Update #68: ART!
Wed Nov 27, 2013 6:34 pm
Update by Brandon Adler, Producer
Hey, everyone. We decided against releasing the Backer Portal right before the holiday break. We wanted to make sure that we had a full staff on board to solve any technical issues that might arise on the site during its launch. We are just as excited as you are for the Backer Portal and we want to make sure it has a smooth release.
To keep you sated in Project Eternity goodness we decided to show off some of the artwork we have been putting together this milestone. We are pretty proud of it. Hope you enjoy.
Last week on the forums Sensuki, Tagomika, and coffeetable brought up questions about areas we were outsourcing. I figured it would be better to show you the areas instead of talking about them. Take a look.
A shrine to the god of the hunt.
A drake skeleton amid thick overgrowth.
Both of these images come from the same wilderness area. While this area appears thick with foliage now, it was previously the site to horrific fires caused by drakes. Large swaths of ground were burned and only now has the land started to recover.
Kaz and Polina have been hard at work getting concepts prepared for our current milestone and the next.
Polina has been focusing on creating the look and feel for our next big city - Twin Elms. Twin Elms is a unique mixture of ruined architecture from an ancient civilization with a layer of Viking-inspired Glanfathan buildings built into it.
Glanfathan buildings built into ancient ruins.
Line work for environments in Twin Elms.
While Polina has been helping to plan the future, Kaz is firmly entrenched in our mega dungeon, The Endless Paths of Od Nua. Take a look at some of the prop work that Kaz is doing for one of the Engwithan-inspired areas.
Engwithan props for use in Od Nua.
One of the creatures that has gone in recently is the troll. You can see a few of them in the area below.
A group of trolls in-game.
That's it for this week, folks. Have a great Thanksgiving.
Posted by Dark Elf
Update #67: What's in a Game?
Wed Nov 13, 2013 7:28 pm
Update by Brandon Adler, Literal Task Master
Welcome to my world...
As a producer, one of my jobs is creating and understanding the game's master schedule. It's a never-ending task that requires constant refinement and adjustment. Anything that is added or changed can cause a cascade of unintended consequences which is why as game developers we have a responsibility to vet everything that goes into the game.
Today I'd like to give you a glimpse into how we approach game development from a scheduling perspective and what our typical thought processes are when figuring this stuff out. You will be able to see how each part of our area creation fits into the schedule and why changes and modifications can lead to difficult decisions for the team. Hopefully, it will give a bit more insight into the tough decisions that we make each day when crafting Project Eternity.
One thing to remember is that when we are in the middle of production the schedule has already been created for just about everything in the game. What I mean by this is that we have identified all of the major tasks that will need to be accomplished and allotted time and resources in our budgets to match those tasks.
Depending on the team's familiarity with the type of game we are creating, this can mean anywhere from a tiny bit of guesswork to larger amounts of... estimation. With Eternity we are very familiar with what it takes to make an isometric, Western RPG with branching dialogues and reactivity. It's Obsidian's bread and butter. Because of this our initial estimates are good approximations.
Since most of our features and assets are budgeted at the start of the project, any changes to those items have to be accounted for in the schedule. This can mean a few different things - anything from reducing time spent on other tasks, to changing previously scheduled items, to outright cuts - and when changes need to happen project leads consult with each other to try and figure out the best option. Keep this in mind when I start talking about changes to features and assets later on in this update.
One Small Interior Dungeon
Alright, let's stop talking in generalities and get into the meat of what it takes to create a first pass area in Eternity. I'll discuss a generic small interior dungeon area.
This area will have the following characteristics and constraints:
- Uses an existing "tileset." We don't have tiles in Eternity, but we do have sets of areas that share similar assets.
- Will have one unique visual feature in the area. This visual feature is something that will make the area stand out a bit. It doesn't have to be incorporated into the design, but we may want to do that to get the most bang for the buck.
- An Average complexity quest uses this area. "Average" is a flavor of quest in Project Eternity. It refers to the overall complexity of the quest. Quest complexity is determined by the amount of dialogue, branching, and steps a quest has.
- This is a 3x3 interior. A 3x3 interior is the equivalent of a 5760x3240 render. An easier way to think about it is that a 3x3 area is nine 1920x1080 screens worth of content. You can imagine that making an area even a tiny bit larger can actually lead to enormous amounts of work. As an example, a 3x3 is nine screens of work, where a 4x4 is 16 screens of work... almost double the number of screens.
To create our small interior dungeon area, the following has to occur:
Material concepts for a high wealth interior.
- An area designer (Bobby Null, for example) puts together a paper design for the area. This is usually part of a larger paper design, but for this purpose we can say that it is a separate element. For a small area like this, a paper design wouldn't take more than a quarter of a day.
An initial pass on a blockout before it has had a review.
- After the paper design is constructed, it is passed to the area design team for revisions and approval. For the most part, this goes fairly quickly and normally wouldn't take more than a quarter of a day for a small area.
- A concept artist (Hi, Polina and Kaz) creates a concept for the unique visual element of this area. Let's say for our purposes the unique element is a cool adra pillar that is holding up a portion of the ceiling. This takes half a day to a day, depending on prop complexity. This may seem like a luxury, but making sure that the areas feel cohesive can save lots of revision time down the road.
- After the concept work is completed, it is reviewed by the Art Director (Rob Nesler) and the Project Director (Josh Sawyer). Any necessary changes are then made before being approved. Overall, it probably takes about a quarter of a day for review and any revisions that need to be done.
- After the paper design and concepts, an area designer creates a 3D blockout of the area in Unity. This allows the designer to walk through the area and make sure it flows well. This also helps to give the environment artist assigned to the area an idea of where the various elements should be laid out. A full blockout of a 3x3 area normally wouldn't take more than half a day. This is an extremely important part of the process. Sometimes an area seems great on paper, but in practice it is clunky or frustrating.
- Once the blockout is finished it's passed along to the area strike team for review. The area strike team includes people from most disciplines. This is the point where revisions are performed and the layout becomes finalized. The changes can be as simple as moving some props around or as complicated as redesigning major portions of the layout. Again, for a small area of this size, we aren't looking at more than half a day for all of the feedback and revisions.
- With the blockout in place, the area can move to environment art (For example, Hector "Discoteca" Espinoza) for the art pass. This includes putting together existing pieces and creating new assets to make the area. A large portion of time allotted to an area is spent in environment art. A 3x3 area that uses mostly existing assets would typically get three days of environment art work, but, because we want to have a cool, unique piece in the area we will add about a day of environment art time. This gives a total of four days for the initial art pass.
