Today's update is different from what we've done so far, and is to give you a look at what's going on at the studio. During the making of Project Eternity we want to give you an idea on how our games are made. Making games is not magic - game development just boils down to a lot of work from a lot of talented people. I would like to pull back the curtain, and give you the who (the talent) and the what (the work that they do) to make Project Eternity a reality.
The Stuff
RPGs are large and complex games that have a ton of stuff, and much more stuff compared to most games. Characters, companions, dialogues, areas, monsters, abilities, spells, items, weapons, armor, sound effects, visual effects, interface art, music, crafting recipes, animations, textures, crates and quests are the bits of stuff in Project Eternity... and the list goes on and on. At the time that we finally ship the game, we will have hundreds of thousands of bits of stuff in the game. Managing and creating this stuff is one of our major problem when creating RPGs. Our task is to make all of the stuff as efficiently as possible with a high level of quality.
Right now we are knee deep in pre-production. Pre-production is the period of time at the beginning of development where everything is planned and prototyped, production schedules are made, and pipelines are constructed. I'm not talking about oil pipelines here - I'm talking about asset pipelines. An asset pipeline can be described like an oil pipeline - First the asset is made by a content creator (like an artist), next the asset is processed by a tool so that the game understands what the heck it is, and finally the asset is placed into the game world in its final location. All of the different types of assets (stuff) require a custom pipeline. Pipeline creation is one of the many problems we are tackling right now in pre-production.
The Team
We have many different roles (sometimes called "hats") on the Project Eternity team. Most of the team fall into three categories: content creators (makers of stuff), programmers (making the stuff work), and production (making sure the stuff gets made). Our role percentage breakdown is a bit different than what we typically have on a project. If you look at my fantastic pie-charts below, you can see that we are content focused because we have larger design team, and since our team size is small we don’t have the need for a large production staff.
All of these roles are equally important and are all vital for making the game great:
Art
Animation: Animation adds life and movement to the game. Every moving object in the game requires an animator to be involved.
Effects Art: Spell effects, sword swings, fire, smoke, and blood are animated and designed by an effects artist.
Environment Art: The environment artists make the world look beautiful. They do a pretty good job at it.
Character Art: Character artists create the characters, companions, and monsters. They also model and texture all of the weapons and armor.
Concept Art: Concept artists paint and illustrate environments and characters that fit within the art and design vision. Their art is used by the rest of the team for reference on style, mood, color, size and proportion. They also paint the 2D portraits and touch up the 2D pre-rendered environment scenes.
User Interface Art: All of the buttons that you push, the interfaces that you interact with, and all of the mouse/item/weapon/spell icons in the game are designed and crafted by the UI artist.
Audio
Audio Design: Audio design is responsible for any and all of the audio that comes out of your speakers. This includes the creation and production of all of the music and sound effects, and making the character voices sound great.
Design
Area Design: All of the cities, towns, dungeons, and wilderness areas that you can explore are designed by area designers. They take the environments and characters made by the artists to construct a rich and believable world. They also fill the game with quests and combat encounters.
Narrative Design: RPGs contain thousands of lines of branching dialogue and huge non-linear storylines. The world, story, companions, factions, lore, and themes are created by the narrative designers.
System Design: Rules and systems specialists. They like numbers and spreadsheets. Combat, abilities, spells, non-combat skills, and items are designed by the systems designers.
Production
Production: The producers organize the team. They make sure everything is running like a well-oiled machine. Producers have the responsibility for making sure the game is delivered on time, on budget, and is awesome when it's shipped.
Programming
Engine Programming: The engine programmers deal with system, rendering, and physics code. Unity handles a lot of our engine-level programming for us, so we can focus our programming time and energy on gameplay.
Game Programming: The game programmers implement the game design including the rules, combat, and abilities. They also code up gameplay systems like dialogues, quests, stores, and create artificial intelligence for monsters.
Tools Programming: Pipelines and tools used by the team are made by the these programmers. Most of their code lives "outside" of the game code.
Quality Assurance
Quality Assurance Testing: The QA tester reports in-game problems to the rest of the team. They make sure that all the stuff is working together and functioning properly.
