a rival. However, the game does make it clear that the daedra are not to be trusted. Humans who have dealt with them in the past have suffered betrayals, twisted into monstrosities or tortured and killed when their usefulness ended. That adds a sense of danger to your conversations with them, and negotiations will indeed often break down into violence.
Read the full article: RPG Codex Retrospective Review: An Elder Scrolls Legend: Battlespire (1997)
Review - posted by Crooked Bee on Fri 1 January 2016, 20:27:50Tags: UnderTale
Still willing to proceed?
Then do so at your own risk. Read the full article: RPG Codex Review: Undertale
Review - posted by Crooked Bee on Sat 26 December 2015, 18:39:47Tags: CreativeForge Games; Hard West
Hard West takes place in a “Weird West” setting, and those who are familiar with the Deadlands pen-and-paper RPG will spot a lot of similarities. In fact, it wouldn’t surprise me if the project was a Deadlands pitch in its nascent stage. Roaming gunslingers, decrepit frontier towns, devilish cultists and mad scientists all dot this grim but colorful wasteland.
The game is made up of eight scenarios, each one about 2-3 hours long and with its own characters and its own specific goals, such as finding a legendary treasure or taking revenge on a band of murderers. Gameplay can be broken down into two main components - the tactical combat scenarios, which sometimes include a stealth preamble, and CYOA segments that are contextualized via a world map. The game alternates between these two modes, with each scenario containing around 4-6 combat maps.
To be clear, Hard West isn’t X-Com or Jagged Alliance. Each scenario is a self-contained mini-campaign with its own specific characters that form a posse, and they don’t carry over after the last mission, so you start from scratch with every scenario. It also doesn’t have the replayability of those games, something which would be impossible given the structure of its content. The focus of the game is on tactical set pieces, with some random elements when it comes to customization.
Read the full review: RPG Codex Review: Hard West
P.S. Before you ask: TCancer is dead.
Review - posted by VentilatorOfDoom on Mon 7 December 2015, 09:31:44Tags: Iron Tower Studio; The Age of Decadence
Have this excerpt...
For starters, it is amazing just how many tools AoD gives you to handle every situation and tip it in your favour. A typical combat encounter has you heavily outnumbered, with the odds usually being 3:1, but sometimes even putting you alone against ten opponents, many of them using all kinds of dirty tricks. Fights often look downright hopeless, but assessing your situation and adapting to it properly will easily take you to victory. There were many moments where I found myself thinking “that’s it, I can’t beat those gits”. But then I’d take a deep breath, analyse what was going on and what I was missing, and come up with the solution. “A-ha! If I switch to a different weapon, throw grenades all around, cripple that dude and smack the hell out of another one in the first two turns, I should hold out till the end since the rest of them are scrubs”. This is exactly what combat in AoD is all about. Analysis, preparation and planning.
...and then proceed to read the entire piece here.
Review - posted by Crooked Bee on Mon 30 November 2015, 22:15:23Tags: Icy; Innervoid Interactive
We are lucky, then, to have esteemed community member Deuce Traveler remind us about and review it.
Since these resources are critical to your survival, you'll find yourself constantly investigating the various abandoned structures and strange occurrences that you'll come across during your journey, in hopes of finding an extra gallon of gas, or valuable treasure that you can trade. Of course, exploration comes with risks - rickety structures have the potential to collapse, or might be inhabited by monsters. It may also use up items such as ropes, grappling hooks, crowbars, lockpicks, and so on - tools that you'll also want to collect to aid in your scrounging. Because you eat up these resources so quickly, it behooves you to try and map out potential locations to explore along the way to your final destination.
ICY's combat is also reminiscent of gamebook-style conflict resolution. The more party members you have, the greater your overall combat strength. Your party attacks turn-by-turn, hit points and morale fluctuating until all your opponents are dead or have fled. A "Balance" meter in the center of the screen shifts in or out of your party's favor depending on how successful the previous rounds have been for you, offering combat bonuses to the side with the advantage. I recommend investing some points into your Firearms or Bow skill, as enemy combat rounds are often interrupted by the option to take a pot shot at the enemy before he strikes a horrible blow against one of your companions. Once you've won, it's time to do some looting and use your medical kits to patch up injured companions. Each use of a medical kit recovers a number of hit points based on your character's skill level. Your main character's skills are crucial here, since non-player characters cannot use medical kits themselves, nor scrounge or employ any other special skillset. Overall, the game's combat lacks diversity due to its simplistic nature. It doesn't matter if you are facing off against beasts, humans or mutants - the combat unfolds in the same manner and therefore becomes uninteresting and repetitive by the end of the game.
[...] Normally we think of a post-apocalyptic world as more of a desert wasteland due to movies such as Mad Max and games such as Fallout, so playing one set in a frozen tundra is a welcome twist to the survival formula. Also, except for a few missteps, the game's character interactions are realistic enough, with a group of people who are stressed out because of their desperate situation, but find that they have to work together in order to survive the horrors of their world. There is enough fodder here for a larger story, with mutant creatures, forgotten military caches, and rival groups of roving bandits. It's a shame that the game is so short, as I would have liked to explore some of its mysteries further. I do suggest that fans of indie RPGs give ICY a try, especially if they're also fans of gamebooks and survival games. However, it probably won't have much appeal to the wider audience, and gamers who prefer better visual presentation and tactical combat should probably stay away.