- Like the blockout, the art pass is usually reviewed by the area strike team. Revisions can vary wildly depending on how everyone feels about the area, but it isn't uncommon for another quarter to half a day to be spent on review and revisions for this size of area.
The blockout above with revisions, 2D render, and initial design.
- Now with the 2D render in place, the area is ready for the real design work to be done. An area designer will typically get about three days to do the first pass on the area. This includes things like a loot pass, encounters, trigger setup, temp dialogs, etc.. Because this area has a quest that is running through it, though, it will get an extra day to work out all of those kinks. That puts us at four days for an initial design pass on the area.
- Remember the part about this area having a quest? Well, now is when a creative designer (Like Mr. Eric Fenstermaker, for example) comes through to write the dialogs. To be completely honest, this usually comes much later, but it works for our purposes. The narrative designer creates the NPC dialogs, quest dialogs, and companion interjections for the area. Usually an area designer will stub these conversations out and the narrative designer will come in and complete them. Depending on the amount of dialog this should take around a day or two for everything.
- Finally, a concept artist will take a pass at painting over the final 2D render. This pass is used for "dirtying up" an area and adding in the little details that might be difficult for an environment artist to create. As an example, we can cover up texture seems, add in variation on repeating textures, paint in lighting highlights, and even add things like patina or moss on objects. Due to Photoshop magic from Kaz, we can even propagate those changes into our diffuse maps so they show properly in any dynamic lights. This is a fairly low cost procedure and Kaz can cover a small area like this in about half a day.
- There are other considerations (Like animation, sound effects and visual effects, for example), but we will stop for now.
So, for those keeping count at home, to get a first pass area that is borderline Alpha (as in no bug fixing or polish work) it costs the project about 13 man days
. This is little over one half of a man month of time for a small, simple area. Larger areas with more content take significantly longer to develop.
Our time estimations used for scheduling are determined in preproduction (prepro) phase. Our vertical slice (the end of prepro) is the culmination of the team identifying what it will take to make the game and then actually doing it. We get these numbers by seeing how long it takes the team to perform those tasks in our prepro, and then we can extrapolate those numbers over the course of the time we have budgeted to understand how much work can get done.
A milestone will have 15 to 20 areas of varying complexity going at a time. A minor change in an area can cause a domino effect that starts schedule slippage. Remember that on a small team like Project Eternity we have a limited number of people that can work on any one part of the game so taking someone off of their current task to work on changes can gum up our pipelines and prevent others from completing their tasks. We can get around that by switching up the tasking, but it can quickly get out of hand and lead to inefficiencies.
That being said it's the team's responsibility to give our backers what they have paid for. If we are playing though part of the game and something feels off from what we promised to our fans, we need to seriously consider making changes - even if it pushes us off schedule. There have been times where an update leads to some serious discussion on the forums and within the team about a direction change. Ultimately all of that gets added into the equation as well.
Taking that into consideration, the team has to make difficult choices every day. Do we go through and do another prop pass on a level? What does that cost us in the long run? Will we lose an entire area in the game? These are questions that the leads struggle with everyday. We are always weighing the cost of assets and features against everything that still needs to get done.
Luckily, like I mentioned above, we have a bunch of smart, talented, experienced people working on Eternity. The pitfalls we have experienced in previous games give us a leg up when we are trying to navigate this project's development. I wanted to send out this update to give the fans a little insight into our daily processes and demystify what probably seem like arcane decisions. If you enjoy these types of updates, let me know in the forums and I will try to write more of them for you.
Posted by Dark Elf
Age of Decadence Extended Demo Review
Sun Nov 10, 2013 5:35 pm
So, I pre-ordered Age of Decadence. Those of us who pre-ordered were promised a 60% demo to try out, and I got the announcement for the demo in my inbox this morning.
For those of who you not in the know, Age of Decadence (henceforth referred to as AoD) is an indie RPG developed by Vault Dweller and the other fellows at Irontower Studio. A spiritual successor to the original Fallout, AoD brings back all the things we've grown to love and cherish, such as proper turn based combat, a classless character system, a post-apocalyptic world, dark humour and political intrigue.
Do not expect to carve through a band of raiders like a hot knife through butter – compared to the resistance faced in most other games, your enemies in AoD certainly know how to fight and will slaughter you like a pig if you do not play your cards right and utilise every strategic advantage at your disposal. The acute danger of entering combat feels refreshing, and makes exploring other venues an interesting possibility, if not a matter of necessity.
Indeed, a peaceful playthrough without any bloodshed seems perfectly possible and given the quality of dialogue and narrative in this game is a very exciting experience. I have played through the 60% demo as a charismatic loremaster, and I have not had to fight once, except for this one fight in the end which I am fairly sure I could have avoided had I picked different options or dedicated more character points to certain skills.
You start the game in a city called Teron, your exact circumstances decided by the background you choose during character creation. Today I decided to play as a loremaster, but you could be an assassin, a thief, a praetor (knights/nobility) a merchant, a grifter etc all dependent on your preferences.
If you love a game with challenging combat, intelligently written dialogue, an excellent story and all that Falloutesque goodness, look no further. This game holds up to all its promises.
Head on over to http://www.irontowerstudio.com and fetch the public beta, try out your skills in the old combat demo or support the developers by pre-ordering the game!
LP coming soon.
Posted by Dark Elf
Update #66: Double Whammy
Wed Oct 30, 2013 9:39 am
Hey, everyone! This week we are doubling up on the Project Eternity backer update action. Darren Monahan will be giving a brief glimpse into the Backer Portal and Hector Espinoza will share his work (and some screenshots!) in a developer Q&A. Enjoy.
It’s Finally Time… Soon
Update by Darren Monahan, Chief Intelligence Overlord
A year already...
Unbelievably, a year has passed by since we launched Project Eternity on Kickstarter, and a lot has happened. We’re almost to seventy project updates; we’ve made lots of levels, characters, classes, monsters, loot, and a whole lot more over the past year with more being made almost every day.
November’s right around the corner, and here in the States, we have an upcoming holiday called Thanksgiving near the end of the month. It’s supposed to be a time where we give thanks for the harvest and reflect on the past year.
It seemed rather appropriate to have a bigger than normal update coming before this holiday and we’re cooking a big one for you! This turkey dinner is going to be large and in charge... It’ll show a bunch of new stuff we haven’t shown anyone outside the studio yet and one of the side dishes coming with it is the new site.
