Librarian's ghostLibrarian, Ghostbuster, and TimSporkRegistered Userregular
I almost somehow takes longer to survey a system than it did in ME2. Like, each planet is quicker but the animations between them, while cool, are a bit long.
i think trying to defend a game people are reasonably negative about by obliquely connecting the people who are negative about a video game to hate groups is pretty embarrassing
Lance explodes for all the damage and because you have separate cooldowns it means you pretty much always have a detonator ready to go. I can rip apart groups of mooks like it's nothing and bosses still suffer a solid lump of damage from the continual barrage.
Lance explodes for all the damage and because you have separate cooldowns it means you pretty much always have a detonator ready to go. I can rip apart groups of mooks like it's nothing and bosses still suffer a solid lump of damage from the continual barrage.
Yeah she's a literal walking biotic bomb.
I would like some money because these are artisanal nuggets of wisdom philistine.
Ugh, its kind of whatever. If folks want to be negative I can't stop them. I just don't understand it is all.
Worth noting that Bioware is ground zero for the Gamergate movement hate. They were the first company to really put effort into making their games LGBT friendly, and they have been crucified for it ever since.
Not saying that's where all the negativity comes from, but it is the source of more than you would imagine.
no it's not
Yeah, ground zero for that was 4chan latching onto the blog post Zoe Quinn's ex wrote. I'm sure they recruited from other forums with communities that were already prone to toxic behavior, but it didn't start (nor was it organized from) the Bioware forums
I think he's saying that a lot of grambleglorp hate is directed at bioware for having inclusive characters, not that it originated from there.
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Theodore Flooseveltproud parent of eight beautiful girls and shalmelodorne (which is currently being ruled by a woman (awesome role model for my daughters)) #dornedadRegistered Userregular
are we sure the montreal studio is in the city montreal and not a gamedev barge that set sail in 2008
Lance explodes for all the damage and because you have separate cooldowns it means you pretty much always have a detonator ready to go. I can rip apart groups of mooks like it's nothing and bosses still suffer a solid lump of damage from the continual barrage.
Yeah she's a literal walking biotic bomb.
Walk into a room with a few raiders. Dodge forwards, throw the raider I just dodged past to knock them all on their asses with the explosion. Shoot two dead, put a lance through the last one standing to kill him.
Patches ain't gonna make Kumail Nanjiani a better voice actor
This is gonna be such a bummer
Kumail is completely honest when he says Mass Effect is his favorite series of all time and his contributions to it are going to be widely mocked
Is he not good?
It just sounds exactly like him. They've defined how salarians speak and this sounds like...a dude reading lines. They don't do anything to his voice in post and he makes no attempt to try to sound like them.
Like "5 hours" (talking to literally anyone and doing all possible side quests so far) into the single player story line, and I fucking love this shit! After some of these negative early reviews I was a it weary, but yes, this is more mass effect, and I still love it.
Patches ain't gonna make Kumail Nanjiani a better voice actor
This is gonna be such a bummer
Kumail is completely honest when he says Mass Effect is his favorite series of all time and his contributions to it are going to be widely mocked
Is he not good?
It just sounds exactly like him. They've defined how salarians speak and this sounds like...a dude reading lines. They don't do anything to his voice in post and he makes no attempt to try to sound like them.
That's not unprecedented, though. A few Salarians don't have anything done to their voices in post, like the Salarian councilor played by Armin Shimerman, which is just Armin Shimerman talking.
Mind you, Armin is an amazing voice actor, and has a normal speaking voice that's already in the range that other Salarians are pitch-adjusted to be in by post.
It is a little weird if he doesn't have the same pitch as other Salarians, though, or if he he just kinda stinks (I haven't run I to this character, didn't play that far).
Patches ain't gonna make Kumail Nanjiani a better voice actor
This is gonna be such a bummer
Kumail is completely honest when he says Mass Effect is his favorite series of all time and his contributions to it are going to be widely mocked
Is he not good?
It just sounds exactly like him. They've defined how salarians speak and this sounds like...a dude reading lines. They don't do anything to his voice in post and he makes no attempt to try to sound like them.
They absolutely did process him, it's very clear from the trailer
Patches ain't gonna make Kumail Nanjiani a better voice actor
This is gonna be such a bummer
Kumail is completely honest when he says Mass Effect is his favorite series of all time and his contributions to it are going to be widely mocked
Is he not good?
It just sounds exactly like him. They've defined how salarians speak and this sounds like...a dude reading lines. They don't do anything to his voice in post and he makes no attempt to try to sound like them.
They absolutely did process him, it's very clear from the trailer
Patches ain't gonna make Kumail Nanjiani a better voice actor
This is gonna be such a bummer
Kumail is completely honest when he says Mass Effect is his favorite series of all time and his contributions to it are going to be widely mocked
Is he not good?
