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  1. Also, aside from the story, the development of game mechanics and progression is something else that I think should be discussed. I know that is a bit removed from the core of what we do here, but it is something that should be taken into consideration when writing a game. I mean, I've had multiple discussions on this board about the mechanics of games we were writing for, so in regards to that here is a video from Kripparrian. He is a major Diablo 3 player that is grinding through Hardcore to be the first to beat Inferno in Hardcore. He gives a good talk about endgame and some of the mechanics that seem as if they aren't being taken into consideration whatsoever. http://youtu.be/y-DjYYZitRU
  2. True, not many people played these games for their story line, but does that mean a gigantic company like Blizzard, that has the funding and man power to do anything they want, should ignore the story line and give it far less attention? If that were the case, why ask the player if they REALLY want to skip cut scenes? Or why even have cut scenes at all? Even better, why make multiple references to the previous games if the story never mattered? Personally, I really enjoyed the story up until this game. The cut scenes had a lot of depth and mystery to them even though you kind of know what you're working towards. They never spelled anything out to you, so the game still held a bit of mystery. However, in Diablo 3 they left huge gaping holes in the story that aren't explained, as if they didn't even play the first two games, and spelled every single step of the game out for you. Which, to me, are a HUGE strikes against a team that were suppose to be perfecting the most anticipated game of the decade. I would much rather watch the above cut scene, from Diablo 2, than this one, from Diablo 3. [url="http://www.youtube.com/watch?v=UbxEuy4pEM8"]http://www.youtube.com/watch?v=UbxEuy4pEM8[/url]
  3. This sums up Diablo 3 pretty well. It's a video that goes through each act showing some of the ridiculousness in each, in a satirical kind of way. Also, [u][i][b]SPOILERS!!!!!!!!![/b][/i][/u] [url="http://www.youtube.com/watch?v=YcJ_XT3oWtY&feature=g-all-u"]http://www.youtube.com/watch?v=YcJ_XT3oWtY&feature=g-all-u[/url]
  4. The things I loved so much about Diablo 2 and the expansion was their hesitation to give too much away and how well they captured a character's personality. The cinematics in those really left you wondering and gave you cliff-hangers to ponder as you played through the story. Diablo 3 does not do that. It is very one-dimensional and, for me, makes the boring dungeon crawler even more boring. I agree that the different classes do add a small bit of depth to each, but it's an incredibly small amount and is quickly forgotten as you begin the first quest. There is never a reference back to the events prior to your involvement in the characters journey, other than small talk between you and your follower, if you choose to take them with you. The scattered books do break up the monotony, but left me wondering "why the hell did all these people leave their 2million journals scattered around like this?" It just didn't make sense, much like dozens of other parts written into the game. Visually, the game is pretty amazing. The art direction is impressive to me. I was actually expecting it to look much more like Warcraft 3 than the old Diablo games, but they managed to make a compromise with their current visual branding and the rest of the Diablo franchise. I just feel like all creativity went out the window when it came to writing for this game.
  5. So, I've been on hiatus for a bit, but I'm back! Currently in the process of making 2 games with a group of friends too! Anyways, I wanted to know what you all thought of the writing in Diablo 3. It has been under a lot of criticism lately and I was wondering what your opinions were. Personally, I feel like a company as large as Blizzard should have been able to do much much better than this. There were cut scenes that I actually cringed during because of how terribly cheesy and poorly written they were. Nevermind the fact that every bit of the story was spoon fed to the player and left nothing up to our imaginations, like we are all illiterate idiots that can't grasp anything that is vague in any way. Also, glazing over the most important and interesting parts of the story by mediocre, poorly written, in-game cut scenes. I felt extremely disappointed, especially since I've been a huge fan of this franchise ever since Diablo came out years and years and years ago. But what do you all think?