Read the full review: RPG Codex Review: ICY
Review - posted by Grunker on Wed 18 November 2015, 13:51:06Tags: Blood Bowl; Blood Bowl 2; Cyanide Studio
In many ways, Blood Bowl 2 shares similarities with favourite Codex sequels like Baldur's Gate 2, Fallout 2 or Ultima VII: Serpent Isle in that it reuses so much from its original that it allowed its developers to focus more on content and polish than on developing systems from scratch. Does Blood Bowl 2 manage the same building-upon-solid-content improvements as the other games?
In the absence of an adequate ‘hahano’ gif, I have decided to instead provide you with the following review. Blood Bowl 2 is one-third regression, one-third status quo and one-third minor improvements.
Well, we all knew where this was going. But at least the review also has a great look into Blood Bowl's digital past, which is coloured by Codex-favourite SSI! So there's that.
Read the full article: RPG Codex Review and Digital Retrospective: Blood Bowl 2
Review - posted by Crooked Bee on Tue 13 October 2015, 16:08:54Tags: Harebrained Schemes; Shadowrun: Hong Kong
Today, esteemed community member Darth Roxor reviews Dragonfall's 2015 successor, Shadowrun: Hong Kong -- fueled by the same formula but, according to Darth Roxor, with less success this time. Here is but one snippet on why he finds the game lackluster:
The greatest offender here is the AI. I’ve kind of already given up thinking that HBS will ever fix the AI in Shadowrun after DF, but, I swear to God, the enemies in HK are actually even more idiotic than before. I don’t know whether it’s because of the Director’s Cut changes to the engine or for some other reason, but the fact is that the AI is simply considerably more stupid. I’ve seen enemies grenade their own allies. I’ve seen them move out and then back into the same place and end turn. I’ve seen melee dudes run up to my characters point blank and end turn without attacking. I’ve seen them end turn after a single move even when they had no AP debuffs on them. It’s just crazy. After a certain point, you only start wondering what cabaret the AI is going to enact each time combat starts.
It’s just depressing because there are many fights in the game where the enemies SHOULD have the upper hand and SHOULD pose a challenge. Usually, it’s even true for the first turn when they carry out their (probably mildly scripted) alpha strikes. But after that, they just get completely confused and sabotage their own advantageous setups to let you pick them off almost unopposed.
Read the full article: RPG Codex Review: Shadowrun: Hong Kong
Editorial - posted by Crooked Bee on Thu 1 October 2015, 19:40:22Tags: Expeditions: Viking; Gamescom 2015; Logic Artists
Both Bubbles and the interviewee, Logic Artists' Alex Mintsioulis, were already exhausted after several days of that most terrible thing in the world, a gaming convention. And yet despite that, the interview turned out to be fairly lengthy, covering topics ranging from the game's premise and campaign structure to camping mechanics, character design, and C&C, to the Codex itself (a dose of ego stroking included):
At the end, Bubbles also gives his own thoughts on the game:
Finally, regarding what Bubbles may be up to next...
We should probably give the man a break. This series has been a long, and good, one.
Read the full article: RPG Codex Report: Gamescom 2015 - Expeditions: Viking
Editorial - posted by Crooked Bee on Tue 22 September 2015, 13:07:55Tags: Bethesda Softworks; CreativeForge Games; Daedalic Entertainment; Fallout 4; Firaxis Games; Gamescom 2015; Hard West; Perihelion Interactive; The Long Journey Home; The Mandate; XCOM 2
This time, the report begins with Daedalic's Project Daedalus, a surprisingly Star Control-inspired space game with a keyword dialogue system, which, as Bubbles points out, "strongly discourage[s you] from choosing violent solutions."
Next comes Hard West, a squad-based tactics game from Polish developer CreativeForge...
...followed by another squad-tactical title, the (currently PC-exclusive) XCOM 2. I'll quote the important part.
[...] This was easily the biggest waste of time of my Gamescom experience.
Or was it? In this year Gamescom's perhaps most unexpected turn of events, Bubbles got to attend a press presentation of the Codex's most anticipated RPG of all (recent) time, Bethesda's Fallout 4. When arranging this presentation, I was curious to find out if we were still on Bethesda's blacklist; apparently not anymore. (Fallout 4 review by Vault Dweller, anyone?)
[...] If there's a lesson to be learned here, it might go something like this: don't waste your time with bad games from bad companies. Zenimax didn't need to offer us interviews or in-person presentations. All it took were a guard, a cinema, and some t-shirts to make Fallout 4 the most well-attended and most well-received presentation of my Gamescom visit. This game was a commercial success from the moment it was announced; the question of quality never even figured into it.
And finally, since Bubbles didn't want to end the report on the Fallout 4 note, he has some words to say about the indie space RPG The Mandate, complete with a mini-interview and a Eurogamer cameo:
Our interview partners did not seem prepared for this change in atmosphere; they were dead silent for a while, just listening to my colleague tearing them to shreds. If the Codex had made a remark like this, they could have just shrugged it off, but this was Eurogamer – they could not ignore him.
[...] I couldn't quite tell you if the Mandate devs are scam artists, if they are delusional, or if they're merely suffering from some truly incredibly bad luck; either way, there seems to be something deeply wrong with this project, and I'm very excited to see what's going to happen next.
Read the full article: RPG Codex Report: Gamescom 2015 - Project Daedalus, Hard West, XCOM 2, The Mandate and Fallout 4