We want to go into more detail on what each person does on the team in future updates. A two sentence description trivializes the responsibilities for each team member, so in the future we will dig deeper and take a closer look into the disciplines.
Next week Josh has an update with lore and other fun worldly things.
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AlazullYour body is not a temple, it's an amusement park.Enjoy the ride.Registered Userregular
Project Eternity has been described (by Forbes) as a 'roleplaying risotto' rather than a unique dish of its own. What are you doing to give the RPG its unique flavor and ensure that it's more than just a mash-up of other games?
Did he just ignore that question? I wouldn't blame him, because for fuck's sake, how does forbes think it knows anything about a game that's still in pre-production?
Incidentally, risotto *is* a unique dish, of which a few variations exist. A fucking great dish at that.
Obviously Forbes isn't up to standard regarding haute cuisine.
Thank you. As a professional cook, I saw that and almost punched a wall.
Not a unique dish? DO YOU THINK I MAKE IT WITH A BUNCH OF LEFTOVERS?
User name Alazull on Steam, PSN, Nintenders, Epic, etc.
I just don't understand the analogy. Risotto is actually pretty difficult to get right, and there's a lot you can do with it.
You could call Project Eternity a "roleplaying hash", to draw attention to the idea that it's "recooked leftovers".
Hey! What's wrong with hash? A number of risottos are also recooked leftovers. Recooked leftovers are fucking great.
Just calling it risotto won't make it risotto. Kind of like calling a slab of tofu a steak won't make it one.
Recooked leftovers are great though! And incidentally, goulash is best as a leftover, since the stew keeps getting better the longer it's been from the time it was made(within reason of course).
And incidentally, goulash is best as a leftover, since the stew keeps getting better the longer it's been from the time it was made(within reason of course).
And incidentally, goulash is best as a leftover, since the stew keeps getting better the longer it's been from the time it was made(within reason of course).
Mmmmm... Gooey goodness.
Also, adding a dollop of smetana is mandatory. Sooo goood.
Today's update isn't about lore as much as it is about the focus and process of developing our central plot. I'm not going to spoil any details of the story, but I do want to share what we're working on.
When we develop stories at Obsidian, we often ask ourselves (and each other), "What's the conflict and why do I care about it?" and, "What is my range of roles in resolving the conflict?" "RPG" means a lot of different things to different people. For us, it's important to let the player decide who he or she is in the story. That means when you set aside class, race, magic missiles, and all of the other goodies, the player needs to be able to define his or her own motivations, attitudes toward others, and ways of resolving problems in the story.
Finding the right level of player freedom and clarity of purpose can be difficult. It's tricky to develop scenarios that can convincingly motivate characters of many races and classes, many backgrounds, and many moral and ethical stances. A conflict that is too "hands-off" or impersonal (e.g. a political conflict that doesn't directly involve the player) can make it difficult for players to connect to it. A conflict that is extremely personal may rub players the wrong way if it assumes too much about their character or if it feels like their choices don't have a large enough impact on the world around them.
Because this is the first story your characters will shape in this world, we want to start with something small that grows into something larger. As we have hinted before, the story opens with the player's character witnessing a supernatural event that puts him or her in a difficult situation. The full ramifications of what you become a part of are not immediately apparent, but you quickly become aware that you have... new problems. Dealing with these problems makes you realize that resolving your situation is inexorably linked to the fates of many others. In some cases, these "others" are individuals. In others, they are much larger groups of people. You will get to interact with them all in various ways over the course of the story. If we do a good job in developing these groups and characters, the decisions you make in the course of resolving your problems will be interesting and difficult to make.
That's what we're aiming for, but that doesn't necessarily tell you what we've been doing. On this project, the process started with a rough idea for a story and a theme that went along with it. The story itself wasn't that important; it was just an idea to get us moving. What followed were critiques of the story's premise, the unfolding of the plot, the player's motivation and involvement, and the scope of the conflicts the player faces from the beginning through the end. For the past few weeks, we've been exchanging various small ideas, big ideas, minor tweaks, radical overhauls, and brand new storylines. Through it all, we regularly return to the questions I posed up above: "What's the conflict and why do I care about it?" and, "What is my range of roles in resolving the conflict?" We can (and do) write about all sorts of character and location ideas, subplots and interesting takes on themes, but until we answer those questions in a way we believe will be compelling to your characters and all that they may be, we still have work to do.