  6. (I'll go ahead and warn of vague spoilers and possible deterrents in this post...) Well, I haven't played through all of the campaigns to have as much of an established opinion as I should and I especially haven't played through ME3, so I don't really have a solid established opinion on the matter. From the research I've done though, it seems like the ending was extremely lack luster and disappointing, especially given the game-play and story that made up the rest of the franchise. I've seen the alternate endings and they are all the same and don't seem to make sense when put into context.Their logic and approach to the end of it just seemed extremely abrupt and not well thought out at all. There seem to be lots of contradictions in the thought process of the new character that is introduced at the end that negates whatever you have done throughout the rest of the game (or series). I've also seen a lot of people complaining about not getting any closure at all in the ending, which is something I don't mind a lot in stories or games, but I think they took it way too far here. Granted all of this may have come from a disagreement in the company that ruined the story or they ran out of time or something drastic like that, but it is disappointing to see a series that has done so well and promised so much in the way of a cohesive ending, just give in and make up some BS ending that allows for DLC that you have to buy and play through. It's like the death of a comic book hero. That should be it and they should just stay dead, because that's what death is, but it never turns out that way.
  7. There is a lot of grief going on about it. Your opinion?
  8. Yeah, the player would learn skills to make survivability possible in the game, but as for larger things, like building a water filter out of homemade materials and such, they wouldn't pick up on things like that. There are some aspects that I would like the have that are crucial to making their life easier and gives a glimpse into the father's background and education (suppose he went to war and had a degree in engineering, he would know how to apply his survival techniques and fabrication knowledge to make things that would take a much longer time to understand than watching the father do it a couple times). But yes, there would be a decent amount of skill learned from the father that the main character could use to survive, it would just be more difficult. The thing that I'm a little hung up on at the moment is the clothing itself. If they are in a large city they're obviously (now that I think about it) going to ransack every clothing store in the city for whatever they want. I think this is going to apply most to the bandit types, because I see groups like them beign very unorganized and just thrown together. Whereas an evacuation group that is trying to organize and save people would have a theme of clothing at least, like all camouflage and black boots or something. I do like the idea of not being able to identify if a group is bad or not though, so having neutral groups that are just trying to make it out of the city or just trying to make it would be good. In my head, I actually scrapped the health issues and forgot about them. I just didn't actually do that in the post I guess.... I'm going to get back to the drawing board and try to finish all the storylines this week and repost for everyone to read and critique. Wish me luck!
  9. If I'm right, the setting is a slum-planet that has a lot of industrial aspects to it and your favorite idea is a "sport" kind of setting? If this is correct, then I think the idea of having the planet be a place that outcasts or prisoners are sent to build aircrafts and fight each other. A way for the government to get rid of prisoners in their jails and keep the population low enough on the planet that they can keep sending them there. Possibly a source of entertainment as well. This kind of story has been done a few times before in different types of media, so there is plenty to draw influence from. And to solve the problem of them getting away, there could be satellite turret things that orbit the planet and prevent that or possibly a force field that prevents the crafts from leaving the atmosphere.
  10. [left][size=3][font=arial,helvetica,sans-serif]"Locked in a small apartment, just my 80 year old father and me, a 24 year old college graduate that decided to [i]make it in the big city. [/i][color=#282828]Now, we're trapped in this shitty little 4th floor apartment [/color][color=#FF0000]with very little hope to look forward to. [/color][color=#282828]Society has collapsed, bandits are roaming the streets, and we are forced to hide. My father complains about how he is holding me back and that I will die because of him, [/color][color=#FF0000]but in all honesty I wouldn't be able to do this without him[/color][color=#282828]. At night, I sit by the front door to guard it, not honestly thinking I'll be able to if someone comes. Sometimes I can hear him crying from the bedroom. I know what he's thinking about; I miss mom too. Some days I go scavenging for supplies, leaving him in the apartment on his own and I try to ignore my fears of returning to find him dead. Staying alert while sneaking around a city is hard enough when you're malnourished and sleep deprived. Why do we do this? Is living in this hell really worth what we're going through? No, but giving up is not an option either. We've got to do the best we can to survive, wait for a rescue, and see mom again."