It just sounds exactly like him. They've defined how salarians speak and this sounds like...a dude reading lines. They don't do anything to his voice in post and he makes no attempt to try to sound like them.
That's not unprecedented, though. A few Salarians don't have anything done to their voices in post, like the Salarian councilor played by Armin Shimerman, which is just Armin Shimerman talking.
Mind you, Armin is an amazing voice actor, and has a normal speaking voice that's already in the range that other Salarians are pitch-adjusted to be in by post.
It is a little weird if he doesn't have the same pitch as other Salarians, though, or if he he just kinda stinks (I haven't run I to this character, didn't play that far).
Actually been seeing a lotta discourse recently about mass effect being 2het
it is extremely tokenistic in its portrayal of lgbt stuff
which doesn't necessarily preclude it from being good in a vacuum (but I do not personally find it good)
Is this a commentary on this specific game or the series in general?
the series in general
which doesn't preclude people from finding meaning in those relationships
but heterosexuality feels like the norm, which, yeah, that reflects on society now
but it doesn't have to be that way in fiction, especially science fiction
Oh, yeah I would totes agree on that, the series is super heteronormative and tokenistic with queer stuff.
It basically got teensy bits more progressive with each game, but only in little glimpses.
In ME1, there were no queer characters. Queer people did not exist. They bent over backwards and did a bunch of mental gymnastics to explain how Asari were "mono-gendered" and thus weren't really women since they're aliens (no homo bruh!) so even the only gay relationship you could have was undermined by baloney.
In ME2, there were still no queer dudes, but there was ONE queer woman in the entire universe, Kelly Chambers, who was a terrible stereotype of both bisexuals and therapists. Awesome. No wait, that other thing.
In ME3, there's a handful of queer characters. Traynor. Cortez. Kaiden, who finally comes out of the closet if you're a dude. A few background characters, usually human women in relationships with Asari. Nyreen Kandros, who is awesome.
But as a whole, it's a painfully straight universe. Hopefully Andromeda is better.
Actually been seeing a lotta discourse recently about mass effect being 2het
it is extremely tokenistic in its portrayal of lgbt stuff
which doesn't necessarily preclude it from being good in a vacuum (but I do not personally find it good)
Is this a commentary on this specific game or the series in general?
the series in general
which doesn't preclude people from finding meaning in those relationships
but heterosexuality feels like the norm, which, yeah, that reflects on society now
but it doesn't have to be that way in fiction, especially science fiction
Oh, yeah I would totes agree on that, the series is super heteronormative and tokenistic with queer stuff.
It basically got teensy bits more progressive with each game, but only in little glimpses.
In ME1, there were no queer characters. Queer people did not exist. They bent over backwards and did a bunch of mental gymnastics to explain how Asari were "mono-gendered" and thus weren't really women since they're aliens (no homo bruh!) so even the only gay relationship you could have was undermined by baloney.
In ME2, there were still no queer dudes, but there was ONE queer woman in the entire universe, Kelly Chambers, who was a terrible stereotype of both bisexuals and therapists. Awesome. No wait, that other thing.
In ME3, there's a handful of queer characters. Traynor. Cortez. Kaiden, who finally comes out of the closet if you're a dude. A few background characters, usually human women in relationships with Asari. Nyreen Kandros, who is awesome.
But as a whole, it's a painfully straight universe. Hopefully Andromeda is better.
i feel like this is an apt description of the series in general to be honest
Patches ain't gonna make Kumail Nanjiani a better voice actor
This is gonna be such a bummer
Kumail is completely honest when he says Mass Effect is his favorite series of all time and his contributions to it are going to be widely mocked
Is he not good?
It just sounds exactly like him. They've defined how salarians speak and this sounds like...a dude reading lines. They don't do anything to his voice in post and he makes no attempt to try to sound like them.
They absolutely did process him, it's very clear from the trailer
His delivery just isn't good
I just listened to actual gameplay with him in t and his prismo voice from adventure time, they sound basically the same.
At this point, for me, the only thing that would sour me on MEA would be something akin to ME3's ending
it would have to shit the bed that hard.
The gameplay is fun, the graphics are pretty, the writing is workmanlike and serviceable and gets from point A to point B, and the multiplayer is a fuckin blast
if the game takes a fucking turn at some point plot-wise, that will be unfortunate, but idk
i doubt it? i dunno, maybe that's fool's optimism.
The game play so far is really fucking solid. Gunplay feels great, your actions have impact, and the jump jets make movement just such a joy.
The only gameplay thing I dislike is how easy it is to interrupt your own reload with dodging or sprinting. It just feels natural in a game that gives you this much mobility to want to be moving while you reload after a kill.