Backer Website: Main and Media Pages
All of our previous updates are now easily available in one place, easy to browse through and include futuristic RSS technology! We’ve also got a one-stop shop for all of the screenshots, wallpapers, artwork, and videos that we’ve released and will release.
Backer Website: Pledge and Rewards Pages
On the left here, you can make sure all of the pledges you made are connected to your account. If you backed the game on Kickstarter and then later added money via PayPal, you can make sure that’s all been confirmed. If it doesn’t show up, you can link it in by providing the e-mail addresses you used if they don’t match.
…and then, confirm that your reward is correct, or maybe even upgrade if you like! Did you give maybe give us more money thinking you chose one reward tier but accidentally chose a lower one? No problem, you can fix that up. Oh, and slacker backers… you might have some upgrade opportunities… Onward is the addon screen where you can browse through the available addons and confirm those choices as well.
Backer Website: Add-on and Game Info Pages
Then finalize everything! Don’t worry, even though you’ll be confirming your pledge selections, if you picked up physical rewards, you’ll be able to change your shipping address up to the point where we need to lock them. You’ve got plenty of time, and we’ll keep that open as long as we possibly can in case you move or want to have your stuff shipped elsewhere.
On the right there is our “Game” section of the site, where over the coming months more information and art about the various races, classes, characters, critters, and locations of interest in the game can be found.
OK, we’ll be back in a few short weeks… For those of you who have designs as part of your rewards, get your thinking caps on!
Developer Q&A with Hector Espinoza
Update by Hector Espinoza, Lead Environment Artist
Hector in his natural habitat.
Hello, Hector. What is your job on the Project Eternity team?
I am the Lead Environment Artist on Project Eternity. Along with building assets and doing layouts of some the larger levels of the game, I help my team of artists create a visually exciting world for the players to explore.
What are you working on this week?
This week I'm working on polishing one of the states of the Stronghold and building a Keep that is contained within.
What is your typical work day like on Project Eternity?
I come in to work and read a little email. Sometimes I'll have a "breakfast snack" in the form of cheese and peanut butter crackers. This holds me over until lunch time. Upon my return from lunch, I'll continue to work on my current tasks. At times I help critique some of the work that is being created around me or from outsourcing. In the late afternoon I'll head out for a short walk to get my daily coffee, I'm really good about keeping this to one cup a day. Then in the evening as the sun sets I'll hook up the speakers and turn my office into a "discoteca" and work while listening to some of the baddest jams on the planet.
One of Hector's work in progress areas, the player's stronghold, in a ruined and restored state.
What are you most looking forward to on Project Eternity?
I'm looking forward to the day when people get to enjoy our finished product. We are putting in a lot of hard work and effort to deliver something special to our fans and backers, thank you all so much for making this possible! I also want to play it! Our playtests have been really fun.
What other projects have you worked on?
While at Obsidian I have worked on Dungeon Siege III and after that I have helped out on a number of "unannounced" titles.
Before Obsidian the list is pretty big. At Black Isle I worked on Icewind Dale (as QA), Icewind Dale: Heart of Winter (as an Artist, yay!) and Icewind Dale II. The short lived "Van Buren", it was going to be awesome! Oh, and BG III: The Black Hound. The last title I worked on while at Interplay was Baldur's Gate: Dark Alliance 2. Outside of Interplay and Black Isle I worked on Vampire: Bloodlines, Full Spectrum Warrior 2, and Lord of the Rings: Conquest. Of course in between a lot of these titles there are more projects that unfortunately never got to see a release.
Hector after 7:00 PM.
Which environment that you have done has been your favorite?
By far this has to be the first one, which is the original Kickstarter image. I learned a lot when creating that scene and the feeling of nostalgia was awesome.
What do you like to do when you aren't leading the environment art crew?
Outside of work I choose photography as another creative outlet. I like to go out hiking and shoot landscapes or if I'm lucky some wildlife. Animals can be tough to find and sometimes I don't have the patience. I also enjoy macro photography, this takes patience too but it's a much more controlled environment. I like that.
Do you have a favorite artist or game developer?
This is a super tough question. I'll start with outside the industry. Favorite artists are Mark Ryden, Audrey Kawasaki, James Jean, and Ashley Wood. Inside the industry it has to be Akihiko Yoshida, Yoji Shinkawa, Robh Ruppel, and Sparth.
And where do you draw your inspiration from?
I mainly draw inspiration from the places I visit when I go out hiking. There is so much to discover when you can capture nature at a grand scale and at the macro level. The music I discover on the weekend when I visit some of my favorite online music sites. And from the people that work around me every day.
What's your favorite Infinity Engine game? Why?
This has to be Icewind Dale. I feel so fortunate to have worked on that game. It helped me discover the world of D&D. It also gave me the chance to work with and meet some of the best people in the industry. I'm truly grateful for that. A super close second is Planescape: Torment, I mean, come on. HA!
In a Quake deathmatch between you and Adam Brennecke, what would be the final score?
I think the first round would be pretty close it could go either way really, haha, but once Adam finds his groove, oh man, this would be a no contest, he's a beast. Final score would be to embarrassing for me to write. HA!
Is there anything else we should know?
I got that purple, grape, I can bake a cake.
Posted by Dark Elf
Update #65: Ciphers
Thu Oct 03, 2013 6:26 pm
Update by Josh Sawyer, Project Director
An agent of Dunryd Row attempts to perceive a "housed" soul within a piece of evidence.
Hello and welcome to today's class update! We'll be discussing some newcomers to the Dyrwood's "magic" scene, the enigmatic and deadly soul-manipulators known as ciphers. Read on to learn how ciphers went from being an animancer's theoretical possibility, to the feared foes of Dyrwoodan settlers, to an integral part of Defiance Bay's secret police, Dunryd Row.
Contemporary ciphers are fighting casters, like the Glanfathan "mind hunters" who invented the discipline. When engaged in physical combat, they use an Ability called Soul Whip to contact and drain the psyches of their targets. Recognizable by the purple flames that engulf a cipher's weapons, Soul Whip generates a Focus resource that ciphers can use to power their abilities. Though ciphers begin combat with a modest amount of Focus, their more advanced techniques demand large expenditures of Focus. Additionally, repeated uses of even minor powers will quickly drain a cipher's Focus, requiring them to dive into physical combat to generate more.
Cipher powers are not limited to mental manipulation. They have abilities that allow them to use a target's soul energy to "leak" and burst into flame, to generate a physical shockwave of that knocks down everyone behind the target, or even to bend back toward the cipher, creating a field of protective energy around him or her.