[/color][/font][/size][/left] [left][size=3][font=arial,helvetica,sans-serif][color=#282828]Game-type: Sandbox RPG; I want the vast majority of decisions to fall on the player in order to immerse themselves as much into the role of the son as possible. This is meant to be a very emotionally deep storyline that is hard to handle, so the more the player is immersed into the situation, the better. [/color][/font][/size][color=#FF0000][font=arial, helvetica, sans-serif][size=3]Possibility of co-op, with one character as supply and back-up, while the other is the scout and fighter.[/size][/font][/color][/left] [left][size=3][font=arial,helvetica,sans-serif][color=#282828]Plot: The main character is tasked with keeping his elderly father alive and safe during a post-government society. Every decision made is one that is extremely emotionally difficult for the main character. Every aspect of surviving in a desolate city should be taken into consideration (barricading the door and windows, scavenging for supplies, getting rest, making weapons, etc.).[/color][/font][/size][/left] [left][size=3][font=arial,helvetica,sans-serif][color=#282828]Mechanics: I want every decision made to be something that could not work, so there is always a chance of failure. (Example: If you decide to go scavenging for supplies across the city you could be gone for a while and by the time you return the secondary character could be dead, completely changing the direction that the game would take.) Outside of this, there should be a sense of resourcefulness that comes into play, such as breaking down a table to use the legs as clubs or something to that effect. Also, I want the characters' story to come through as the game is played, instead of putting all the cards on the table at the beginning. So, as you move through the storyline you chose, you learn some things and don't learn others as they come up in a more natural fashion, through events and conversations.[/color][/font][/size][/left] [left][size=3][font=arial,helvetica,sans-serif][color=#282828]Combat style: Dependant on how the player wants to handle situations. There could be opportunities for guns, but there may be limited ammo and they may attract a lot of unwanted attention. This is where scavenging through other apartments, breaking chairs or tables, etc. comes in to make melee weapons. There is also the possibility for hand-to-hand combat, when weapons aren't accessible.[/color][/font][/size][/left] [left][size=3][font=arial,helvetica,sans-serif][color=#282828]Setting: A large city. I would prefer it stay unnamed to get away from cultural ties that are attached to each city. Something large and New York/Philly-esque. However, [/color][/font][/size][color=#FF0000][font=arial, helvetica, sans-serif][size=3]the player would start in an old apartment building without water or electricity, but would have the opportunity to move to other buildings if needed.[/size][/font][/color][/left] [left][size=3][font=arial,helvetica,sans-serif][color=#282828]Main character: Mid-to-early 20s, fresh out of school and into the city. I'm trying to keep everything very neutral right now and stay away from race, sexual orientation, etc., so I can focus on the core elements and a solid foundation, for now. A vague description of him would probably be; 6 ft tall, 160-170 lbs, possible short beard or scruff, no tattoos, piercings, or anything that is overtly noticeable. [/color][/font][/size][color=#FF0000][font=arial, helvetica, sans-serif][size=3]His main job is to scavenge for items and supplies, scout other buildings for moving into, and searching for a possible rescue.[/size][/font][/color][/left] [left][size=3][font=arial,helvetica,sans-serif][color=#282828]Secondary character: Late 70s - 80 years old man that is fairly feeble. I see him as a man that has a hard time moving around a lot and possibly has heart or lung issues. General description would probably be; 5'6 ft tall, 150-160 lbs, bald spot, mustache or beginning of a beard. [/color][/font][/size][color=#FF0000][font=arial, helvetica, sans-serif][size=3]Isn't too feeble, but can't do much more than move from one building to another, carrying very little (like a blanket and a weapon). Also, his main job will be the construction of any weapons, defenses, or any repairs that need to be done around their home-base. If he dies, then the main character loses all of those abilities and other possible knowledge the father may have (where restaurants are in the city, how to collect and purify water, and other aspects like the story of the characters and what caused all of this). This makes the father character somewhat of a reliability, for his knowledge and capability of creating and repairing items that make survivability much easier and allows a more fleshed out and enjoyable storyline.[/size][/font][/color][/left] [left][size=3][font=arial,helvetica,sans-serif][color=#282828]Enemy characters: Tattered clothed people of all types, from full grown men to small children. Some are travelers that may or may not be trusted, some are obvious bandits with guns and bulletproof vests. This category is fairly predictable as far as the equipment carried. One thing that I would like to be different about them is that they have plans that are carried out. Such as, searching through all the buildings down one street, then moving a block over. May have a large truck or something they drive around to carry off supplies and such.