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Kevin CristI make the devil hit his kneesand say the 'our father'Registered Userregular
I love you can just fly around by your own power with the adept or Vanguard profile.
I don't know if the Witcher 3 really innovated as much as raised the bar higher than any other current RPG.
Quest design in that game was handcrafted to the point of near perfection. Something Bioware could definitely take a cue from.
Witcher 3 bucked the trend of abstracting story content in favor of systems. With Mass Effect 3 and Fallout 3, you had simple systems (walk-by quest pickups in ME3 and radiant procedural quests in FO3) that minimized the narrative aspects of quests in favor of getting the player past the dialogue and into the fighting. Witcher pulled that back massively, making every quest a potential for a short story or fun character interaction no matter how "minor" it was in terms of story structure.
Yeah, I fondly remember that fun short story of where I killed the same goddamn bandits at the same goddamn camp for the tenth time. Such an awesome story system.
I, too, enjoy having discussions by being a reductionist goose.
I don't know if the Witcher 3 really innovated as much as raised the bar higher than any other current RPG.
Quest design in that game was handcrafted to the point of near perfection. Something Bioware could definitely take a cue from.
Witcher 3 bucked the trend of abstracting story content in favor of systems. With Mass Effect 3 and Fallout 3, you had simple systems (walk-by quest pickups in ME3 and radiant procedural quests in FO3) that minimized the narrative aspects of quests in favor of getting the player past the dialogue and into the fighting. Witcher pulled that back massively, making every quest a potential for a short story or fun character interaction no matter how "minor" it was in terms of story structure.
Yeah, I fondly remember that fun short story of where I killed the same goddamn bandits at the same goddamn camp for the tenth time. Such an awesome story system.
Without getting into anything about Andromeda (because my contributions are basically meaningless), the Witcher's side quests were, by and large, some of the best out there. They had a simple formula - everything has a twist, whether large or small, and at least one Character - but they executed it well.
Any RPG that's in development right now that isn't looking at what they did is missing a step, IMO.
And I say this as someone who struggled through W3 because the combat never clicked. The side quests were real good.
vsove i hope that reading this thread doesn't bum you out!
i think most of us are concerned because we have a genuine affection for the series (true for me, although as evidenced my relationship with the series is kinda complicated)
I don't know if the Witcher 3 really innovated as much as raised the bar higher than any other current RPG.
Quest design in that game was handcrafted to the point of near perfection. Something Bioware could definitely take a cue from.
Witcher 3 bucked the trend of abstracting story content in favor of systems. With Mass Effect 3 and Fallout 3, you had simple systems (walk-by quest pickups in ME3 and radiant procedural quests in FO3) that minimized the narrative aspects of quests in favor of getting the player past the dialogue and into the fighting. Witcher pulled that back massively, making every quest a potential for a short story or fun character interaction no matter how "minor" it was in terms of story structure.
Yeah, I fondly remember that fun short story of where I killed the same goddamn bandits at the same goddamn camp for the tenth time. Such an awesome story system.
I, too, enjoy having discussions by being a reductionist goose.
That's fair. Allow me to rectify; in spoilers, allowing those to skip over it that do not care.
Fetch quests like "A Frying Pan, Spick and Span" were exactly what burned me out on Witcher 3. They all started to blend together, like the bandits at the camp I mentioned. There were many bandits, and many camps, and yet they were all the same. Just like all those little meticulously crafted bits and bobs everywhere in the world: they were so numerous to all become unmemorable. For a character I felt nothing for, what was I to care for his development (or lack thereof)? For a loot system that I felt was overburdensome and unrewarding, what was I to care for one more trinket or five more gold? For combat that I felt was detached and overly punishing, what was I to care for one more monster slain? One more hill climbed? One more quest completed?
To me, Witcher 3 played like SWTOR at launch. A main story that was interesting, but whose beats came fewer and farther between as the game progressed. Soon I was doing nothing but side quests, the main thread lost entirely as I wandered through yet another environment - beautiful, perhaps, but similar enough to all the others that came before it. But unlike SWTOR, Witcher 3 had a character I didn't make in a world I was unfamiliar with taking actions whose motives elicited little sympathy. It felt more like watching a TV show I had lost interest in than playing a roleplaying game. So I turned it off.
Now, please excuse me while I burn through another 5 hours of MEA MP.
I don't know if the Witcher 3 really innovated as much as raised the bar higher than any other current RPG.
Quest design in that game was handcrafted to the point of near perfection. Something Bioware could definitely take a cue from.
Witcher 3 bucked the trend of abstracting story content in favor of systems. With Mass Effect 3 and Fallout 3, you had simple systems (walk-by quest pickups in ME3 and radiant procedural quests in FO3) that minimized the narrative aspects of quests in favor of getting the player past the dialogue and into the fighting. Witcher pulled that back massively, making every quest a potential for a short story or fun character interaction no matter how "minor" it was in terms of story structure.