With the exception of Soul Whip, all cipher powers require Focus and a nearby target other than themselves, one with a "housed" soul. In practical terms, this means that ciphers must always target a nearby ally or an enemy with their powers. It is impossible for them to target themselves, a distant target, or open ground.
Here is a sampling of some of the cipher's abilities:
- Soul Whip (Modal) - At close range, the cipher's weapons generate fields of parasitic energy that lash out at a target's soul. The Soul Whip mode reduces the amount of damage caused, but each successful hit briefly lowers the target's Psyche defense and generates Focus for the cipher (attacks Psyche).
- Mind Wave - The cipher violently intrudes into an enemy's mind, Stunning the target (attacks Psyche) and generating a cone of concussive force behind him or her that can knock down anyone in its path (attacks Fortitude).
- Soul Shock - The cipher causes an ally's soul to "crack" and violently release energy into the physical world. The resulting explosion of electrical (Shock) energy damages everyone nearby except the target (attacks Reflexes).
- Psychovampiric Shield - The cipher drains Intellect from enemies and uses it to temporarily increase his or her Deflection. The increase in the cipher's Deflection is dependent on how much Intellect he or she successfully drains from victims (attacks Psyche).
- Mind Blades - The cipher uses the souls of nearby enemies to generate attacks against the subjects themselves. Each target is attacked once by a slashing "mind blade" which then moves on to the next nearest enemy up to a maximum of five targets (attacks Deflection).
- Recall Agony - The cipher causes the target to re-experience the pain of a wound moments after the target originally suffered it. The damage is a percentage of the original value, but it ignores the armor of the target (attacks Psyche).
- Ectopsychic Echo - The cipher and an ally generate a bolt of psychic energy that periodically rebounds between them, causing Crush damage to anyone caught in the area (attacks Reflexes).
Many classes have abilities that allow the user to channel the power of their own soul or ambient soul fragments to produce incredible effects. Paladins ignite their souls to produce auras, wizards draw soul fragments into grimoires to shape and cast spells, and monks use personal suffering to focus energy through their bodies. While these classes often develop abilities that allow them to affect the minds and souls of others, the power is always generated by the user.
Feared for their mental powers and extreme hostility, the vithrack were once eagerly pursued by animancers for research purposes.
In the field of animancy, which focuses on the study of souls, researchers wondered for centuries if they could develop a discipline or technology that would allow people to connect with the soul of another living thing -- not just reach or strike out toward it. Wizards and priests had developed abilities to overwhelm or inspire the mind, but not to connect with it. Animancers theorized that it could be possible for one soul to reach out and connect to another, but they had no proof. Animancers studied folk legends about figures called Watchers who reportedly were able to see lost souls and perceive an individual's ancestral lives, but claimants to that title were typically charlatans at best or mentally unstable and violent at worst. A few intrepid animancers attempted to communicate with the reclusive spider-like race known as the vithrack. The creatures, obviously of advanced intelligence and extraordinary capabilities, seemed to possess the ability to connect to an individual's soul -- albeit with horrifying consequences. The dangerous nature and rarity of the vithrack combined with their inhuman physiology have still proven to be insurmountable obstacles in understanding how their powers work. Still, the animancers had a few other leads to follow.
Over a century ago, during the Broken Stone War, soldiers in the Dyrwood reported wild tales of having their minds invaded, of seeing comrades lose control of themselves, of orlan and elven Glanfathan warriors wielding knives engulfed in purple flames that "cut away" the souls of their victims. The war was a new experience for everyone involved, so many Dyrwoodans dismissed many of the more outlandish tales over time. But over the decades that followed, more settlers reported similar violent encounters with Glanfathan guerilla fighters. In the War of Black Trees, Dyrwoodan animancers confirmed many of these experiences across a wide number of soldiers and settlers. However, with Dyrwoodan settlers in a state of war with the population of Eir Glanfath, the researchers couldn't find many Glanfathans who were willing to talk about it.
After the Dyrwoodan revolution for independence, the Dyrwood officially stopped the Aedyr Empire's practice of exploring and plundering Eir Glanfath's sacred ruins -- the practice that had ignited the earlier wars between Dyrwoodan settlers and Glanfathans. In the years that followed, the tribal princes of Eir Glanfath allowed Dyrwoodan animancers to speak with some of their brîshalgwin ("mind hunters"), the elite warriors that had terrorized Aedyrans and Dyrwoodans in past wars. From the brîshalgwin, the animancers learned that Glanfathans had developed mental abilities that allowed them to perceive and contact what animancers categorized as "housed" souls, i.e., souls held within a physical vessel. They initially developed these talents in an attempt to communicate with souls held in the Engwithan ruins they were sworn to protect. When the tribal princes outlawed this practice as disrespectful and dangerous, their councilors advised the princes to turn the efforts of the brîshalgwin towards protecting the ruins and developing new methods of warfare.
Standing stones of adra like these were carelessly knocked down by early Dyrwoodan colonists, starting a conflict with the local Glanfathans that erupted into what became known as the Broken Stone War.
Excited by these revelations, animancers in Defiance Bay began working with the brîshalgwin, whom the animancers had previously described as "ciphers" due to their mysterious nature. Given Dyrwoodans' general discomfort with the Glanfathan language, the cipher name stuck and continues to be used in everyday conversation. For decades now, the ciphers and animancers have worked together, each generating new ideas and expanding their collective understanding of soul manipulation. Today, Dyrwoodans and foreign visitors from Aedyr, the Vailian Republics -- even distant Rauatai -- have learned and expanded the ciphers' growing field of techniques. Recently, encouraged by the potential the ciphers have shown and dismissive of the superstitious concerns of locals, Lady Webb, a prominent noble and advisor to the duc, petitioned the Dyrwood's erls to create a spy service in Defiance Bay consisting primarily of ciphers. The erls approved, creating what would become known as Dunryd Row, a respected, if somewhat feared and mistrusted, organization that operates out of an old, vine-covered house in the city's Brackenbury District.
Though ciphers' powers are still being explored, unlocked, and debated across the civilized world, most people recognize that their abilities hold great potential -- for good or ill -- in the cultures that develop them.
Posted by Dark Elf
Update #64: Developer Q&A with Kaz
Thu Sep 19, 2013 7:18 pm
Update by Kazunori Aruga, Concept Artist, and Brandon Adler, you-know-what-I-do
Hello, backers. This week we are profiling another talented Concept Artist on Eternity, Kaz Aruga. While Kaz wears many artist hats his largest contributions are area and UI concepts. Enjoy.
Q: Hello, Kaz. What is your job on the Project Eternity team?
