The fun thing about indie developers is that you never know when they are going to come up with something unique. Take for example Rollers of the Realm, by developer Phantom Compass; it combines video game pinball with a role-playing game (RPG).
Since a majority of your gameplay will be playing pinball the story is kept light, but engaging. You start as the Rogue. She has come to town with her dog looking for some easy targets. Eventually her dog gets kidnapped by the town blacksmith who wants to make the dog his dinner. The Rogue encounters a drunken Knight who decides to help her recover her dog and a Healer who wants to help defeat the blacksmith. You work your way through different pinball tables, which represent various parts of the town, until you finally encounter the Blacksmith in his forge. When you finally defeat him you find out his brother is the evil Baron of the realm and now you have to hide in an outlaw camp to avoid capture. Here is where your adventure really starts.
The gameplay mechanics are your typical video game pinball: flippers, bumpers, teleport holes, rails, etc. What makes it different is that each character in your party is represented by one of your balls on the table. Each ball has its own specialty. The Rogue has the ability to steal gold from characters on the table and does "backstab" damage to enemies. The Knight is a larger armored ball that can do more damage and can break boxes easier. The Healer can heal your flippers and has a special power of bringing back lost balls, if you have enough mana. All the balls can generate mana by hitting things like torches and other special items on the table. The other characters can also use the mana pool in order to activate unique magic powers. The Rogue can summon her dog to the field for "multi-ball" action and the Knight can temporarily block the gutter so he can't "die." You can swap between the balls as needed by trapping the ball with one of the two main flippers and then selecting the character you want.
As you play you gather gold. This gold, in typical RPG fashion, can be taken to shops where you can purchase items to upgrade each character. You can even add new members to your party by "hiring" them from the shop.
The tables play out much like any other pinball game; somehow make the balls into certain places to progress further. Other times you have encounters where you have to defeat all the enemies on the table. For the most part, the pinballs physics are sound given that there are certain exceptions for powers of the characters. Difficulty does ramp up as the game progresses; you'll even eventually get tables that are multi-tiered that you have to work through section by section to clear the whole table.
I love both video game pinball and RPGs so for me Rollers of the Realm is a bit of a no brainer. I do have frustrations with the pinball aspects, but then again I have those same frustrations with regular video game pinball. I may love the genre, but I am no master of it, so sometimes trying to manipulate a ball to go into certain places can be a little bit of a challenge.
I am really enjoying Rollers of the Realm. There is an arena mode that you can open up after a while that lets you "grind" to earn more gold so you can buy those power ups you just know you are going to need for later levels. In fact the one complaint I would have is gold seems to be hard to earn so grinding takes a bit longer, but if you've spent any amount of time in World of Warcraft you know grinding all too well.
I say if you like video game pinball definitely check out Rollers of the Realm, the characters and powers add a unique twist on the normal fun game of pinball. If you are an RPG fan it might be hard call to recommend. You have to be up for something very different than what you are used to as far as "adventure."
Most epic fantasy has a lot of thanks to give not only to Tolkien, but to his inspirations: mythos and lore. In this same way, much of modern fantasy that occupies tabletops and gaming consoles can tip a hat to Forgotten Realms for the depth of their universes. It's hard to escape the influence in most games set in medieval or high fantasy. Expecting Perfect World and Cryptic to bring something new to the table when presenting their free-to-play MMO, Neverwinter, is a bit much considering this framework defined the genre. Yet they still brought innovation to the table, just with focus on MMORPG functionality.
This isn't to say Perfect World changed how they monetize FTPMMOs. They have a solid structure that has worked with their many other titles, and they know better than to mess with that. For those new to the program, however, things can be a little daunting. I get that the urge to rush into the gameplay is strong, and you probably feel you have a pretty good grasp on MMOs in general, (at least I did), but it's important to pay attention in the beginning of the game. Not everything you need to know is spelled out for you, but the game offers access in game to wikis and provides tips in load screens. You can also do a quick search and find plenty of fanmade wikis to aid you, as well. Learning as much as you can as early as you can will benefit you, because there are a lot of things going on here.