Yeah, I fondly remember that fun short story of where I killed the same goddamn bandits at the same goddamn camp for the tenth time. Such an awesome story system.
I, too, enjoy having discussions by being a reductionist goose.
That's fair. Allow me to rectify; in spoilers, allowing those to skip over it that do not care.
Fetch quests like "A Frying Pan, Spick and Span" were exactly what burned me out on Witcher 3. They all started to blend together, like the bandits at the camp I mentioned. There were many bandits, and many camps, and yet they were all the same. Just like all those little meticulously crafted bits and bobs everywhere in the world: they were so numerous to all become unmemorable. For a character I felt nothing for, what was I to care for his development (or lack thereof)? For a loot system that I felt was overburdensome and unrewarding, what was I to care for one more trinket or five more gold? For combat that I felt was detached and overly punishing, what was I to care for one more monster slain? One more hill climbed? One more quest completed?
To me, Witcher 3 played like SWTOR at launch. A main story that was interesting, but whose beats came fewer and farther between as the game progressed. Soon I was doing nothing but side quests, the main thread lost entirely as I wandered through yet another environment - beautiful, perhaps, but similar enough to all the others that came before it. But unlike SWTOR, Witcher 3 had a character I didn't make in a world I was unfamiliar with taking actions whose motives elicited little sympathy. It felt more like watching a TV show I had lost interest in than playing a roleplaying game. So I turned it off.
Now, please excuse me while I burn through another 5 hours of MEA MP.
Idunno man, there were a lot of fully fleshed out side quests littered throughout the game. Some of the best quests I've played, and I've played a lot of RPGs over the years.
vsove i hope that reading this thread doesn't bum you out!
i think most of us are concerned because we have a genuine affection for the series (true for me, although as evidenced my relationship with the series is kinda complicated)
Honest feedback is the best kind of feedback.
And, honestly, my contributions were minimal enough that it's easier for me to externalize the feedback and use it as leverage for the project I'm on.
I don't know if the Witcher 3 really innovated as much as raised the bar higher than any other current RPG.
Quest design in that game was handcrafted to the point of near perfection. Something Bioware could definitely take a cue from.
Witcher 3 bucked the trend of abstracting story content in favor of systems. With Mass Effect 3 and Fallout 3, you had simple systems (walk-by quest pickups in ME3 and radiant procedural quests in FO3) that minimized the narrative aspects of quests in favor of getting the player past the dialogue and into the fighting. Witcher pulled that back massively, making every quest a potential for a short story or fun character interaction no matter how "minor" it was in terms of story structure.
Yeah, I fondly remember that fun short story of where I killed the same goddamn bandits at the same goddamn camp for the tenth time. Such an awesome story system.
I, too, enjoy having discussions by being a reductionist goose.
That's fair. Allow me to rectify; in spoilers, allowing those to skip over it that do not care.
Fetch quests like "A Frying Pan, Spick and Span" were exactly what burned me out on Witcher 3. They all started to blend together, like the bandits at the camp I mentioned. There were many bandits, and many camps, and yet they were all the same. Just like all those little meticulously crafted bits and bobs everywhere in the world: they were so numerous to all become unmemorable. For a character I felt nothing for, what was I to care for his development (or lack thereof)? For a loot system that I felt was overburdensome and unrewarding, what was I to care for one more trinket or five more gold? For combat that I felt was detached and overly punishing, what was I to care for one more monster slain? One more hill climbed? One more quest completed?
To me, Witcher 3 played like SWTOR at launch. A main story that was interesting, but whose beats came fewer and farther between as the game progressed. Soon I was doing nothing but side quests, the main thread lost entirely as I wandered through yet another environment - beautiful, perhaps, but similar enough to all the others that came before it. But unlike SWTOR, Witcher 3 had a character I didn't make in a world I was unfamiliar with taking actions whose motives elicited little sympathy. It felt more like watching a TV show I had lost interest in than playing a roleplaying game. So I turned it off.
Now, please excuse me while I burn through another 5 hours of MEA MP.
Idunno man, there were a lot of fully fleshed out side quests littered throughout the game. Some of the best quests I've played, and I've played a lot of RPGs over the years.
The frying pan quest is still my go-to example.
It looks like a Dumb Fucking Quest when you get it. But it has a twist, and it has A Character, and so it's elevated into something you remember.
The issue, of course, comes in on the resource level - there were more conversations just to get to know your followers + advisors than there were dedicated to pretty much the rest of the game combined.
But that's a development issue, and it's all about learning to make content more intelligently. The hard truth all devs learn, eventually, is that players don't care about your very justifiable reasons for having less of X, or worse Y. Some people will, rightfully, point out why those things might be, but the average person doesn't get why we can't have the best version of every feature.