Before I start I want to quickly thank all you awesome peeps who backed our game. I wouldn't be here working on my dream project if it weren't for you all, so thank you for making this a reality!
I have two responsibilities on Project Eternity. The first is supplying the asset and environment teams with concept art. The second is producing art for the game's UI. I'm occasionally tasked with scripted interaction art and will start producing character portraits further down the road.
Q: What are you working on this week?
I've been tasked with inventory and character creation UI. *leaps away as a massive fireball of community UI rage engulfs the land*
But seriously, I appreciated the feedback you all gave us for the action bar and conversation UI. I've taken notes and been implementing ideas that are in alignment with our design goals. As a side note, being a fan of the IE games and having a lot of experience playing them has proven very useful as it helps me identify what worked and what didn’t. I'm sure we all have fond memories of shuffling piles of arrows between characters.
Q: What is your typical work day like on Project Eternity?
My day usually starts by fighting off Robs and Polinas to get to the Keurig coffee machine in our room. Consuming the glorious bean drink allows me access to all two neurons in my head, which I then rub together as hard as I can to start making artwork. My day varies a lot from this point based on the task I'm on. For character and environment work a good chunk of time will be devoted to gathering reference and inspiration, or doing homework on a specific subject. I'll then do a rough sketch pass which gets reviewed by the leads and other artists. When I'm on scripted interaction art I work closely with our designers Bobby and Jorge, and for UI I interface with our project lead Josh and Brian who is our programming intern.
Q: What are you most looking forward to on Project Eternity?
Just the fact that we can put an IE inspired game on the market is enough to get me excited. It's been long overdue. I'm looking forward to seeing all the hard work we are putting in coming together as one complete package, and seeing reactions of people playing the game!
Q: Which concept that you have done has been your favorite?
Artists are typically never happy with their own work. Next question!
I've enjoyed working on art for scripted interactions, and been pretty happy with the results. I've also been putting a lot of work into inventory UI recently and am happy with the results coming out of that.
Q: What other projects have you worked on?
Before this job I was up in San Francisco working as a texture artist on a television series called Star Wars: The Clone Wars. I've also done some matte painting work in the film industry.
Q: What do you like to do when you aren't chained to your desk by your producer?
My off time often includes episodes of Breaking Bad, Game of Thrones, a cold beer, and dual wielding our two resident cats Puddy Tat and Lil'Babs. They are the best. I also have an unhealthy and destructive relationship with Ramen. (No, not the vile instant noodles. How dare you call that Ramen!) Thankfully LA has an abundance of good shops to satisfying my craving.
Q: Do you have a favorite concept artist?
Here's a few that popped into my head. I'll link to their site and save you all a google search.
On the painting and illustration side..
And of course the greats from the past...
Q: And where do you draw your inspiration from?
- John Singer Sargent
- Jean-Léon Gérôme
- The Wyeths
- Norman Rockwell
- J. C. Leyendecker
- Isaac Levitan
Nature is a big one of course. I also think back on how blessed we are with powerful tools like Google image search. We don’t neglect traditional resources, but I honestly can't imagine working at our current pace without it.
Q: What's your favorite Infinity Engine game? Why?
BG1 for exploring the vast wilderness. I can still recall the music and hear the birds chirping in the distance. BG2 is a close 2nd for its story and companions. The only title I haven't finished is IWD2 which I am playing through currently, and I will say I'm enjoying the combat.
Q: Existential question of the day: Who are we and why are we?
We're just here, man. There's no why, everything just IS. You feel me?
Q: Anything else you would like to share?
Long live the glorious PC gaming master race. *lets out a nerdy war cry and bangs mouse and keyboard together*
That's it for this week. Hope you guys enjoyed getting closer look into what Kaz does for us. See you guys in a couple weeks.
Posted by Dark Elf
Update #63: Stronghold
Thu Sep 05, 2013 6:55 pm
By Tim Cain, Senior Code Wizard and Systems Designer
Hello! I have spent much of my time for the last few weeks devoted to making the game’s stronghold system, which was one of our Kickstarter project’s biggest stretch goals, into one of the best systems in the game. Josh has created an amazing and detailed stronghold design, with lots of upgrades and activities and random events that really make owning a stronghold fun and exciting. I want to spend this update explaining what we have made in the game, but first, let’s talk about the stronghold itself.
First, a caveat: I am going to describe the stronghold as it is currently designed. This design is mostly programmed already too, but as with all development, it might change as we finish the art and audio, fix any bugs, and tune the game play. So please view this as a snapshot of the stronghold development as it exists today.
You will be offered the stronghold early in the game, before you finish Act 1. But the stronghold itself is old and dilapidated, and you will want to upgrade it as soon as you can. These upgrades will, in turn, open up new activities and events that can happen, which will make the stronghold a dynamic and fun place to own.
So let’s go through the many reasons why you will want to have a stronghold.
There are five bonuses you will receive for getting and upgrading your stronghold.
- Resting bonuses. Some of the upgrades to your stronghold will grant temporary bonuses to your attributes or non-combat skills when you rest there. As examples, you can build Training Grounds to improve your Strength or a Library to improve your Lore skill. Some of these upgrades are expensive, but you’re worth it.
- Adventures for idle companions. You will eventually have more companions than will fit in your party, so you will have leave some of them behind. While they are idling away at the stronghold, they can take part in their own adventures, earning additional experience for themselves and extra money, items and reputation bonuses for you!
- Ingredients. Many of the stronghold upgrades will generate ingredients used by non-combat skills. For example, Botanical Gardens create Survival ingredients over time, and a Curio Shop produces ingredients for use by both Lore and Mechanics.
- Special offers. Sometimes visitors to your stronghold will have rare items for sale, or perhaps they will offer you items in return for something else. Pay attention to these visitors. Some of these items may be nearly impossible to find any other way!
- Wealth. Don’t forget that by owning a stronghold, you also own all of the surrounding lands and impose a tax on all of the inhabitants. It will feel nice for a change to have someone recognize your high standing and give you the money that you so richly deserve.
These bonuses all sound great, right? Well, they are great, but they are just the passive benefits from owning and upgrading a stronghold. There are a lot of activities you can do too, once you take possession of your stronghold.
Tim in his typical Stronghold creation attire.
First and foremost, when you get your stronghold, you are going to want to upgrade it. Upgrades are improvements to various parts of the castle, usually to add to the security or prestige of the place. Security affects how much taxes you collect as well as helps reduce the number of “bad” random events, while prestige increases the number of “good” random events as well as increasing tax collections, too. Upgrades can also serve as prerequisites for other upgrades. For example, you cannot build your Training Grounds (and get your Strength bonus after resting at the stronghold) until you have repaired the inner bailey of the stronghold.