First, there is normal gameplay. The controls here are decent once you get used to a targeting system that is a little unorthodox for third-person RPGs. (I did, however, much prefer the controls here to the ones found in D&D Online, but maybe I just didn't give those enough time.) My biggest gripe with a targeting system where you aim instead of click on targets is how often line of sight is easily broken. (This is especially a headache if you try to heal an individual in a full on battle.) When targeting enemies, however, there is a bit of an auto-aim that adjusts your character's focus while you are in attack mode. The controls are fluid and responsive. I have always been a double-click the mouse runner, but learning to use WASD full time was not difficult, especially since it's pretty standard. The rest of the key-mapping is intuitive and easy to remember, and also entirely customizable.
Speaking of customization, the character selection screen is pretty darn good. Players can choose between some of the most prominent races in Forgotten Realms, such as halflings, half-orcs, dwarfs, and even the drow eventually, with more races to come. Tieflings are also an option, creating some of the most impressive looking wizards you'll see running around in game. Individual tweaking of character appearance is detailed (though not quite as much as in PWI or other Cryptic titles) and impacts both facial structure and body structure. A wide range of tones are available for skin, hair, and other features. There are also three body types available, including a “heavy” preset, which can be altered using individual sliders for each body area.
Class is not limited to race, though different races have abilities consistent with specific class types. There are also more classes that will be added to the game over time. Attributes are chosen by rolling, which is a nice touch. One of the best parts of creating a character is choosing their background and deity alignment. You can also add a character history while creating a character, or at any point during gameplay. Just be sure to save this text in another application, because I encountered a glitch that repeatedly erased the character history I wrote for all of my characters. Only two character slots are available per account, with additional slots available for purchase. Some gamers choose to create multiple accounts to get past paying, but keep in mind that purchases made on one account with real money will not transfer to other accounts.
Speaking of the many forms of currency, how do they work? Well, the Zen currency is used in all of Perfect World's game incarnations. It allows you access to exclusive items, but there is also a variety of game currencies that can be achieved through different means as you progress in the game. Each currency relates to a specific market, granting access to things such as augmentations, profession items, and potions. Astral diamonds are the in game currency that can be acquired and traded for Zen to be spent on exclusive items. The amount of astral diamonds needed for these items is very high, and it takes a lot of work, but there are ways to avoid spending real money to get some of the real money items.
Astral diamonds/Zen also help to unlock Nightmare Lockboxes that are found in the game. While most of the drops in the game at lower to mid level are good, they all lack a certain legendary quality. The character will have many chances to collect these dropped lockboxes. They contain very rare items at random, but require a large about of astral diamonds or the purchase of Zen to open. At this point, there are aspects of the game that resemble a pay-to-win structure. I personally prefer when games stick to purely aesthetic purchases for real currency. On the other hand, you are required to pay nothing for a game that will likely provide you weeks upon weeks of enjoyment.
I had no real issue with the currency system because I've always been more of a PvE player, but there is a PvP arena that allows party vs party combat. It can be really invigorating provided you're in a solid team. If you prefer solo or small group play, the game is set up for that, too. I found the rogue and cleric to be very fun in solo play. You can also unlock the ability to use a computer controlled companion that you train and summon to help you. Keeping up with the timing of their training, on top of timed profession building, means your character has a lot to focus on while they strive for the current level cap of 60. Professions work like time-based quests found in social gaming apps, so they can be performed in the background at all times. There are dungeons and skirmishes available, each performed with a full party of five players. Queue up for these events while you work on other parts of the game.
All of the things I'm describing are achieved at level ten and higher, but you can only realize how fun these things are if you make it past the beginning of the game. Granted leveling is quick, and the beginning is relatively short, but the story here is drab, dry, and a sorry follow-up to the awe-inspiring opening cinematic. The story and fighting abilities vastly improve as the player levels, and my personal favorite feature of the entire game is introduced at level 15- The Foundry. The Foundry allows players to create their own quests and campaigns within the game. Some of the stories you can play, created by individuals from all over the world, are varied, creative, and an excellent way to level outside of the main quests. You can create your own campaigns, but this varies from the tabletop version. Even with a vastly adaptable tool kit and a cornucopia of base content to configure, there are limits simply by using the visual representation required in game. That's not to say the limits prevent any worth- the Foundry is an amazing addition to this gameplay format, and does a fantastic job at resembling the creative nature of tabletop itself.