We like to develop fun ideas we come up with and every once in a while we delight at some clever character or situation we think of, but for us, it's more important for you to feel clever, for you to feel like you can take control of a situation -- by whatever means you see fit. Until we believe we have a few gems on our hands, we'll keep the Story Gnomes digging in the mines on your behalf.
As promised in Update #30, it's time to meet the people making the game. In today's update, we interview Steve Weatherly, a programmer on Project Eternity.
Steve, can you tell us what you do on Project Eternity?
I'm a gameplay programmer primarily responsible for making combat happen. What that means is that I look at what Josh and Tim design for the game, and tell them it can never be done. After that, they tell me it has to get done, so then I figure out a way to make it happen. I spend most of my day writing code, either for AI (to make the enemies act like they know what they're doing), or the underlying code that makes characters fight and take damage, etc. I'm also our chief Reddit ambassador, which I sort of fell into but it has been a lot of fun.
What are you currently working on today?
Today I'm actually working on building our equipment system. When I'm done, designers will be able to take a weapon that an artist models and drag it onto a character. The character will then hold it in their hand, swing it, and cause damage to their enemies. My weapon of choice is currently the flail, which Unity made surprisingly easy to create.
What’s your typical work day like on Project Eternity?
When I start my day in the morning the first thing I do is check email and make sure there aren't any outstanding issues or meetings I need to think about. I frequently also log into Reddit to see if I have any fan questions. After that I fire up Unity, update my build to see everyone else's work, then run the game to make sure it still works like it did when I left the night before. If there are any major issues I'll take care of them, otherwise I'll start working on whatever the next thing is that I need to build. I usually head off to the gym at lunch because my office is a dark cell and I need sunshine (or the fluorescent lights of the gym). Then more programming after lunch. Around 3:30pm I'm about ready to fall asleep, so each day all of the programmers gather up and walk across the street for coffee. That might seem like a waste of time to some, but it gives all of the programmers a chance to talk about what they are working and bounce ideas off of each other. Also coffee.
What feature are you most looking forward to programming?
I got into the game industry wanting to be an AI programmer. So, while I enjoy the challenges of engineering other systems, AI is where my heart is. I can't wait until we have a full complement of spells so I can write some cool wizard AI and give people an epic wizard battle!
What's been one of the largest challenges so far?
So far the biggest challenge has really just been getting familiar with Unity and building stuff so that when the design team starts making levels they will have a solid set of tools, easy to use and ready to go.
What other projects have you worked on at Obsidian?
I've been at Obsidian almost 7 years, so there's been a lot. I started out as tools programmer on the Neverwinter Nights 2 toolset, followed by my first job as an AI programmer on the cancelled Aliens RPG project, after that I helped out with Alpha Protocol's AI system doing bug fixes. Then I moved to Dungeon Siege 3 where I was responsible for building the AI systems both for the game and our Onyx engine. I served a tour of duty on South Park integrating the Onyx combat system with the turn based design of that game. They hired Tim Cain to replace me on South Park and I moved over to the (now cancelled) North Carolina project. Between North Carolina and Project Eternity I worked on various prototypes we were doing to try and pitch games.
Where do you like eat for lunch?
Being a California native I really love Mexican food. We tend to go to Wahoo's Fish Tacos a lot because we can walk there from the office and it's pretty good.
Who's your favorite programmer?
Well, I would say Adam Brennecke, but he's a producer now and is dead to me. So it's going to have to be Tim Cain. I definitely envy his ability to design, code, and bake well. He's a triple threat and that's also earned him a spot on my list of most job threatening co-workers. Fortunately I know his weakness...
What's your favorite game?
That's easy, my favorite game of all time is Baldur's Gate. It was the first RPG I played and the first time I felt like I was in another world that I could explore. I'd never experienced that before and it's what inspired me to want to make games for a living.
What do you like to do when you aren't programming?
Drink... heavily. Preferably whiskey, but I'm also happy with vodka.