Every upgrade costs money and takes time to build, but as long as you have the prerequisites completed, you can have as many upgrades building simultaneously as you can afford. And you don’t have to wait at the stronghold while they are built, either. You can continue adventuring, and you will be notified when they are built.
You can begin collecting taxes from your populace as soon as you gain the stronghold. The amount of taxes you collect increases with your prestige (because people know of you and like you), but the amount also increases with higher security, since some taxes are lost to banditry. You will want to keep both of those values high.
You can also employ hirelings to stay at your stronghold. These people will provide bonuses to your prestige and security, but they cost money to employ. Some will leave your castle if you stop paying them, but others will wait around to get paid again (but not provide any bonuses until they are).
If you have cleared the dungeon and built a prison under your stronghold, then when you are fighting some of the named NPC’s in the game, you will be given an option to take them prisoner instead of killing them. Prisoners are kept in a cell in your prison, where you can visit them and talk to them, and occasionally use them as leverage later in the game. But you will need to keep your security level high, or you might suffer from a prison break!
Finally, several upgrades will produce ingredients used by non-combat skills. This feature, along with upgrades that can improve your skills, makes your stronghold a great place to craft and store items. You can stop by your castle occasionally and make food, potions, scrolls, armors and weapons, and any that you don’t need immediately can be stored in chests and other containers in a variety of places around the stronghold. You know, in case of an emergency.
Which brings us to random stronghold events.
As you play the game after getting the stronghold, whether or not you are physically there, you will be told if a random event happens at the stronghold. Sometimes, you will need to deal with the event immediately, but usually you are given some time to decide what to do.
The most common event at your stronghold is having a visitor arrive. There are all kinds of visitors, but they all share one thing. They can adjust your prestige and/or security just by being at your stronghold. Some visitors are wonderful and give good bonuses, and you will want them to stay as long as possible. Some of these visitors can even be employed as hirelings and will stay on as long as you pay them. Others are not so great, and you will want to offer them one of your companions to act as an escort to their next location, or perhaps simply pay them to leave. Some visitors will offer rare items for sale, and some might even offer a very rare item in exchange for one of the prisoners in your dungeon. As you can see, visitors require some decision making on your part.
As mentioned above, your idle companions can take part in adventures as those events arise. You will be informed of what adventures are available, how long they will last, and what the rewards will be (in general terms). If you send a companion on an adventure, he or she is unavailable until they complete it and return with the rewards. You can recall any companions early, but then they earn nothing. Why would you ever want to recall them then? Because your stronghold can get attacked!
Attacks are the most potentially dangerous of all stronghold events. Occasionally troublemakers (of various sorts) will decide to attack your castle. You will be warned ahead of time of any such attack, so you can return to the stronghold and take part in it directly, if you want. Otherwise, the attack is simulated and you are told the results. A well-defended stronghold can repel any but the most concerted attacks, but there is always a chance of damage which can destroy upgrades, kill hirelings, and cost money. The threat of attacks is the most important reason to keep your security level as high as you can afford.
I hope you have enjoyed this sneak peek into the world of Project Eternity and the role your stronghold will play in the game. No matter how you play the game, your stronghold is certain to provide many benefits and also be a lot fun too!
Posted by Dark Elf
Production 01 - State of the Project
Wed Aug 21, 2013 5:54 pm
By Brandon Adler, Producer
Hey, everyone. As you know, over the past six weeks we have been working on our first production milestone - the cleverly titled Production 01 milestone. Our first target has been Defiance Bay (our first BIG city) and the team has been busting their collective butts to get as much fantasy roleplaying goodness as possible into the city.
In George Ziets' own words, "Defiance Bay is the capital and largest city in the Dyrwood, gateway to the riches of Glanfath, teeming with adventurers and explorers from all over the region. Defiance Bay is a city of the common people, where the most prominent and respected citizens are self-made men. It stands at the forefront of experimentation in soul magic and exemplifies the age of discovery."
A ton has been accomplished in a pretty short amount of time and we would like to share some of it with you.
April is our new Art Intern. She has been doing an amazing job in creating the interiors that populate Defiance Bay.
Holly is an Environment Artist that joined us about a week ago. She has already made a large contribution in filling out the existing areas with new props.
Matt is a new Design Intern. Along with creating NPCs, quests, and blockouts, he also does maintenance work on areas (hooking up transitions, loot passes, encounters, etc.).
Like Matt, Ryan is one of our new Design Interns. He also creates dialogues, quests, and blockouts.
Brian is Project Eternity's Programming Intern. While he has been implementing many features, he most closely works with the Concept Artists to get our UI to Alpha.
The Environment Artists have wasted no time in constructing an expansive Defiance Bay. For this first milestone our target was to get three of Defiance Bay's districts to Alpha level quality. It was a little ambitious, but the team did really well. The city feels full of life and character. I am pretty impressed with the speed that the team is able to get all of this together.
While the Environment Art team is busy filling out the visuals, the Area Design team is meticulously planning and executing quests, NPC dialogs, and other goodies throughout the city. They were able to get three of the city's districts completely blocked out in under a week. Considering the size of the city, it is a pretty good accomplishment.
Two of those districts are now at an Alpha level and even at an early stage, are a lot of fun to play. In addition to that, our two new Design Interns - Matt and Ryan - have been filling in the areas with smaller quests and NPCs. It is really starting to make the city feel alive.
The Concept Artists, Animators, and Character Artists have been burning through our creatures. We are taking a different approach in Project Eternity than we have on other projects. Instead of taking a creature from concept to a final, polished product, we have been taking creatures to a blockout stage before moving to the next.
This allows us to get creatures into the game much more quickly. It also lets us be more flexible with how we spend our polish time. Overall, we think it will lead to a better experience.
Even with this short amount of time, we have been able to get about eight different creatures into the game.
Since it would be pretty mean of me to talk about the creatures without showing one, here is a small taste of one of my "favorites" - the wicht.
I think Josh's description says it best: "Wichts are the bodies of children that were born without souls, grew to adolescence, and were then possessed by a malevolent lost soul or soul fragment that has been artificially inserted through animancy. This process arrests their physical development and transforms their outward appearance, leaving no doubt as to what they are."
In addition to the creatures, our Character Artists have been filling out the remaining armor sets that are left. We have all of our basic armors in place for all of our races. This is a pretty significant feat this early in the project. Now that we are done with the base item and armor sets, we can focus on making magic and unique variants.