The truth is, as a lifelong fan of the Forgotten Realms and nearly every game released from this universe, I had high expectations. In some ways, I was disappointed. I maybe expected too much from the story given my nostalgia for other games set within Neverwinter or Baldur's Gate. Neverwinter is a game that takes a little time to ease into, but it's worth the investment. I'd even say that in-game purchases with real money are warranted, provided you like the game enough to keep playing as it grows better and better. Beware of glitches that can cause things like character histories to be erased, or even prevent you from using an ability or potion here or there during battle. (I encountered the latter infrequently, and I'm sure the game is constantly patching and fixing these things.) One of the most compelling features of Neverwinter is the constant attention to improving the game and adding more features, including endgame PvE and PvP opportunities. This, along with character created Foundry campaigns and a seeming desire to incorporate the essence of tabletop magic, lead me to highly recommend at the very least trying this game if you are a fan of Forgotten Realms and MMOs.
The Eschalon series from Basilisk Games is a throwback to old school RPGS. With it's focus on character creation, vast lands to explore and exciting combat, Eschalon 3 caters to the hard core roleplayer. On January 23rd, Dead Pixel Live will interview Thomas Reigsecker, owner of Basilisk and the lead developer of the upcoming RPG. We'll ask him everything you wanted to know about the Eschalon series and more.
Listen live to DPL Thursdays right here on Allgames.com and head into the chatroom to suggest questions that we may have missed. But if you're going to be too busy slaying orcs and hording gold to make it to the show live, feel free to leave a question in the comments section below.
Recently I received a gift of Divine Divinity and Divinity: Original Sin on Steam as a belated birthday gift from one of my best friends, David. He had been keeping watch on Divinity: Original Sin while it had been in development and thought I might like it. I had never heard of the series nor its creator Larian Studios, but I was willing to give it a go.
Divinity: Original Sin is a top down, third person, isometric view RPG. Think of the way the Diablo series looks and you get the idea. However, the game play has very little in common with the Diablo series.
First things first. The character creation.
Character creation is interesting because you start by making two characters. The appearance editor is okay. It has a several options for both male and female characters, but nothing really to write home about. However, the class or abilities portion of the editor is where it shines. Yes, you have 11 classes to choose from, but each of these can be modified by the player during creation. Playing a Wayfarer but don't want the Pet Pal talent? Change it to something you feel will be more useful. The only part of the editor I took issue with was the character portraits. Despite there being many, I really felt like it was still too easy to come up with an appearance for your character that didn't have an analogue in the portrait selection.
The visuals and audio for the game are both well done. The maps and general animation are on par for this style of game, but the spell and particle effects really kick it up a notch. Some areas you walk through will have seeds and leaves blowing by your field of view, making the game feel more alive and further immersing you in the game. The sound track for Divinity: Original Sin is truly top notch. Normally I tend to turn music way down or off in games because often times I find it jarring and that it doesn't fit the mood of the game. Not so in this case. The first time I heard the theme music at the beginning of the game I was hooked. And the music in the game is no different. It just sounds great and works.
Looks like you passed out around a lot of combustibles, little goblins.
Where Divinity really shines for me is the feel of the game play. I have never played an RPG video game that feels so close to playing a pen and paper RPG, ever. The game doesn't spoon feed you your quest information or where to go. You have to spend time conversing with NPCs and looking for clues. For the most part I really like this, but there have been a few times now where I've missed a vital clue or it just seemed there wasn't one.
The combat also feels like a table top RPG too. When out of combat you just roam around at your leisure, but once you go into combat it goes to an initiative based turn system like most pen and paper RPGs. Once in a fight you rely on action points to determine your movement and what attacks or actions you can take. This might not sound very interesting, but believe me when I say that the combat in this game is some of the best turn based combat I’ve ever experienced in any game. There is so much that goes into an encounter that it's really hard to describe it with out writing a small book, but i'll touch on one of the coolest parts; that being the area effects. With your elemental attacks as a magic user or a ranged attacker, you can set the field on fire to burn anything coming at you. Fire isn't working? Cast a rain spell to douse the fire and create steam clouds which you can then hit with lightning to electrify. This is just one example of many.