[/color][/font][/size][/left] [left][size=3][font=arial,helvetica,sans-serif][color=#282828]Allied characters: I would eventually like there to be a chance where bands of x-military or cops come through to disband bandits and such. This could be a limited chance for rescue that the player would have to knowingly search and wait for. They would be in tattered versions of their uniforms with bulletproof vests, guns, possibly in military vehicles or cop cars.[/color][/font][/size][/left] [left][size=3][font=arial,helvetica,sans-serif][color=#ff0000]The story itself will have multiple paths than can be followed under these main categories:[/color][/font][/size][/left] [left][size=3][font=arial,helvetica,sans-serif][color=#ff0000]Both characters survive - Join a band of people trying to escape; Escape on their own (either by car or by foot); Evacuated by band of x-military/cops[/color][/font][/size][/left] [left][size=3][font=arial,helvetica,sans-serif][color=#ff0000]Main character survives - Father dies in escape (either with the convoy, on foot, or in their of vehicle); Father dies during attack on home-base; Father dies when moving to another safe-house[/color][/font][/size][/left] [left][size=3][font=arial,helvetica,sans-serif][color=#ff0000]Main character sacrifices self to save secondary character - Takes a shot for (or while escaping, not necessarily to block a shot) father during escape (with convoy, on foot, or in vehicle)[/color][/font][/size][/left] [left][size=3][font=arial,helvetica,sans-serif][color=#000000]---------------------------------------[/color][/font][/size][/left] [left][size=3][font=arial,helvetica,sans-serif][color=#000000]The red is the new stuff. Does that sound better? Let me know if I forgot something, I've been running around during typing this and might have missed a thing or two.[/color][/font][/size][/left]
  11. Well, lets give it a try! This is all off the dome, by the way... ---- Dear love, I have arrived at the small village that I am to stay for the week while inspecting the old industrial plant. The scenery is gorgeous as expected, with full, thick, lush, forests and a number of other humble villages along the road as if modern civilization had not let it's grimy paws claw at the rustic nature of the area. However, there is something eerie about this place. I haven't seen or heard a single animal since I got here and the villagers keep insisting that I give up my hopes of inspecting the deserted buildings through the woods. They speak of evils that cannot be explained and legends of something terrible inhabiting a large brick tower, beyond the plant, that emits demonic tones and has claimed many poor souls. But do not worry my love, the local folklore is nothing but lies made of simple words to scare the residents from visiting the empty warehouses. I shall return to you once I am done here. With love, Yours truly... (for extra creepiness; imagine he write's her about every other day and she ends up arriving to the village to check on him, which is when she shows him the letters that end up just being frantic scribbles on pieces of paper and no actual words) ---- It's a little shallow, but it's a start. Off the dome and with very little research. I'm about to go read some H. P. Lovecraft (seems like the aesthetic you were going for and kind of what I tried to resemble) and may possibly come back to rewrite this.
  12. Oh, don't worry about insulting him or me. He's dead and I'm smart enough to know better. I've considered the age gap thing pretty heavily and thought about changing it, but I'm worried that my experience wouldn't fit in as well. Whether that is ultimately important or not, I'm not sure. As for flexibility, I'm pretty open to changing aspects of the concept as long as there is a good reason. If the team wants to change the enemies to demonic care bears, then we'll have a problem. For me, this is a piece for my portfolio. In some ways it honors the father-son bond that I had, but I know better than to expect someone to care about that. This is more about an aesthetic that I'm trying to reach that deals with reality in games that isn't romantically written with a moral and happy ending. It's gritty, depressing, frustrating, overwhelming, and unfair, such as a situation like this would actually be. The flashbacks are an interesting idea, but I'm worried that may fantasize things too much. They would add depth to the character and a reason for him to remain in the game, but that removes the player from the current situation and put them in an almost alternate reality. Also, with the character this young, it wouldn't make sense for them to be in a city like this if the father has been there long enough to plan and orchestrate and escape. It's still an idea that could be utilized somehow though. Using the character somehow would make sense, but I'm not sure how to utilize him. Maybe the father could be the one that actually makes things in the apartment, while the son is the one that scavenges. This could open up a co-op portion of the game, if that was an option. The father could make weapons, board the windows, make a radio, etc., and his productivity could directly relate to his physical health. How does that sound?