We now have a fully functional quest journal in place that allows players to see their quest progress. The UI is currently being implemented, but it is looking great.
While we have been getting more and more Alpha UI into the game, I was particularly happy with how the conversation UI came out. Take a look for yourself, though. Even though this is still a work in progress, I think everyone did a great job. Let us know what you think of the conversation UI in our forums.
Tim went on a tear and got most of the backend systems for the player stronghold in place. There are a ton of really fun things you can do with your stronghold like sending companions on missions, buying rare loot off of merchants, building upgrades, and even purchasing hirelings to defend your keep from attack. Watching Tim's stronghold get robbed blind because he has low security and high prestige never gets old.
Eternity now has a fully functional world map. When the party enters a qualifying transition, the world map appears. Players can then select to travel to a location by selecting that icon on the map.
Fog of War
One focus for this milestone was to get our Fog of War system in place. Beyond a few tweaks, Adam is pretty close to slaying that beast. It's a really robust system he created that takes some inspiration from rogue-like games. Using Adam's tool, designers can quickly create a fog map, edit it, and set locations that should only be revealed at specific times.
Steve, our AI Programmer, has been putting work into spellcasting AI this milestone and it is coming out nicely. Enemies are more crafty than they were now that they are casting spells intelligently. There's going to be even more AI work - roles for our enemy AIs, for example - put into our next milestone.
We had our first $10,000 backer, Timothy, come for a visit. We all had a blast and it was great to meet one of our fans and show him the game. We even have a picture of Timothy preparing for Josh Sawyer's inevitable betrayal.
Josh Sawyer on Game Design
Lastly, I will leave you with a video that Josh put together about the importance of real-world knowledge in game design. Take a look.
Well, that's it for now. See you guys again in a couple of weeks.
Posted by Dark Elf
Update #61: In-game Art
Thu Aug 08, 2013 6:20 pm
Update by Rob Nesler, Art Director and Brandon Adler, Producer
We showed you this concept that Polina Hristova had developed, back in Update #55: [img=http://media.obsidian.net/eternity/media/updates/0061/pe-dungeon-concept.580.jpg]
And here is the in-game level--about to get violent--as developed by environment artist Sean Dunny:
We think it looks pretty good. Thoughts?
This week, we have the second part of Avellone's two hour playthrough. Chris explores the Shrouded Hills Mines and dies to bandits along the road... multiple times.
Obsidian is putting the call out to enthusiastic game developers who are interested in working on Project Eternity. To be eligible, you must be in the Southern California area willing to make the daily trek to Irvine, California. If you or anyone you know fits the description and would be interested in joining the Project Eternity team, follow the links below.
The Lead QA Tester position requires managing a team of testers, delegating testing tasks, tracking tester performance, providing guidance as well as coordinating with department leads and owners to ensure all aspects of the project are bug free. The Lead QA Tester position requires a strong knowledge of QA methodologies and practices, as well as an ability to handle and act upon high volumes of information and responsibilities.
Contract VFX Artist
Obsidian Entertainment is looking for a talented self-motivated VFX Artist to create a range of 3D effects and animations for a 3D world.
This artist will be responsible for creating both ambient effects (such as smoke, fire, and lightning) and more detailed prop animation (a tree limb breaking, a glass shattering, etc.). These effects will be created using Maya, but experience with comparable programs is acceptable.
Posted by Dark Elf
Update #60: Camaraderie
Wed Jul 24, 2013 7:07 pm
Update by Chris Avellone
This week? Companions. I have been designing companions.
I lucked out, because I got to do companion design work for BOTH Eternity and Torment, so two birds, one stone. Or three companions, one lodestone? I don’t know.
Eternal Companion Facts
Some facts from our Eternity design documents that I wanted to say up front before going any further: thanks to backer support, Eternity supports 8, yes 8, pre-made companions and 8 hired adventurers (16 total). You can have up to 5 in the party at any point in time (the 6th/1st role is your player character, who, well, sort of has to be there, you know, because it’s your game). It’s a lot of writing.
We want to allow you to encounter all companions before the mid-point of the story. One issue we’ve found with introducing companions too late is that it doesn’t give players enough time to bond with them, and/or the player may have already formed a strong attachment to their other allies so much so there’s no physical or emotional room for more party members in their lives.
Each companion also has their own mini-arc and quest woven into the game as well, so be prepared - they have agendas of their own. You know, like real people.
Lastly in the fact train, we don’t force you to take anyone in your party. If you want them, take them. If you want to go to the Adventurer’s Hall and make your own, do it. Go solo. We don’t own you. We’re not trying to control you. Play how you want.
So a narrative update related to companions... Eric Fenstermaker (designer, Fallout: New Vegas, also responsible for Boone and Veronica and worked on NWN2: Mask of the Betrayer and... and... oh, just Google him) has been hard at work on the narrative, and it’s reached the point with the arc and themes that now seemed like a good time to introduce the companion supporting pillars to the process to take the story higher (...not necessarily in a “Can you Take Me Higher” Creed sort of way, since it’s not really a question, it’s more like, “yes, we will take you higher.”)
Over the past few months, I’ve been scrutinizing the systems and story documents for Eternity (and Torment), the themes, and also checking out the other companion briefs from the other designers. Aside from the companion designs I wrote, feedback has been wildly traded in the interests of making companions even better than their core concepts. It was my goal to read EVERYTHING about the narrative I could, even brainstorming - and in Torment’s case, novellas as well. Now it was time to work on the structure of the individual companions.
...and now on to Companion Design
We discussed companion design (http://forums.obsidian.net/blog/1/entry-168-project-eternity-and-characterization/) way back at the start of Eternity, so some points in this update will callback to this. There shouldn’t be a need for a refresher read unless you want to. The process for Eternity (and Torment) has followed these bulletpoints, and we’re holding true to our goals as well as expanding the design methodology as we go ahead.
The first and best place to start with companion design is the game systems. For companions, this means considering race, class, and their role in the conflict mechanics of the game. Knowing what class of character you’re making is key to building their history and personality. For example, in the case of Gann in NX1: Mask of the Betrayer, knowing his class before writing was a big help, and I can use that class’s list of abilities, class focus, and the abilities the class specializes in and weave it in with the backstory. The Eternity designers have been good about indicating the spread of classes and races for the companions and rationing those out during the process.
For Eternity, since combat is the primary challenge mechanic, one major goal is to make sure the companion is combat effective. Why would you take them in your party? How are they useful? In other instances of conflict mechanics (for example, dialogue or Tide reactivity in Torment), we also examine how the character is useful in terms of these challenges as well.