My only real issue with Divinity: Original Sin is also one of its strengths. The conversation. On one hand you have these great moments of dialogue between your two main characters that can reveal a lot about their personalities and back story and reward you with in game bonuses. On the other hand dialogue with random citizens is the same thing over and over. I would have preferred that there be no conversation option with the background players because they all pretty much have the same dialogue options which tend to be pretty jarring and pulls me out of the immersion of the game.
Divinity: Original Sin in a very well done RPG. I think for true fans of the genre it's a game well worth owning and playing over and over again. If you are hoping for another Diablo clone or something hack n' slash, don't bother.
This review originally appeared on GameonGirl.com
After the phenomenal three episodes of Telltales “The Walking Dead: Season 2”, it was about time that we experienced our 'breather' episode. Just like any form of episodic storytelling, there comes a time where events seem to slow down in order for the audience to catch their breath.
Although this episode has turned down the excitement factor a notch, that doesn't mean to say that we weren't treated to a lack of drama. The stakes were as high as ever for Clementine and her rag tag group, but for the majority of Episode 4 we were experiencing the calmer side to the zombie apocalypse with intermittent bursts of violence and difficult choices.
Throughout the episode, we experienced Clementine dealing with loss once more. Telltale has become renowned for making each death feel purposeful to the narrative as well as the consequences. As an audience we become attached to the supporting cast, which in turn makes each decision all the more gut wrenching and saddening.
However, 'Amid the Ruins' fails to capitalise on the successes of previous episodes, and manages to make each consequence feel cheap and lacking any form of emotional depth. It's almost as if the writers realised the supporting cast was too big for their story, and used Episode 4 as an excuse to get rid of the extra baggage.
Characters were dropping like flies left and right in rapid succession. So rapid in fact, that there was hardly any time to dwell on the choices you made; and in some instances the characters vanished off screen, leaving you feeling unsatisfied and previous episode choices hollow and unnecessary.
Moving on from the unsatisfying take on character deaths, we see Clementine spending the majority of the episode with the unknown character Jane who we met in Episode 3. Through Jane we get a chance to witness the pros (and cons) of surviving as an individual, which brings up the question of how important it is to have family in this new world. Should Clementine be bogged down with the groups responsibilities or take the route of Jane? It's almost as if Jane is what Clementine would be if she went alone and turned her back on the group.
The majority of tensions and conflicts that arose in previous episodes were disappointingly swept under the rug as the group began to focus on new problems. Unfortunately, that made me question whether or not my previous choices made an impact and dampened the idea that previous decisions would effect future episodes.
On top of these minor inconveniences throughout Episode 4, there were some brilliant scenes between Clementine and specific characters. One such scene revolving around suicide and the other concerning the decision to leave someone behind. Again as brilliant as these scenes were, they were never fully resolved and instead swept under the rug and replaced with new dilemmas.
Overall, Episode 4 of Telltales 'The Walking Dead: Season 2' was a lacklustre effort from the storytellers. Previous decisions and consequences felt useless and evaporated without resolution, only to be replaced with new problems that Clementine had little influence on.
These nagging problems overshadowed some key scenes that proved once again how brilliant the writers of the game are. Although the suspense from the previous episodes has all but fizzled out, I am still hopeful that the Season 2 finale will do the game justice.
For a while, I had really wanted to play the Middle Earth: Shadow of Mordor, and got a digital copy of the Game of the Year edition on PSN Christmas sale for 7 dollars. I thought I was going be playing an action/adventure game, in the same style as the Batman: Arkham game series, with the added game play features of being able to do in depth plots against enemies or even turn them to my side. What I ended up with was a great game that made me question a number of things that I hadn’t really considered. It made me rethink my thoughts on how society, and myself, look at what is deemed justifiable in dealing with conflicts with people, or creatures in this case, that are different from what is put forth as normal. I had to look at myself, and how I felt about what I was willing to do to further my own agendas in the game world. In the end, as corny as it sounds, the game wasn’t just another game to me, but a mirror I had to look through, and make a judgement about the type of person I was and the real world I lived in.
