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Incline Chris Avellone Appreciation Station

Humbaba

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How could he fool anyone? The writing in Planescape: Torment isn't exactly subtle. It's quite clear what themes he was exploring. People like it because it's interesting and fun.
A lot of people on the Codex circa the 00s thought he was the smartest rpg writer ever.

Back then we did not know the writers of ATOM!

And Robert Kurvitz.

"Calm thine tits, wench" is a line that keeps Chrissy awake at night, wishing it was him who came up with it.
 

Roguey

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lets you bang all the chicks in Alpha Protocol with no restrictions.
Those only exist because Chris Parker demanded them and Avellone conceded it was appropriate for spy fiction.
 

Infinitron

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Codex Year of the Donut Serpent in the Staglands Dead State Divinity: Original Sin Project: Eternity Torment: Tides of Numenera Wasteland 2 Shadorwun: Hong Kong Divinity: Original Sin 2 A Beautifully Desolate Campaign Pillars of Eternity 2: Deadfire Pathfinder: Kingmaker Pathfinder: Wrath I'm very into cock and ball torture I helped put crap in Monomyth
Avellone's the creative midwit who fooled a bunch of people into thinking he was smarter than he actually is.

Yes and no. I believe that Avellone was never a man of letters trying to school people in textbook philosophies that he learned in college, but I would say that he has a genius-level talent for effortlessly tying together profound themes and characterizations.
 

Zed Duke of Banville

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Avellone conceded it was appropriate for spy fiction.
Still based.
Chris Avellone has always been based:

g8vefx.png
 
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Codex Year of the Donut
https://twitter.com/ChrisAvellone/status/1494524696511012873

I still get messages from people who are clearly smarter than me who assign all sorts of takes to Planescape, for example, and I feel ashamed to respond that I had no such deep thoughts or insights. :/

Avellone's the creative midwit who fooled a bunch of people into thinking he was smarter than he actually is.

It's why writers(and developers and ...) should never give definite statements on anything they've made outside of the work itself. They box themselves in, when they could include material they wouldn't have thought for themselves otherwise.
GRRM is a notable example who says he does exactly this.
 

Duraframe300

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It’s common knowledge that creative works transcend their creator(s). No one author can foresee all possible interpretations of their work. Any honest writer of any calibre will tell you the same thing as Avellone.
And they shouldn't attempt to, lest you end up with annoying, pretentious writing more often than not.
 
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It's why writers(and developers and ...) should never give definite statements on anything they've made outside of the work itself. They box themselves in, when they could include material they wouldn't have thought for themselves otherwise.
GRRM is a notable example who says he does exactly this.
You should go even further than this. Here's a relevant excerpt from The 48 Laws of Power:

Power is in many ways a game of appearances, and when you say less than necessary, you inevitably appear greater and more powerful than you are. Your silence will make other people uncomfortable. Humans are machines of interpretation and explanation; they have to know what you are thinking. When you carefully control what you reveal, they cannot pierce your intentions or your meaning.

Your short answers and silences will put them on the defensive, and they will jump in, nervously filling the silence with all kinds of comments that will reveal valuable information about them and their weaknesses. They will leave a meeting with you feeling as if they had been robbed, and they will go home and ponder your every word. This extra attention to your brief comments will only add to your power.

Saying less than necessary is not for kings and statesmen only. In most areas of life, the less you say, the more profound and mysterious you appear. As a young man, the artist Andy Warhol had the revelation that it was generally impossible to get people to do what you wanted them to do by talking to them. They would turn against you, subvert your wishes, disobey you out of sheer perversity. He once told a friend, “I learned that you actually have more power when you shut up.”

In his later life Warhol employed this strategy with great success. His interviews were exercises in oracular speech: He would say something vague and ambiguous, and the interviewer would twist in circles trying to figure it out, imagining there was something profound behind his often meaningless phrases. Warhol rarely talked about his work; he let others do the interpreting. He claimed to have learned this technique from that master of enigma Marcel Duchamp, another twentieth-century artist who realized early on that the less he said about his work, the more people talked about it. And the more they talked, the more valuable his work became.

By saying less than necessary you create the appearance of meaning and power. Also, the less you say, the less risk you run of saying something foolish, even dangerous. In 1825 a new czar, Nicholas I, ascended the throne of Russia. A rebellion immediately broke out, led by liberals demanding that the country modernize—that its industries and civil structures catch up with the rest of Europe. Brutally crushing this rebellion (the Decembrist Uprising), Nicholas I sentenced one of its leaders, Kondraty Ryleyev, to death. On the day of the execution Ryleyev stood on the gallows, the noose around his neck. The trapdoor opened—but as Ryleyev dangled, the rope broke, dashing him to the ground. At the time, events like this were considered signs of providence or heavenly will, and a man saved from execution this way was usually pardoned. As Ryleyev got to his feet, bruised and dirtied but believing his neck had been saved, he called out to the crowd, “You see, in Russia they don’t know how to do anything properly, not even how to make rope!”

A messenger immediately went to the Winter Palace with news of the failed hanging. Vexed by this disappointing turnabout, Nicholas I nevertheless began to sign the pardon. But then: “Did Ryleyev say anything after this miracle?” the czar asked the messenger. “Sire,” the messenger replied, “he said that in Russia they don’t even know how to make rope.”

“In that case,” said the Czar, “let us prove the contrary,” and he tore up the pardon. The next day Ryleyev was hanged again. This time the rope did not break.

Learn the lesson: Once the words are out, you cannot take them back. Keep them under control. Be particularly careful with sarcasm: The momentary satisfaction you gain with your biting words will be outweighed by the price you pay.

[Greene, Robert. The 48 Laws of Power. Penguin Publishing Group. Kindle Edition. ]
Just remember the maxim, "It's better to remain silent and be thought a fool, than to open your mouth and remove all doubt."
 

Tom Selleck

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Jim Sterling's schtick is like, calling himself Stephanie and saying he's "Gendertrash" now, so AngryJoe seems like a GigaChad in comparison.
 

Roguey

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Chris continues to pad his linkedin with old things no one cares about

Narrative Designer/Writer
ArenaNet LLC

May 2016 - May 2017 1 year 1 month

Sea-Attle

- Design consultant, hired to help with pitches in preproduction (project is now canceled, I believe).

Design Consultant
Blind Squirrel Games

Jun 2015 - Nov 2016 1 year 6 months

The New Shiny Office Park

- Design consultant, hired to help with pitches in preproduction (project is now canceled, I believe).
 

agris

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Roguey this is far-fetched, but there may be a connection to his ongoing legal battles. establishing continued, lasting ties to developers before/after the slander hit could help him establish the basis for projections based on lost employment opportunities due to the libel.

edit: to put it another way, help establish a trend before/after the witchunt began, so he can demonstrate damages (aka $$$).
 

IHaveHugeNick

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From what I recall, someone ttried to #meetoo Angry Joe but he immediately threatened to sue and it was over within 24 hours. Perhaps there's a lesson here.

:mca:
 

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