The biggest challenge in game development is learning how to minimize the things you can't afford to do as well as the best in the industry, and how to emphasize the things you're really good at.
I don't know if the Witcher 3 really innovated as much as raised the bar higher than any other current RPG.
Quest design in that game was handcrafted to the point of near perfection. Something Bioware could definitely take a cue from.
Witcher 3 bucked the trend of abstracting story content in favor of systems. With Mass Effect 3 and Fallout 3, you had simple systems (walk-by quest pickups in ME3 and radiant procedural quests in FO3) that minimized the narrative aspects of quests in favor of getting the player past the dialogue and into the fighting. Witcher pulled that back massively, making every quest a potential for a short story or fun character interaction no matter how "minor" it was in terms of story structure.
Yeah, I fondly remember that fun short story of where I killed the same goddamn bandits at the same goddamn camp for the tenth time. Such an awesome story system.
I, too, enjoy having discussions by being a reductionist goose.
That's fair. Allow me to rectify; in spoilers, allowing those to skip over it that do not care.
Fetch quests like "A Frying Pan, Spick and Span" were exactly what burned me out on Witcher 3. They all started to blend together, like the bandits at the camp I mentioned. There were many bandits, and many camps, and yet they were all the same. Just like all those little meticulously crafted bits and bobs everywhere in the world: they were so numerous to all become unmemorable. For a character I felt nothing for, what was I to care for his development (or lack thereof)? For a loot system that I felt was overburdensome and unrewarding, what was I to care for one more trinket or five more gold? For combat that I felt was detached and overly punishing, what was I to care for one more monster slain? One more hill climbed? One more quest completed?
To me, Witcher 3 played like SWTOR at launch. A main story that was interesting, but whose beats came fewer and farther between as the game progressed. Soon I was doing nothing but side quests, the main thread lost entirely as I wandered through yet another environment - beautiful, perhaps, but similar enough to all the others that came before it. But unlike SWTOR, Witcher 3 had a character I didn't make in a world I was unfamiliar with taking actions whose motives elicited little sympathy. It felt more like watching a TV show I had lost interest in than playing a roleplaying game. So I turned it off.
Now, please excuse me while I burn through another 5 hours of MEA MP.
thats like, one of the very first quests and its used as a tutorial to explain witcher vision
Almost every real sidequest in that game involves hunting down some kind of monster, not bandit camps?
I don't know if the Witcher 3 really innovated as much as raised the bar higher than any other current RPG.
Quest design in that game was handcrafted to the point of near perfection. Something Bioware could definitely take a cue from.
Witcher 3 bucked the trend of abstracting story content in favor of systems. With Mass Effect 3 and Fallout 3, you had simple systems (walk-by quest pickups in ME3 and radiant procedural quests in FO3) that minimized the narrative aspects of quests in favor of getting the player past the dialogue and into the fighting. Witcher pulled that back massively, making every quest a potential for a short story or fun character interaction no matter how "minor" it was in terms of story structure.
Yeah, I fondly remember that fun short story of where I killed the same goddamn bandits at the same goddamn camp for the tenth time. Such an awesome story system.
I, too, enjoy having discussions by being a reductionist goose.
That's fair. Allow me to rectify; in spoilers, allowing those to skip over it that do not care.
Fetch quests like "A Frying Pan, Spick and Span" were exactly what burned me out on Witcher 3. They all started to blend together, like the bandits at the camp I mentioned. There were many bandits, and many camps, and yet they were all the same. Just like all those little meticulously crafted bits and bobs everywhere in the world: they were so numerous to all become unmemorable. For a character I felt nothing for, what was I to care for his development (or lack thereof)? For a loot system that I felt was overburdensome and unrewarding, what was I to care for one more trinket or five more gold? For combat that I felt was detached and overly punishing, what was I to care for one more monster slain? One more hill climbed? One more quest completed?
To me, Witcher 3 played like SWTOR at launch. A main story that was interesting, but whose beats came fewer and farther between as the game progressed. Soon I was doing nothing but side quests, the main thread lost entirely as I wandered through yet another environment - beautiful, perhaps, but similar enough to all the others that came before it. But unlike SWTOR, Witcher 3 had a character I didn't make in a world I was unfamiliar with taking actions whose motives elicited little sympathy. It felt more like watching a TV show I had lost interest in than playing a roleplaying game. So I turned it off.
Now, please excuse me while I burn through another 5 hours of MEA MP.
Idunno man, there were a lot of fully fleshed out side quests littered throughout the game. Some of the best quests I've played, and I've played a lot of RPGs over the years.
The frying pan quest is still my go-to example.
It looks like a Dumb Fucking Quest when you get it. But it has a twist, and it has A Character, and so it's elevated into something you remember.