A Note About Challenge Mechanics
Really quick, I want to clarify what I meant about “challenge mechanics.” That doesn’t always mean combat – it’s whatever the primary challenge in the game is. If we were doing a Thief-style RPG, then stealth and avoiding detection becomes the primary challenge mechanic, not combat. Depending on the RPG and its range of challenges, a character can still be fairly weak in combat, but if that’s the case, we try to think of how they’re helpful with regards to the game’s other challenges (giving an edge in dialogue, healing, fast travel).
For all the characters I’ve seen or designed for games that don’t cater to at least one of the game’s primary challenge mechanics, those guys are often unpopular or unused because they’re not helping out with the systematic gameplay, regardless of how cool they might seem. And the more actively these characters can participate in the mechanics (vs. passive), the stronger their appeal.
Also at the same time, I try to be careful that the companion's skill set doesn’t overlap with the challenge roles of the other characters. We try to indicate in the companion briefs how each companion's challenge role is intended – one thing I learned as a pen-and-paper Gamemaster is you want to be careful about two players sharing the same role (Tank, Mage, Priest, etc.) – if one is clearly stronger than another, then the second one needs something else to make them stand out and be “special” in the party and fulfill an equally cool role in the party dynamic, otherwise one ends up getting upstaged by the other. And feelings get hurt. Which isn’t something you want in a game designed to entertain.
For Eternity, we’re setting it up so even if players choose the same classes as some companions, the companions are designed to assist those character types and make them more special (ciphers, for example, can chain, and even priests with the same religion can discuss theology and combo attacks).
In addition, we wanted to be careful about personality overlaps as well. I wanted to make sure any companion design didn't overlap with ideas or “concepts" of the other characters (or across projects – so for example, while I’m doing a Glaive for Torment, I’m not doing any fighters for Eternity) ...and that extends to personalities as well. As an example, I told Colin for Torment it might be a good idea if I didn't do a female rogue with a ruthless hidden agenda who can shape-shift according to your personality and have her/it be redundant with the Toy or the Cold, Calculating Jack in Torment.
So knowing the general class-focus, role, and personality for each, as well as ones that would be useful, we try to include in the character briefs and get that info to people as quickly as possible so everyone can get a sense for what direction to take their characters.
As for me, after much begging for the class itself and begging for the specific companion, I asked for the cipher. The cipher is near and dear to my heart, it felt like the first brand new class we were introducing that was tied into the soul mechanics of the Eternity world, and the freedom to explore it is a great opportunity.
Both the Eternity and Torment leads have been strong advocates about letting designers channel their characters. If you are excited about an idea, they are willing to work with you to help realize that idea and help it fit into the world, without giving barriers to entry. In my opinion, the best GMs do this – rather than give you character sheets, they help you make a character you care about. In essence, companion design is a designer’s chance to design their very own player character that fits in with the world and the theme.
On Eternity, Eric has a strong theme for the story already. While not the original theme, Josh was accommodating and we all recognized that if another theme came to the forefront naturally through the writing process, it’s fine to alter it to make a stronger design. Having this theme clearly identified and supported in the narrative is good, but we’re taking care to make sure the companions can provide direct examples of the theme at work (or present counters or alternate viewpoints to it) - and the more, the better.
The companions cover a good range of culture and religion and factions in the game, which we hope to showcase more of in the future... the machinations of the world and the politics are prominent in the story (along with the magic system), and the characters showcase these elements very well.
There’s still plenty of work to do – like all design, iteration is key, and we have been doing passes of the characters to make them stronger. While the companions exist as individual entities, we also feel it’s important to do a pass of the companions to show how they relate to each other, which we feel is an important part of making the game Infinity Engine-esque, and it was a big part of the dynamics in Baldur’s Gate and Torment – describing how companions relate, fight, argue, or even act as sounding boards for both your character and each other’s viewpoints is an important part of creating a living world – and your party is very much the living world that follows you around.
The work doesn’t stop there. A pass of the companions asking “why the players should care” is also something we like to make sure we have an answer to for each companion. While the answer of “good fighter” is an answer (and one that’s worked well for a number of companions in the past), we prefer to add more layers showcasing how they’re specifically adding to the player experience.
Companion Nuts and Bolts
There are other finishing touches we like to add.
The companions have unique signature items (very Torment and Baldur’s Gate) in addition to their personalities and strong visual signatures as well. One comment we’ve always tried to include in these visual hooks is that because of the camera angles in the game, we want to make sure these visual hooks are easy for the players to see in the environment as well.
Also we’re doing what we can to get the area designers involved with not just the story, but companions as well. A good chunk of the game is dungeon exploration, and we felt that what the designers had done in NX1: Mask of the Betrayer in making sure that each companion had a significant interaction in a specific area was important for the story – and having areas that revolved around companions as well gave them and the dungeon design more strength. Right now, the companions already have strong internal conflicts (and religious and faction, if not inter-party), now tying those more to NPCs and dungeon explorations is one of our next targets.
With the companion design, we also tried to include narrative samples of analogies to that character that we’ve seen in other media or fiction that we feel help capture the character’s essence. Also, as we’re designing the characters, we include sample lines of dialogue when we can as another layer in the process so audio and other designers can get a sense of how the character sounds (both spoken and text-wise).
That’s all I can share about companions for the moment, and we’re looking forward to elaborating further as the game progresses.
If you have any thoughts or ideas on companion design, specific or general, feel free to post in our forums, we look forward to hearing from you!
Last but not least, we have the first of two blocks of Arcanum playthroughs in Shrouded Hills for you... from bank robberies, to mine plundering, to death, to dealing with telepathic bridge bandits. We’re releasing one with this update, and then (cross your fingers) the second will be part of the next update. It’s all recorded, production just wants to put some touches on the audio. Possibly to strip out my voice. And my breathing. And screams.
Also, I may end blogging critiques of the game as well, just to distill the game critique information. It’s a little hard to get the design critiques during the playthrough – if that’s something you’d like to see in addition to the videos, I’ll try and make time for it.
Check out the first video at: http://www.youtube.com/watch?v=MNOJ5DRO7uQ.
Kickin' it Forward: WARMACHINE: Tactics
Do you like turn-based strategy? Do you like giant steam-powered robots? Then our friends at WhiteMoon Dreams and Privateer Press Interactive have the game for you - WARMACHINE: Tactics. Go support their Kickstarter and help bring the award-winning WARMACHINE miniatures game from the tabletop to your desktop PC or Mac. Click here for more info.
Posted by Dark Elf