First, let’s back up and explain what the game is and how it works. Middle Earth: Shadow of Mordor is a game that takes place in the J. R. R. Tolkien created universe from his books including “The Hobbit” and “The Lord of the Rings”. It has combat similar to the games belonging to the Batman: Arkham series that have event driven actions like being able to block or dodge when enemies are about to attack you. In the game, you play as Talion, a Ranger who, with his brethren, guards the gates of Mordor, a region ruled by the Dark Lord Sauron and his army of evil minions including creatures known as Uruks. Talion’s backstory is that he was made to become a Ranger and sent to guard this gate, with his wife and son in tow, because he murdered a man that attacked his wife. After years of this, the gate is attacked by an army of Uruks led by a commander known as The Dark Hand. Talion and his family are captured, and used in a ritual where they are murdered to bring back the spirit of an Elven Lord named Celebrimbor. Talion awakens in Mordor in a state of being alive, but is unable to die with Celebrimbor inhibiting his body. Celebrimbor is a Ring Wraith, a being with all types of spirit powers, and, being in Talion’s body, allows Talion to use these powers. Talion swears vengeance against The Dark Hand for the deaths of his family and himself, but has an army of Uruks in Mordor deal with before he can get close to him.
The game’s main mechanic is that the evil army of Uruks has loose groups within it that are run by Captains, and these Captains can have Warchiefs above them. I’ll refer to both as targets. These targets can have attributes that give them positive abilities or exploitable weaknesses. The attributes can be combined in procedurally generated targets to allow things like one to be invincible to stealth attacks and weak to ranged attacks while another can be invincible to both and have the ability to track you down anywhere in the game world. This means that each can be uniquely different from each other, and their strengths and weakness are unknown to you until you dig up information on them or directly face them. You gather information on targets though finding specific human slaves of the Uruks that act as informants or finding a cowardly type of Uruk designated as “Worms” who you can interrogate. If you face a target without knowing this information, it can easily lead you into another mechanic in the game involving failure. If you die in the game, your enemies get stronger. If you are killed by a regular NPC enemy or targets, they can be promoted to a higher rank, making them stronger with new strengths and less weaknesses, and making the game harder overall. This leads to a very satisfying game loop of getting information on a target, planning your attack on them, and carrying it out within a mission directly connected to the target or finding and executing it on them in the game world. It turns into an actual gameplay loop when the game generates new targets to replace the ones you’ve eliminated. The loop starts to wear thin around the middle of the game, until it introduces the Branding mechanic. This changes the game, and takes it to a new incredible level. For me, it gave me pause and made me question things that I had never really thought about before.
The Branding abilities allow you take some form on control of enemies. Branded regular NPC enemies are not hostile to you, attack other enemies that are attacking you, and can be given simple commands or be acted upon by other connected abilities. Branding targets causes any enemies under their control to act the same towards you and allows you to give them actual commands like attack another target, give you full information on another target, or get initiated into the service of a higher target in order to later betray them to you. These can open up missions around them where you use the branded target against the intended target. The game is transformed from a tactical murderfest to strategic war chess. You go from killing any that moves to protecting valuable branded targets, holding back in battle to make sure you aren’t killing new allies, deciding which of one of your pals to send against a target, and setting up your own hierarchy of generals to suppress other targets from gaining power. This is where the questions started coming in.
Uruks are, by their nature, murderous psychopaths that hate and scheme against each other and will kill your character, Talion, without a second thought. Talion has no love for them either, even the ones that are working with him of their own free will to further both their goals. I had no problem with any of this since video games and popular fantasy based media have always taught me that evil things need to die for the greater good. I slaughtered them with impunity and usually enjoyed it. Branding, in the game’s story, is the ability to alter an enemy to be enslaved to your will. The option was more beneficial than murder, so I had no problem with it at first. When I have heard people talk about this game, they speak of having some affection towards their favorite branded target, but that was not my experience. It was when I had to protect branded targets that were of strategic value to me before sending them out on dangerous missions that the nameless Uruks started being more than fodder. I started seeing them as people I was dealing with in the game, and that I was using them as if they were slave labor. I began to wonder if I was any better than them. Uruks, in the game, employed human slaves to do their manual labor, and I had been willing to slice open the slave masters for their crimes with righteous fury. I was supposed to be the good guy but started to feel like I was crossing a line.
