Jump to content


  • Posts

  • Joined

  • Last visited

Everything posted by Guardian

  1. No way! Your post was brilliant, exactly the sort of thing I was hoping for. And you articulated a lot of my hunches. I agree with every word. You said there are books or philosophy that's been written about levelling up and such; I would love to read them. Could you direct me to something good?
  2. Here's a theory question: Why has exp. inflation become the norm, and is it really necessary? That is, as your level becomes higher, it takes more work to get to each advance. The clear reason, to me, seems to be that the games try to simulate a necessary limit in potential and peak in development. Just like in real life, if you become an american gladiator huge muscle man, you probably don't have much further you can go. For balancing issues (placing you relative to other characters and enemies), a slope becomes necessary. I think the future is non-step-form development that, usually, will hide the number values and the stats. There won't be a fanfare when you reach Level 27 because your growth will be more organic. The actual behind-the-scenes stats that the game considers will vary from game to game, but I think an organic and hidden development, where every single swing of your sword makes a small contribution to your practiced skill and physical power, will slowly become the norm. My question is this: Do you think that experience inflation and the development peak will remain in effect even in such a system?
  3. That happens a lot where I'm from. Stay on topic, perv.
  4. Yes, but all of that is exactly what I am NOT talking about. That's not a quanitified system of character development, but a matter of negotiating scripted dialogue as a role-player. The only application KOTOR's good/evil choices have to what I'm interested in here is its effect on Force power costs. Fable promises to be a new and interesting take on good/evil and reputation. But the thing about it that makes me the most excited is the realistic manner in which you are said to increase your fighting ability through physical combat as your appearance grows more brawny, or to increase your magic power through magical combat as your appearance grows more pale, tattooed, and generally haggard. I have to wonder if the game will hide the statistical effects of this growth from the player, and, if it does, what effect that will have on the player's perception of personal development as opposed to the kind experienced in an AD&D game. But that kind of system is hugely exciting to me, because most games work something like this: In Deus Ex, I can sneak around, hacking my way through shit, never encountering combat, and gain experience that I can choose to apply to my marksmanship. That's utterly retarded. As you said, the character should be 'built' through the problems he encounters and how he handles them. Your choices should affect who you become.
  5. But it's important to note that the player has a strong sense of having worked at and earned that power.
  6. Spiritualized is cool; who's Sophia? I'm preparing to play games and take my sister and her hot 15-yr-old friends to the mall tomorrow. I hate New Jersey.
  7. The fight that takes place in the starting room of Ico at the end of the game.
  8. My point is, where is that realism line crossed? Look at Manhunt's graphics. Love your Silent Hill interpretation.
  9. imagine a game that basically feels like you are walking through nyc and you can kill random people. at first you know it's a game so you do things you normally wouldn't, but if you play it a lot over a period of time, wouldn't you be less resistant to just axing some random guy in central park in real life? it's a notion i just had; i haven't thought about it too much. but it's the first time i've felt that there might be something to these people's fears about games.
  10. I never thought of this before: What if, in twenty years, there will be games that are like virtual reality plug-ins of such interactive realism that you can act out a manhunt-like violent killing spree? I think that even adults would be very desensitized by doing that and would have their game/reality borders blured. I can see that happening.
  11. I was actually thinking of something in Star Fox 64. Maybe the train on Macbeth? The ID4 one wasn't too great, IMO.
  12. I'd like to discuss various systems for the development of a character. I don't mean scripted story-based character development, but rather the kind that is usually a quantified expression of skills, abilities, and physical characteristics. Occassionally a more internal and abstract evaluation is presented in the form of alignment. These are, at any rate, the standard features of the type of system I'm talking about. Do you know what I mean? I'll try to clarify if this is confusing; let me know. I take this seriously and plan on beginning a project soon that will examine the interest that I think we have in doing this--that is, quantifying a character's development. Why do we try to systematize the personal progress and growth that we experience and strive for in life? I think there is more to the answer than "It adds something to games" or the like. I think it says something about us more than about games. I'd like to spend some time thinking about what that something is and what it means for an ideal system. As such, I'd like to begin by just throwing out favorite systems and the games that implement them. I hope we can move on to a serious discussion of why some systems are better than others and what an ideal system should address. Feel free to use anything here, from pen&paper Vampire: The Masquerade to Deus Ex on the PC. You can even go outside of games to talk about something you read or saw in a book on exercise or virtue.
  13. I don't know how this can go on anymore. Shouldn't it be like this: "Games are not allowed to have adult content, unlike music, movies, and books, because they are marketed to and mostly played by kids." "That's simply a rather dated myth of our society." *displays statistics about the average age groups of gamers* "...oh."
  14. That seems to be true. Maybe we should have a thread for great game structures where we can all talk about the kind we tend to like best? Wait; that's what this is.
  15. Guardian