How many push-ups can you do?
More than the average programmer, but significantly less than Chris Avellone.
What's your favorite Thanksgiving dinner dish?[
Cornbread stuffing!
Thanks for reading. We want to have weekly updates on Tuesdays from now on, so be sure to drop by every Tuesday for the next Project Eternity update.
I don't trust that Weatherly guy. He doesn't mention looting cabinets or smashing barrels even once in his average work day. How are we supposed to trust a guy who doesn't live the game?
Sawyer is an accomplished scavenger that makes sure he loots every container before moving on to the next area. That's dedication that you can bank on.
I don't trust that Weatherly guy. He doesn't mention looting cabinets or smashing barrels even once in his average work day. How are we supposed to trust a guy who doesn't live the game?
Sawyer is an accomplished scavenger that makes sure he loots every container before moving on to the next area. That's dedication that you can bank on.
He seems to use dat dialouge system quite heavily though.
Well, I would say Adam Brennecke, but he's a producer now and is dead to me. So it's going to have to be Tim Cain. I definitely envy his ability to design, code, and bake well. He's a triple threat and that's also earned him a spot on my list of most job threatening co-workers. Fortunately I know his weakness...
The Project Eternity PayPal donation period will be ending next week on Monday, December 3rd at 6:00PM PST. After December 3rd current backers can add shipping and handling costs at our backer fulfillment site (coming soon). At the backer site, you will be able to select your add-ons and fill out your shipping address, so make sure you keep an eye out for the email that explains how to use the backer site. As a reminder we will let you know when the emails go out in a future update.
After next week we will be accepting slacker backer donations via PayPal for $29 for a Digital Download Copy of Project Eternity for Windows, Mac, or Linux. Get in now for a discount this week if you haven't already! The higher tier rewards and physical items offered on the Kickstarter will not be available past December 3rd, 6:00PM PST.
Current Developments
The Project Eternity team is tackling a number of different things in pre-production including story and world building, creating the look of the Aumaua and Orlans, character customization, combat, and fancy rendering R&D.
Here are a few bits on current developments:
The narrative team is creating the world almanac which contains all the information about the people and history of Project Eternity. Right now they are fleshing out the pantheon of gods. Do you have any crazy or wacky ideas for gods? Share your ideas in this forum thread!
The artists and programmers have been working on character customization. The system allows for individual pieces of armor to show up on your characters such as boots, gloves, and chest armor. When you swap armor, the character's torso model and texture are also swapped out. There are thousands of different armor, weapon, head, and hair customization models for each race (male and female too!), and we need to make sure that the system can organize and manage all of these character assets.
Lastly, the picture is from an early test environment area using temporary art assets. The red shapes represent collision geometry that will block pathfinding and line-of-sight. The light blue/greenish color represents the walkmesh geometry which determines where characters can walk. We use this area to test tech features that we are building. For example, we are using the cemetery in the lower left to test out complex party pathfinding. If you look carefully, you can see two test characters in the picture.
Next week we will have an art focused update by Rob Nelser, the lead artist on Project Eternity.
Time to get back to work on character customization! Adam out.
A huge and humble thank you to everyone who has supported Project Eternity over the past few months! We're overwhelmed by the over $4.3 million dollars raised to create the project, and we'll continue to be hard at work to get the game ready for everyone in 2014.
If you missed out on the crowdfunding phase, you can still get involved for a limited time through our Slacker Backer option. See our site for more details.
Thank you again, and stay tuned for our weekly updates and more information on the forthcoming fulfillment system!
Hello everyone. My name is Rob Nesler, and I am the Art Director on Project Eternity. I've been told I'm a potty-mouth, but since this is a public and safe (PG-ish) space, I will do what I can to control my bad words in this: FIRST ART UPDATE. There will be many more, hopefully with some visual candy for you guys, if I f’n feel like it, or if Fearg’ f’n makes me.
Right now, my intent is to bring you up to speed on what we’ve been doing for the last several weeks. It’s called: laying the groundwork; building the foundation, or doing the nitty-gritty.