The issue, of course, comes in on the resource level - there were more conversations just to get to know your followers + advisors than there were dedicated to pretty much the rest of the game combined.
But that's a development issue, and it's all about learning to make content more intelligently. The hard truth all devs learn, eventually, is that players don't care about your very justifiable reasons for having less of X, or worse Y. Some people will, rightfully, point out why those things might be, but the average person doesn't get why we can't have the best version of every feature.
The biggest challenge in game development is learning how to minimize the things you can't afford to do as well as the best in the industry, and how to emphasize the things you're really good at.
hey, have you played the new Torment, yet? because I highly recommend it the next time you have a moment between a family and a demanding job
(not trying to say anything sneaky, I'm just trying to make a recommendation for the sake of fun)
Miss me? Find me on:
Twitch (I stream most days of the week) Twitter (mean leftist discourse)
I don't know if the Witcher 3 really innovated as much as raised the bar higher than any other current RPG.
Quest design in that game was handcrafted to the point of near perfection. Something Bioware could definitely take a cue from.
Witcher 3 bucked the trend of abstracting story content in favor of systems. With Mass Effect 3 and Fallout 3, you had simple systems (walk-by quest pickups in ME3 and radiant procedural quests in FO3) that minimized the narrative aspects of quests in favor of getting the player past the dialogue and into the fighting. Witcher pulled that back massively, making every quest a potential for a short story or fun character interaction no matter how "minor" it was in terms of story structure.
Yeah, I fondly remember that fun short story of where I killed the same goddamn bandits at the same goddamn camp for the tenth time. Such an awesome story system.
I, too, enjoy having discussions by being a reductionist goose.
That's fair. Allow me to rectify; in spoilers, allowing those to skip over it that do not care.
Fetch quests like "A Frying Pan, Spick and Span" were exactly what burned me out on Witcher 3. They all started to blend together, like the bandits at the camp I mentioned. There were many bandits, and many camps, and yet they were all the same. Just like all those little meticulously crafted bits and bobs everywhere in the world: they were so numerous to all become unmemorable. For a character I felt nothing for, what was I to care for his development (or lack thereof)? For a loot system that I felt was overburdensome and unrewarding, what was I to care for one more trinket or five more gold? For combat that I felt was detached and overly punishing, what was I to care for one more monster slain? One more hill climbed? One more quest completed?
To me, Witcher 3 played like SWTOR at launch. A main story that was interesting, but whose beats came fewer and farther between as the game progressed. Soon I was doing nothing but side quests, the main thread lost entirely as I wandered through yet another environment - beautiful, perhaps, but similar enough to all the others that came before it. But unlike SWTOR, Witcher 3 had a character I didn't make in a world I was unfamiliar with taking actions whose motives elicited little sympathy. It felt more like watching a TV show I had lost interest in than playing a roleplaying game. So I turned it off.
Now, please excuse me while I burn through another 5 hours of MEA MP.
Idunno man, there were a lot of fully fleshed out side quests littered throughout the game. Some of the best quests I've played, and I've played a lot of RPGs over the years.
The frying pan quest is still my go-to example.
It looks like a Dumb Fucking Quest when you get it. But it has a twist, and it has A Character, and so it's elevated into something you remember.
The issue, of course, comes in on the resource level - there were more conversations just to get to know your followers + advisors than there were dedicated to pretty much the rest of the game combined.
But that's a development issue, and it's all about learning to make content more intelligently. The hard truth all devs learn, eventually, is that players don't care about your very justifiable reasons for having less of X, or worse Y. Some people will, rightfully, point out why those things might be, but the average person doesn't get why we can't have the best version of every feature.
The biggest challenge in game development is learning how to minimize the things you can't afford to do as well as the best in the industry, and how to emphasize the things you're really good at.
hey, have you played the new Torment, yet? because I highly recommend it the next time you have a moment between a family and a demanding job
(not trying to say anything sneaky, I'm just trying to make a recommendation for the sake of fun)
I've heard very good things about it. Still trying to clear my backlog before I get anything new, though.
And instead of doing that, I'm spending a lot of time fishing in FFXIV.
Because I am weak.
WATCH THIS SPACE.
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Johnny ChopsockyScootaloo! We have to cook!Grillin' HaysenburgersRegistered Userregular
The only gameplay thing I dislike is how easy it is to interrupt your own reload with dodging or sprinting. It just feels natural in a game that gives you this much mobility to want to be moving while you reload after a kill.
Oh god this killed me so many times in ME3MP.
Reload this real qui- oh shit goddamn reload SHIT FUCKING FUCK OFF REAPERS GODDAMMIT JUST GIVE ME 3 SECONDS JESUS
I don't know if the Witcher 3 really innovated as much as raised the bar higher than any other current RPG.