In both the real world and the game story, there is the idea of using the enemy’s weapon against them. In the game, the weapon is the Uruks, who are represented as people created for evil intents, but they have the ability to reason and have some type of culture. The Uruks went from being generic game NPCs to a people that were made different by their origin and shaped by the makeshift society that was born of it. They were being used as throw away soldiers by their creator and I was doing the same when I had the power to do so. What made me different than the great evil I was facing? It led me to think about the nature of slavery for the purpose of eternal warfare and my predilection for killing earlier in the game, and wondered which was more merciful. Are all things truly fair in war especially for those in the middle of it? I started thinking about these things in reference to my own family background.
In reality, I am an almost 40 year old black man, who is a husband and father of three, living in the American South. I have memories of my long departed great grandmother telling me stories of picking cotton with her mother. She was born in the late 1800’s, a couple decades after the official end of slavery, but former slaves and their families still worked the cotton fields for low wages. That was all they knew how to do to make a living. It was arguably another form of slavery where a people were made to work for someone else’s benefit with little in it for themselves. This is the lens I looked at these questions through. Slavery, in all the forms it has taken throughout human history, is an abomination of the combining of ideas that there is a lesser people, race, or group that aren’t deserving of human compassion and that there is a need so great that the lesser must be used to satisfy it. That stuck in my mind as what I was willing to do to the Uruks. That was where some of the game themes end up going, from my perspective, but it is not the game that asked the questions, but me looking at myself for answers. I had to make the distinction of what the game was conveying and what I was getting out of it.
For others who played this game, they will probably see things different from me, ask different questions, and get different answers if they bother contemplating any of this at all. I can give you what I took away from all of this, my personal opinion of it and where I ended up. I really liked this game, and did a 100% completion playthrough of it. While the game presented an interesting setup that gave birth to thought provoking questions, it did not ask the questions nor answer them. I don’t hold it against it and I take anything away from the great experience it gave me. My parting feeling on it is that the game should be played for what it was, but the player should be the one to keep these questions in mind and remember the lessons that human history has taught us. In the game, I finished it by killing and enslaving the Uruks as I needed to be successful, and let the game be the game. In reality, I came to the conclusion that the ideas of enslaving people for whatever reason, greater good or otherwise, makes you just as much a villain as anyone else. My hope in writing this article is that gamers, when playing this or any other game, will be willing look deeper into the themes that they are presented, and discern the true realities of what it is truly delving into. You just might find that the game’s great idea might be based on one of humanity’s worst.
Growing up, I always felt western role-playing games on the PC were underrated. Maybe it's due to the fact that I was only two years old when Wasteland was released. Ten years later when I was enthusing about Baldur's Gate, most of my twelve-year-old buddies were busy anticipating the release of the next Final Fantasy game on console. I mean, yes, I love Japanese RPGs as much as the next gamer, but the communities for the computer games I grew up loving always seemed scarce or closed in by comparison.
Fast-forward to the current era of gaming where we have the introduction of Steam and crowd-funding websites, and a different picture is emerging. In an arena where consumers can have direct involvement and influence on the types of games they want to play, there has been a reemergence of these very games. And while the Divinity series of games may not span as far back as some others, they certainly have harkened to this earlier era of RPGs in their latest release Divinity: Original Sin.
The game was completed and enhanced through Kickstarter funding. Different aspects of gameplay were unlocked as levels of the funding were reached, and thanks to all of those who contributed, the game is intricate and vast. The self-published title from Larian Studios also runs on their own engine, complete with a tool kit for designing customized levels. While the game is available on Mac and coming soon for Linux, mods for the PC version are available and can be published through the Steam Workshop.