Often, when starting a project, the artists and I just want to start drawing sh-ssstuff. Especially with contracted 3D games, we have a basic idea of the world we’re making, an initial list of some of the things in it, the basic parameters for making assets, and so we just get started. With Project Eternity, we are starting the development of a rich storied RPG from scratch, zilch, nada. Oh, and we rendered that really cool image for you all at update #20, and so we felt we could take a step back--Waayyy back.
We are stepping back some years in visual “perspective”: to a fixed isometric view--so, NO “perspective”--of an essentially two-dimensional world. The traversable environment is pre-rendered to a high degree of realism, but we’re using a modern 3D game engine: Unity, for 3D characters, creatures, effects and animated props to be rendered in real-time and to assemble it all together, seamlessly. With this decision we’ve opened up a whole kit and caboodle of possibilities in terms of visual fidelity, occlusion, lighting, effects, and physics. At the same time, we’ve created some immediate technical problems that needed to be solved, before we could all go out and start making sh...‘er...stuff.
If you’ve been reading/watching Josh’s updates, you must understand that we are creating a brand new yet substantially familiar RPG experience essentially out of thin air, complete with a fully realized fantasy world, including new rules, new races, new places, new nations, new lore, new creatures, new story, new characters, a whole new combat system, with specific armor and weapon types, new this, new that, and a whole bunch of other new stuff--really we’re creating everything from nothing but what spews forth from Josh’s blazing fingers and angelic vocal cords. “How does that work?” you ask. Well, I’ll tell you: what happens is we all sit around a fire, in a far off and desolate wilderness, as he chants: what things were, and are, and what will be and sometimes why. We listen, we ask questions, and we discuss. We in turn, propose thoughts and ideas that are considered, further discussed, sometimes dismissed, but also sometimes gathered up and swirled into the glowing embers of this primordial glowing emergent world that is floating--NO!...LEAPING!!--out of the creative fuel, breath of air, and heat of our collaborative works. As well, we’ve decided to abandon the application we would normally use to create everything, for a supposedly-more-popular-more-capable app, and nobody really knows how to use it...
...BOOM! Yep, I just wrote and you just read THAT!...
...So, with our new software: Maya (the old software was Softimage) we’ve been making test worlds--we call them gray boxes. We’ve been making test characters--we call them gray characters. We’ve been giving them gray animation, we’ve been giving them gray (actually sometimes white, we’ll make some black ones too, we’re not racist) weapons, and we’ve been inserting them into our prototype worlds to prove to ourselves and you, that we know what we’re doing, and to lay the groundwork for expanding these vacant golems into player and non-player characters, that can interact with the world and other characters in a more meaningful and varied way--you know: picking up stuff, and hitting others with it, and taking their stuff and putting it on, or selling it--oh yes, and with color! Just kidding! Haven’t you been reading what I’m writing: this game is going to be DEEEEP!
So what the hell have art people been doing??
Character Team:
We have a very talented lead character artist, named Dimitri, and yep, he’s Russian, but he doesn’t speak it so well anymore--his mother is not happy about it, more on that later. In addition to a tremendous amount of early help getting basic traversable geometry, with a rendered scene that occludes 3D characters when they walk behind things (in essentially a 2D world--remember!) he’s been establishing the basis for weapon, armor and equipment attachment on our player characters, with Adam. As part of that he has to write documents. Booo!!! Documents Buh-LOWW!
Our other Character Artist; James is from China, but says he's from Fresno. He is essentially Dimitri's slave and willingly does whatever he’s told to do, because he doesn’t have to write documents. I sometimes give James direction, but I’m pretty certain that Dimitri tells him to ignore me immediately after I’ve left their office. Remember Dimitri is Russian, so he’s a little controlling, very direct and has high expectations. This isn’t a problem, however, because a) it’s his job and b) it just so happens that James is pretty good and making characters. He made our first character Edair, who can be seen running around with a morning star flail the size of a medicine ball--not his fault. He seems to know Maya better than Dimitri, but let’s his boss learn the hard way--keeping his ear buds in, pumping up the volume, and modeling and texturing his cares away. He’s making gray weapons now. For some reason Dimitri speaks Russian expletives perfectly.