Quest design in that game was handcrafted to the point of near perfection. Something Bioware could definitely take a cue from.
Witcher 3 bucked the trend of abstracting story content in favor of systems. With Mass Effect 3 and Fallout 3, you had simple systems (walk-by quest pickups in ME3 and radiant procedural quests in FO3) that minimized the narrative aspects of quests in favor of getting the player past the dialogue and into the fighting. Witcher pulled that back massively, making every quest a potential for a short story or fun character interaction no matter how "minor" it was in terms of story structure.
Yeah, I fondly remember that fun short story of where I killed the same goddamn bandits at the same goddamn camp for the tenth time. Such an awesome story system.
I, too, enjoy having discussions by being a reductionist goose.
That's fair. Allow me to rectify; in spoilers, allowing those to skip over it that do not care.
Fetch quests like "A Frying Pan, Spick and Span" were exactly what burned me out on Witcher 3. They all started to blend together, like the bandits at the camp I mentioned. There were many bandits, and many camps, and yet they were all the same. Just like all those little meticulously crafted bits and bobs everywhere in the world: they were so numerous to all become unmemorable. For a character I felt nothing for, what was I to care for his development (or lack thereof)? For a loot system that I felt was overburdensome and unrewarding, what was I to care for one more trinket or five more gold? For combat that I felt was detached and overly punishing, what was I to care for one more monster slain? One more hill climbed? One more quest completed?
To me, Witcher 3 played like SWTOR at launch. A main story that was interesting, but whose beats came fewer and farther between as the game progressed. Soon I was doing nothing but side quests, the main thread lost entirely as I wandered through yet another environment - beautiful, perhaps, but similar enough to all the others that came before it. But unlike SWTOR, Witcher 3 had a character I didn't make in a world I was unfamiliar with taking actions whose motives elicited little sympathy. It felt more like watching a TV show I had lost interest in than playing a roleplaying game. So I turned it off.
Now, please excuse me while I burn through another 5 hours of MEA MP.
Idunno man, there were a lot of fully fleshed out side quests littered throughout the game. Some of the best quests I've played, and I've played a lot of RPGs over the years.
The frying pan quest is still my go-to example.
It looks like a Dumb Fucking Quest when you get it. But it has a twist, and it has A Character, and so it's elevated into something you remember.
The issue, of course, comes in on the resource level - there were more conversations just to get to know your followers + advisors than there were dedicated to pretty much the rest of the game combined.
But that's a development issue, and it's all about learning to make content more intelligently. The hard truth all devs learn, eventually, is that players don't care about your very justifiable reasons for having less of X, or worse Y. Some people will, rightfully, point out why those things might be, but the average person doesn't get why we can't have the best version of every feature.
The biggest challenge in game development is learning how to minimize the things you can't afford to do as well as the best in the industry, and how to emphasize the things you're really good at.
This reminds of that Jackie Chan quote. He got asked in a Q&A why he would take like two hundred takes to do a really difficult trick with a fan juuuuust right
He said (and I'm paraphrasing heavily) you can't go to every theater to explain to the audience why a movie is the way it is. The film is the film. It's a good movie, or it's a bad movie. That's all people know, and that's all they care about
And that's a little unreasonable, yeah, but it's also the truth!
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Lance explodes for all the damage and because you have separate cooldowns it means you pretty much always have a detonator ready to go. I can rip apart groups of mooks like it's nothing and bosses still suffer a solid lump of damage from the continual barrage.
Yeah she's a literal walking biotic bomb.
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I think he's saying that a lot of grambleglorp hate is directed at bioware for having inclusive characters, not that it originated from there.
Walk into a room with a few raiders. Dodge forwards, throw the raider I just dodged past to knock them all on their asses with the explosion. Shoot two dead, put a lance through the last one standing to kill him.
Do it again like, seven seconds later.
it is extremely tokenistic in its portrayal of lgbt stuff
which doesn't necessarily preclude it from being good in a vacuum (but I do not personally find it good)
Is this a commentary on this specific game or the series in general?
It just sounds exactly like him. They've defined how salarians speak and this sounds like...a dude reading lines. They don't do anything to his voice in post and he makes no attempt to try to sound like them.
the series in general
which doesn't preclude people from finding meaning in those relationships
but heterosexuality feels like the norm, which, yeah, that reflects on society now
but it doesn't have to be that way in fiction, especially science fiction
That's not unprecedented, though. A few Salarians don't have anything done to their voices in post, like the Salarian councilor played by Armin Shimerman, which is just Armin Shimerman talking.
Mind you, Armin is an amazing voice actor, and has a normal speaking voice that's already in the range that other Salarians are pitch-adjusted to be in by post.
It is a little weird if he doesn't have the same pitch as other Salarians, though, or if he he just kinda stinks (I haven't run I to this character, didn't play that far).