  13. Well, as realistic as possible, but within the confines of the established foundation of the storyline. I've thought about the power and water issues that would come into play, but in reality someone may not use those anyways in fear of attracting unwanted attention, so instead if becomes something that needs some type of resourcefulness to manage (such as cooking food over a fire in different locations and finding running water somewhere else). As for an escape, that wouldn't really be an option with the secondary character, but could be done. I guess the more I think about it, the more the main character's duty is to stay alive and protect the secondary character until the very end. If that means they need to move buildings, they can do that, but it would mean making sacrifices and risk being found. Yeah, it pushes the boundaries of the characters' ages, but I'm trying to base as much as possible on my life, so I can relate to the story more and keep it as truthful as possible (I turn 24 in July and my dad would have turned 80 in March). As for the frailty of the character, that's something that has been bothering me a bit. That's probably the Achilles of that character and it bothers me. If I make him too self-sufficient, then it's easier to leave him. If I make him too weak, he's too much of a burden. I think my solution to this is to make him intellectually powerful, with some type of engineering experience or architectural experience that would help the main character make weapons or defenses or navigate buildings to find hiding spots and such. Also, he won't be so feeble that he can't walk across a room or something of that nature. My idea for him is to have the strength to walk half a mile/a mile before needing a break. My idea for this game is to be something based on hope, but with no promises of such faith. The player should feel like there is some type of end resolve that could come, but whether they make it there or not is up-in-the-air. I plan on writing multiple storylines that lead to both characters dying, secondary character dying, the main character dying to save the secondary, both living and making it to a military outpost, one or both characters finding a convoy that leads them home and the adventure along that. There will be some resolve, but it will most likely not be very promising. Very much trying to stick with the hopelessness from an outsider's perspective, but with hope still alive in the characters.
  14. I agree with Stormynature. More details about the game ideas and how they could tie together would help. In my mind, I'm thinking a military type game with an FPS for the special unit's view, RTS for a commander's view, and RPG-FPS for a more in-depth grunt's view of ranking up and such. That type of relationship is what I see playing out well together. Especially if they influence the multiplayer in each. That would be the sickest series of games ever, if done well.
  15. The contradiction in that point is something that I was hoping would have more of an impact on the decision making that would be done and make it more of a struggle, so you couldn't be gone for too long or something to that effect. I didn't take into account the ruthlessness of today's gamers though, so that kind of dismantles that idea, unless I can think of some negative action that can come from the father dying. The only options that come to mind right now are : 1 - let the player decide to kill supporting character without any consequence other than an alternate ending 2 - put some type of negative reinforcement for losing the secondary character (whether it's a happiness/sanity meter, a huge removal of xp or skill points if that's a part of the game, or something similar/combination) 3 - make the secondary character's role a shorter part int he game, such as only the first half 4 - have a fixed storyline that prevents the father from dying Well, come to think of it, the player would also be losing their home and all of their supplies, along with the secondary character, if the apartment was attacked while gone. That would mean they would have to find somewhere else to stay, gather new supplies, make new weapons and defenses, and then possibly have some type of negative effect applied to their character. Which would end up pushing the player further behind, but in an easier position and alternate ending. Personally, if I had to do all of that work again in a video game I would be sufficiently angry, so maybe that would be enough? Anything involving the secondary character killing himself or the player trying to kill them could just not be possible, since the main character isn't suppose to see that as a possibility anyway. When it comes to the actual HUD design or game layout, I'm trying to stay away from happiness/sanity meters and HP/ammo bars, etc.. I really want the mentality of the characters to come through their actions and things like ammo to be something the player keeps up with or has in an inventory list in the game. I feel like having meters and gauges in a game is just too easy of a go-to for a solution and removes the player from the experience, to an extent. Not that it's a bad thing, but I don't feel like it would work in this situation. I guess I'm just trying to make things harder on myself and reinvent the wheel while I'm at it...