Mark is our Lead Animator, and he knows his sh-tuff, but he made the Medicine ball. Needless to say, he will not be asked to make any more weapons. No no, it just so happens, that he was making it so he could test physics on weapons. So, it’s all good--we don’t care what things look like right now, we care about making things that matter, and making them right. Lately Mark has been testing cloth physics on our characters, as well as physics on weapons, and attachments. Prior to that he was building a basic set of traversal animations and getting them into the game. Crucial.
Antonio is our Technical Animator. He makes rigs, writes scripts that make rigs, and rigs the rigs. It’s all very technical. You wouldn’t understand. He’s a professional.
Polina is our concept artist, and is the only one really making pretty pictures, and you've seen a lot of her work, already.
Kien is currently on loan to Project New York, aka. The Stick of Truth. Don't worry, they are paying for him. We use code names for our projects, because we’re professionals. Project Eternity (also a code name) is Project Trenton. BOOM! Yep, you got it! And nope! I’m not gonna tell you any more about that.
Environment Artists:Sean is making a dungeon! He’s been working with our programmers to come up with the correct way to build a massive and awesome level so that we can do all we need to do, as big as we need to do it, and in as little time as we can do it in. Again, crucial. Minecraft is his best friend.
Hector, our Lead Environment Artist is on a sabbatical. Yes! we get those here, again, because we’re professionals and only sometimes. Nobody knows why or how, but we're certain it's painful. And boy! is he in for a surprise when he gets back; he loves Softimage. People on sabbatical don't get images of their work posted.
Okay, so that’s it.
Oh, what about me? What the hell have I been doing all this time? That’s a really good question. Aside from running around and keeping everybody busy and doing meetings and stuff, and writing this update, I've been developing a style guide which involves a bunch of meetings and discussions, and I've been drawing a few things, which I will show, if I'm allowed, in the next art update.
GAF is freaking out about the art update to the point where they are openly insulting the artists.
Considering the Art Director went as far as noting everywhere this is work in progress as well as stating it's pre-production and the style guide isn't fully developed I'm wondering if Obsidian isn't involving the community too much. At least on the art side where everyone seems to be a bit emotional.
Then again, showing work so early (They're like 1 month into pre-production, right?) IS risky.
Well, let's be honest the art isn't looking good and if they were going to pull the w.i.p card than they shouldn't have revealed it in the first place.
The scale of the uproar is a bit too much but that art is just super hard on the eyes.
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Sir CarcassI have been shown the end of my worldRound Rock, TXRegistered Userregular
I think it looks fine. Keep in mind, those things are going to be like, an inch tall at most on the screen.
Turns out playing a lot of videogames doesn't mean you know anything about how videogames get made.
The idiots in the GAF thread don't even understand what they're looking at. They're posting polished mood illustratons, painted character portraits and promotional artwork from Wasteland and other games as examples of how poor the handful of concept sketches for PE look in comparison.
They also seem to be under the impression Obsidian employs a single character artist.
Also, it's NeoGAF. Insomniac's Fuse was a victim of their vitriol and snark recently, 75% of that being about the game not looking like the old teaser.
Sometimes 4chan is a better community.
XBL - ArchSilversmith
"We have years of struggle ahead, mostly within ourselves." - Made in USA
I don't know how many times a man should have to write the word "gray" to describe their current asset production, to clearly communicate that they are knee-deep in working out pipelines and processes and testing stuff, but apparently four is not enough.
Also, the "why did you show if it it's so rough and early" argument is kind of insane, given that showing the fans a peek behind the curtain into how the sausage gets made is kind of half the entire point of this kickstarter funded games thing. To be fair, the fans in question are exactly the kind of petulant armchair experts that you don't want to ever see this stuff, but this is what they asked for.
Also, the "why did you show if it it's so rough and early" argument is kind of insane, given that giving the fans a peek behind the curtain into how the sausage gets made is kind of half the entire point of this kickstarter funded games thing.
I don't necessarily disagree with this, but anything they reveal will be regarded with scrutiny and will be criticized. It's naive to think that people won't complain when they're shown something that falls below their standards.
Again I think the reaction is overblown given that the draw of this game was never the art, but some of the more levelheaded criticism is justified in my opinion.