They absolutely did process him, it's very clear from the trailer
His delivery just isn't good
The trailer, for those curious
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He sounds like this (not the dog or kid):
Oh, yeah I would totes agree on that, the series is super heteronormative and tokenistic with queer stuff.
It basically got teensy bits more progressive with each game, but only in little glimpses.
In ME1, there were no queer characters. Queer people did not exist. They bent over backwards and did a bunch of mental gymnastics to explain how Asari were "mono-gendered" and thus weren't really women since they're aliens (no homo bruh!) so even the only gay relationship you could have was undermined by baloney.
In ME2, there were still no queer dudes, but there was ONE queer woman in the entire universe, Kelly Chambers, who was a terrible stereotype of both bisexuals and therapists. Awesome. No wait, that other thing.
In ME3, there's a handful of queer characters. Traynor. Cortez. Kaiden, who finally comes out of the closet if you're a dude. A few background characters, usually human women in relationships with Asari. Nyreen Kandros, who is awesome.
But as a whole, it's a painfully straight universe. Hopefully Andromeda is better.
i feel like this is an apt description of the series in general to be honest
I just listened to actual gameplay with him in t and his prismo voice from adventure time, they sound basically the same.
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The game play so far is really fucking solid. Gunplay feels great, your actions have impact, and the jump jets make movement just such a joy.
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I, too, enjoy having discussions by being a reductionist goose.
Without getting into anything about Andromeda (because my contributions are basically meaningless), the Witcher's side quests were, by and large, some of the best out there. They had a simple formula - everything has a twist, whether large or small, and at least one Character - but they executed it well.
Any RPG that's in development right now that isn't looking at what they did is missing a step, IMO.
And I say this as someone who struggled through W3 because the combat never clicked. The side quests were real good.
i think most of us are concerned because we have a genuine affection for the series (true for me, although as evidenced my relationship with the series is kinda complicated)
To me, Witcher 3 played like SWTOR at launch. A main story that was interesting, but whose beats came fewer and farther between as the game progressed. Soon I was doing nothing but side quests, the main thread lost entirely as I wandered through yet another environment - beautiful, perhaps, but similar enough to all the others that came before it. But unlike SWTOR, Witcher 3 had a character I didn't make in a world I was unfamiliar with taking actions whose motives elicited little sympathy. It felt more like watching a TV show I had lost interest in than playing a roleplaying game. So I turned it off.
Now, please excuse me while I burn through another 5 hours of MEA MP.
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Idunno man, there were a lot of fully fleshed out side quests littered throughout the game. Some of the best quests I've played, and I've played a lot of RPGs over the years.
Honest feedback is the best kind of feedback.
And, honestly, my contributions were minimal enough that it's easier for me to externalize the feedback and use it as leverage for the project I'm on.
The frying pan quest is still my go-to example.
It looks like a Dumb Fucking Quest when you get it. But it has a twist, and it has A Character, and so it's elevated into something you remember.
The issue, of course, comes in on the resource level - there were more conversations just to get to know your followers + advisors than there were dedicated to pretty much the rest of the game combined.
But that's a development issue, and it's all about learning to make content more intelligently. The hard truth all devs learn, eventually, is that players don't care about your very justifiable reasons for having less of X, or worse Y. Some people will, rightfully, point out why those things might be, but the average person doesn't get why we can't have the best version of every feature.
The biggest challenge in game development is learning how to minimize the things you can't afford to do as well as the best in the industry, and how to emphasize the things you're really good at.
thats like, one of the very first quests and its used as a tutorial to explain witcher vision
Almost every real sidequest in that game involves hunting down some kind of monster, not bandit camps?
hey, have you played the new Torment, yet? because I highly recommend it the next time you have a moment between a family and a demanding job
(not trying to say anything sneaky, I'm just trying to make a recommendation for the sake of fun)
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I've heard very good things about it. Still trying to clear my backlog before I get anything new, though.
And instead of doing that, I'm spending a lot of time fishing in FFXIV.
Because I am weak.
Oh god this killed me so many times in ME3MP.
Reload this real qui- oh shit goddamn reload SHIT FUCKING FUCK OFF REAPERS GODDAMMIT JUST GIVE ME 3 SECONDS JESUS
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I mean I never particularly enjoyed it, but I was never bothered by it.
But the horse sucked ass. I'd rather walk.
This reminds of that Jackie Chan quote. He got asked in a Q&A why he would take like two hundred takes to do a really difficult trick with a fan juuuuust right
He said (and I'm paraphrasing heavily) you can't go to every theater to explain to the audience why a movie is the way it is. The film is the film. It's a good movie, or it's a bad movie. That's all people know, and that's all they care about
And that's a little unreasonable, yeah, but it's also the truth!
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