The first thing you'll want to do with the game is decide whether to play the campaign in single-player or drop in multi-player mode. Both modes require you to create two characters. You will choose the name, sex, appearance, portrait photo, and class for each character. Advanced players can mostly disregard the pre-built classes, as the Divinity gameplay allows fluid and complex class building. Don't feel like you must limit yourself to be strictly caster, ranged, or melee. Various items found in the game, along with perks, traits, and skills, allow you to reach outside of basic class structures. Customization is more involved than the RPGs the game emulates, but it's still more simplistic than a lot of modern RPGs. The game offers a variety of skin tones and hair styles, but sadly falls short in offering any variation in body type. Once you have your character looking stunning, it's time to give them a voice (three options per gender) and most interestingly, an AI personality. AI personalities, such as Loyal, Knight, or Rascal, are more than just clever fun for dialogue- they offer unique insight and development for your playable characters.
You start the game with only two characters, but you can add certain people you encounter to your party. You have the ability to change their gear and assign skill points, as well as control them in battle. However, they are still separate from your main characters, as you cannot speak for them. If you choose to play multi-player, LAN or internet connection are available for drop in/drop out gameplay. The person hosting the game can assign characters to those who join and also determine whether they can change certain aspects such as gear or skill points. I absolutely loved the simplicity of playing in multi-player. However, it would be great to have the option of more than two original characters for a team. Events in the game don't just happen to your characters, your characters also take time to reflect upon events and even their own actions. This is where the exciting addition of the AI personality really shines, allowing the player to create exchanges between their characters. The options chosen in many dialogue exchanges not only shape the character in the player's mind, but they also contribute to certain traits gained through gameplay. For example, if a player chooses kind options, they can receive the Compassionate trait, which gives them a bonus to critical hits. If a player chooses to be cruel, they can receive the Heartless trait, which increases their chances to hit while backstabbing.
Another unique aspect of the game is the bartering system. The game still offers vendors for particular items, but player purchases are not limited among them. Every person in the game offers not only a chance for better information and possible quests, but a selection of items they are also willing to trade. This is one of the ways that the game really emphasizes thorough exploration. And if talking to every person in the game isn't enough, there is also the option to take on the Pet Pal perk, which allows your character to speak with the various critters found throughout the game. Aside from humorous banter and the realization that the animals are more pleasant company than most of the humans, this perk can also help provide solid clues to solving quests and puzzles.
Talking to every creature great and small isn't the only thing that will take some time. Turn-based battles set the pace at self-determined and much slower than an action RPG, especially if you're playing multi-player. This, along with the ability to see rolls for each action, really give the game an old school tabletop feel. The battle system is quite easy to learn, which allows the player to focus on customization and tactics. With every move and attack costing action points, it's important for players to understand what each spell and skill can do. It's also vital to pay attention to the hit percentage that will pop up, along with the area of damage, since friendly fire is very possible and likely with certain magical and elemental attacks. The battle system here allows the player's inner strategist to really shine as they discover attack and elemental combinations. There are many barrels filled with water, oil, etc, but spell casters can also create elemental changes, such as rain. Use these abilities together to create poision gas clouds or electrically charged steam. The creative battle techniques are really what set this RPG apart not only from action RPGs, but also from other turn-based RPGs that place far less emphasis on atmosphere and status effect combinations.
The basic gameplay is straight-forward and great fun to explore, and once you've felt your way around most of the game (which will take many hours depending on how thorough you are) you might get the itch to take your creativity to the next level. Divinity: Original Sin does a fantastic job of merging the organic feel of tabletop with the best offerings of contemporary gaming technology. The next step in staying true to these roots is to allow players the ability to build levels within the game's engine. The engine is solid and provides for smooth gameplay even on less advanced set-ups, though my one small complaint is load times, which of course vary by computer. The Divinity Engine Toolkit is far more advanced than many level editors in other games of its ilk. As a player who loved to create levels in games like the original Warcraft games and Lode Runner, I had all the creative will, but very little of the modding and world editing advanced knowledge. Larian has provided many videos to help those who are newer to level editing on this scale. The step by step guidance was extremely helpful for me, and while building levels this way is definitely more complex and time consuming than in other games, it also creates a more detailed and personalized product.
Divinity: Original Sin is a sampling of some of the best offerings from both old and new schools. A fitting homage to the games I grew up playing, it also establishes an identity of its own and can be grouped in among the best of the genre. It's a fine example of what can be achieved when a good balance between a development/publishing team and players is created. Between all of the creative ways to construct in the game and the sprawling world to explore, the game brings apt innovation to an already solid genre.