The art looks pretty fantastic to me but whatever. Complaining about anything at this stage is so stupid that it parodies itself before you even do it. I mean, look at what is written all over the pictures! What does it take to be the kind of person that can look at a picture that says "This is Work in Progress! So, Don't Get All,... AARGH!..." and then get mad about it? How untrusting, impatient, entitled, ornery, and generally unsatisfied with stuff do you have to be to so explicitly ignore and contravene what you've been told?
Fuck people. And fuck NeoGAF too. Although FUSE looks horrific compared to the game it used to be (Overstrike) so if NeoGAF was mad about that then congratulations, at least they got mad about something that deserves getting mad about.
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Or apply as public relations for Obsidian.
Battlenet ID: MildC#11186 - If I'm in the game, send me an invite at anytime and I'll play.
Long term plans, my friend. Long term.
Updated Twitter with 6 additional accounts, bringing it up to something like 24.
http://www.youtube.com/watch?feature=player_embedded&v=E_D8ulAV7z4
Obsidian has worked for SE before (for DS3), just saying.
True. Unfortunatly, there may never be another Chrono game, from anyone, due to liscensing issues.
Shame really
Battlenet ID: MildC#11186 - If I'm in the game, send me an invite at anytime and I'll play.
Thank you. As a professional cook, I saw that and almost punched a wall.
Not a unique dish? DO YOU THINK I MAKE IT WITH A BUNCH OF LEFTOVERS?
Hey! What's wrong with hash? A number of risottos are also recooked leftovers. Recooked leftovers are fucking great.
Just calling it risotto won't make it risotto. Kind of like calling a slab of tofu a steak won't make it one.
Recooked leftovers are great though! And incidentally, goulash is best as a leftover, since the stew keeps getting better the longer it's been from the time it was made(within reason of course).
Sure is tasty though.
Penny Arcade Rockstar Social Club / This is why I despise cyclists
Also, adding a dollop of smetana is mandatory. Sooo goood.
and here's the link: http://www.puresophistry.com/2012/11/12/interview-with-feargus-urquhart-why-project-eternity-will-change-rpgs-forever/
"We have years of struggle ahead, mostly within ourselves." - Made in USA
If anyone's worried about the THQ situation. (SP won't get cancelled either way, imo)
Sawyer is an accomplished scavenger that makes sure he loots every container before moving on to the next area. That's dedication that you can bank on.
He seems to use dat dialouge system quite heavily though.
http://www.gamasutra.com/view/feature/182612/from_torment_to_eternity_chris_.php
Considering the Art Director went as far as noting everywhere this is work in progress as well as stating it's pre-production and the style guide isn't fully developed I'm wondering if Obsidian isn't involving the community too much. At least on the art side where everyone seems to be a bit emotional.
Then again, showing work so early (They're like 1 month into pre-production, right?) IS risky.
The scale of the uproar is a bit too much but that art is just super hard on the eyes.
Penny Arcade Rockstar Social Club / This is why I despise cyclists
The idiots in the GAF thread don't even understand what they're looking at. They're posting polished mood illustratons, painted character portraits and promotional artwork from Wasteland and other games as examples of how poor the handful of concept sketches for PE look in comparison.
They also seem to be under the impression Obsidian employs a single character artist.
Sometimes 4chan is a better community.
"We have years of struggle ahead, mostly within ourselves." - Made in USA
Also, the "why did you show if it it's so rough and early" argument is kind of insane, given that showing the fans a peek behind the curtain into how the sausage gets made is kind of half the entire point of this kickstarter funded games thing. To be fair, the fans in question are exactly the kind of petulant armchair experts that you don't want to ever see this stuff, but this is what they asked for.
I don't necessarily disagree with this, but anything they reveal will be regarded with scrutiny and will be criticized. It's naive to think that people won't complain when they're shown something that falls below their standards.
Again I think the reaction is overblown given that the draw of this game was never the art, but some of the more levelheaded criticism is justified in my opinion.
Fuck people. And fuck NeoGAF too. Although FUSE looks horrific compared to the game it used to be (Overstrike) so if NeoGAF was mad about that then congratulations, at least they got mad about something that deserves getting mad about.