    Fire emblem

    that's cool. thank you for being discrete.
  16. lol! your enthusiasm for this ah journal entry is rather touching. =\ My feelings haven't changed. It was a fun story, though, but only because you obviously found it fun to experience.
  17. Some people truly do derive an almost animal pleasure from silly things like "propriety" and "semantics". When you stick the two together, sparks really fly!
  18. That's a little neat. But that's the end of it, right? *shrug* What if you tell him the truth?
  19. lol! You sound like fucking descartes! I think I agree with you. Yet I want to stress that that is only one design idea. The other games I've mentioned are equally perfect on the same a priori grounds because they exhibit total synergy; there are no seams between their graphical styles and their stories and their gameplay. The problem with game designers is that they lack holistic vision. The bastards.
  20. Absolutely not. But I didn't think it was fun. I thought it was silly and that it didn't matter. If the combat was more direct and I actually could have felt like I was killing them with the press of a few buttons rather than watching it, even such a pointless evil act might have entertained me, and if anyone reacted afterwards, even with a simple "I heard about what you did. Shame!", it might be meaningful, but as it is I can't find it fun, only silly. If a family is slaughtered in a forest and no one sees the slaughterer, does his aura darken?
  21. 1) Then 80% of the game is side quests, I guess. Not that Square is perfect in any way, but Xenogears is like five times as long as KOTOR and everything in the entire game is focused on the main plot, however multi-faceted it may be. 2) Sure you can. But who cares? Alex: "nonintrusive narrative", Definitely. Gameplay and story should be inseparable. This is especially apparant after playing games that are more action-based (no indirect menu combat) and have no interrupting cut scenes. The strongest examples that come immediately to my mind are Ico (excepting the few short cutscenes) and Super Metroid. In Super Metroid, what was the storyline? The back story about the space pirates and Zebes and the events of Metroid 1 & 2? Uh, no. The story in Super Metroid is IDENTICAL TO YOUR GAMEPLAY! Amazing! Your actions are the story, and you play with a kind of reverence because you are carving it out. Super Metroid is also a wonderful example of a way to make a totally open, non-linear environment guide the player where s/he should go ("should" for atmosphere-development, item-aquisition, enemy-difficulty, etc.). Balancing the kinds of things I just placed in parenthesis while also having any kind of character development or escalation in the game requires that kind of guidance. Ico transcends this for the most part and still you feel a sense of progression from its excellent sense of space. Anyway, Ico's not an example of non-linearity, but rather a great instance of gameplay-as-story. Linear is fine. Non-linear, in theory, is a different kind of fine. But I think we need to learn how to do linear right before we try to make non-linear storylines in games fun. As has been said in the Doom 3 thread, why are developers still making story-gameplay relationships as they did before Half-Life?
  • Create New...

Important Information

We have placed cookies on your device to help make this website better. You can adjust your cookie settings, otherwise we'll assume you're okay to continue. Use of this website is subject to our Privacy Policy, Terms of Use, and Guidelines.