Stories: The Hidden Path is an action-RPG brought to you by Spearhead Games, and will be coming soon to your Playstation 4. The design director and game designer on Assassin’s Creed III and Assassin’s Creed II, respectively, bring you a magic filled world full of adventures where your every decision affects the game in real time!
Adventure as Reynardo the corsair as you battle the Armada with its eyes set on domination of the entire realm. Slice your way through your enemies or fly in your airship but be careful what you choose to do as it will have an effect on the outcome of the Story.
Larian Studios revealed the Divinity: Original Sin trailer at this year’s Gamescom. Divinity: Original Sin Enhanced Edition is being published to your Playstation 4 and Xbox One this Autumn by Focus Home Interactive.
This classic RPG game has turn based combat that will keep you on your toes (or on the edge of your couch if you prefer), use your spells and abilities to take out your enemies alone or with a friend. In Divinity you will be able to explore the world of Rivellon by yourself or in co-op mode where you will share your couch and the screen. Stick together and you will be on one screen, wander apart and you will automatically be moved to a split screen! For more info check out www.larian.com
SMH - Shaking my head about the "third" party funding of the Shenmue 3 kickstarter which successfully ended on July 17, 2015. If you haven't heard, Sony is the "third" party. Yes -- I get that Shenmue 3 was a long awaited video game, and yes, I understand the ultimate goal is to get full funding of a video game to make sure the video game actually comes to fruition. What I do not get is a video game that garnered over $6 million dollars while at the same time having the financial backing of a major company like Sony.
Call me naive, but I thought the purpose of a kickstarter was to be the primary funding vehicle to ensure there is enough money to follow through on making a video game or whatever project the funding was being asked for. I was unaware, until I did some research, that Shenmue 3 was guaranteed to be made regardless -- mainly because of the backing of a giant software/hardware company like Sony. It's news to me that a kickstarter can be used to subsidize the funds a company already has earmarked for the game. Since that company is Sony, I'm sure the amount funded for Shenmue 3 is in the millions.
Let's talk numbers. The requested amount for the Shemue 3 kickstarter was $2 million. The kickstarter's goal was reached when over $6 million was raised at its conclusion. It was indicated the game would be produced if only $2 million was raised; however, if $10 million dollars were raised, there would be more of an "open world" for the Shenmue 3 video game. It's my understanding some gamers and backers of the kickstarter wanted to know more specifics about what the funds would be used for; however, this information was not provided. This nondisclosure did not seem to negatively impact the funds raised for Shenmue 3 during the kickstarter. In fact, Shenmue 3 broke records by being the first video game to raise the largest amount of money within 8 1/2 hours of the kickstarter being announced.
So just what was Sony's part in the funding, other than guaranteeing the game would be produced? Well, when the Shenmue 3 video game is completed, it will be playable on its gaming system -- the PlayStation 4 as well as the PC. Sony is also the publisher of the video game. Given its deep pockets, Sony has stated that additional funds will be provided to market the video game for its PlayStation 4 video game system.
Even though it was not specifically stated in the kickstarter that Sony is involved in the funding, the partnership of Ys Net (developer) and Sony was mentioned during an interview with Sony's Adam Boyles. It was also inferred the kickstarter was used as a means to guage the level or range of interest for a Shenmule 3 video game to be produced.
A question that begs to be asked and answered is how much money did Sony provide to ensure Shenmue 3 was made. For now, mum's the word since, to date, Sony has not divulged the amount. I'm sure this amount is and will be sizeable.
My thoughts are with all of the other hardworking developers who may have dreamed of having a kickstarter, or who may have even had one; however, were not given the extra boost of being backed and funded from a multi-billion dollar company like Sony. My advice to these developers is that even if a strong backing from a large company for your video game is not forthcoming, continue making exciting games that will be of interest to gamers on a large scale. In other words, build a better mousetrap, I mean -- build a better video game, and the gamers will fund your project, maybe even to level of success experienced by the developers of the Shenmue 3 video game.
Shenmue 3 is scheduled to be released December 2017.