#also if you know of any other rpgs that have this special sauce of Personalized Horrors at the da2 level. let me know lmao

[apostaterevolutionary]

So I touched on this a little in my veilguard review, but this is one of the topics I wanted to talk about separately. And it’s that I think I've figured out what really makes an rpg great vs just not bad for me. This is really a preference thing, cause I know there's people who are the exact opposite on this. But for me, it's about the amount of personal involvement the player character has

Like why are you, as the main character, here? Why do we care about the plot that's unfolding? Is it just cause 'well, world needs saving and I'm here', that's not very interesting to me. It's too replaceable - any sufficiently valiant person could do this (even in a chosen one narrative, this is typically true). 'Wrong place, wrong time' can be fun if done right, but it's still eh to me. I like it best when the player character has some tie to the overarching plot. I want it to be personal because that opens up so many more interesting emotions

Dragon age has examples of both of these. Origins, despite the Warden canonically being replaceable, as we know all the origins happened, it's just only one actually survived, does have this personal element imo because it has Ostagar. Different Wardens might see this differently, of course, but you arrive after just barely being saved by Duncan. Everything seems fine until the big moment and then everything goes wrong - you're betrayed, from your pov, Duncan is killed, and you wouldn't survive this third near-death experience in a row were it not for Flemeth's interference. This, in the moment, feels pretty damn personal. No matter who your warden is, Loghain acts as a personal antagonist right up until right before the end, whereas while the blight situation is mostly a 'wrong place, wrong time' situation, that personal element plus the little moments you get that reference the origin events really make it work for me. It could have more, but it has just enough to make it really good imo

Of course, DA2 is so strong on the personal motive front that arguably the personal story is actually the overarching plot and it's just occasionally a wider-impact event creeps into it lmao but that's why it's my favourite game. Inquisition, on the other hand, while yes, you have the mark and are the only one who can close the breaches, that is the only tie you have to events. The inquisitor has no motive beyond 'well, world needs saving'. If the anchor had somehow been transferable, Cassandra quite frankly would've made a more compelling protagonist because of her devotion to the Divine. She had a reason to be there beyond just 'gotta save the world'. The inquisitor doesn't, they’re really just there because they have to be (and that’s also why I think their appearance in veilguard is pretty weak imo, but people with different views of their inquisitor will disagree there)

And I'm not comparing, rather just using an example, but bg3 I think has both options. For me, durge is much more interesting than tav cause, once again, tav is just some guy (gender neutral) who happened to stumble by at the wrong time and oops, brain worm. Even the emperor would've happily discarded them for another if it served his purpose. They're just there because they're convenient. That's not as fun to me as durge, who has an actual personal reason to be involved in this, even if they don't know it at first. It starts out as the same, generic motivation of 'get rid of the brain worm, try to save world if we can' (assuming a relatively "good" playthrough lmao, but for comparison's sake) but it later becomes something that is personal. You have a VERY direct involvement in the plot and it really adds something to it for me. That's the kind of flavour I seek 🤌 🤌 🤌

And veilguard is definitely more on the inquisition side where literally any heroic person could fill in for the protagonist (and tbf, I liked it more than inquisition), when I think what really would’ve brought it over the top for me would’ve been some act 2 Personalized Horror event to happen. Easiest option would be something related to the faction, like maybe one of the recurring NPCs ends up dying in some really hardcore way. It wouldn’t be that hard to implement imo because it could be roughly the same quest, just with tweaks to fit the chosen faction. Giving Rook a personal motivation would’ve really spice things up and give the factions more depth too. If you play as a warden, I think weisshaupt may have that affect (which is why my second run will be a warden lmao), but it would be nice to have something really devastating for the character regardless of faction

(And to be perfectly honest, if we were going to lose a companion anyway, having that happen in the middle of the game might have actually been spicier and really cemented Rook’s conviction while still having the regret prison concept work imo. It would mean missing out on a companion arc, but it’s another option at least)

This would also give an opportunity to really boost the companion relationships. Like the Bad Thing happens and then you get maybe a little scene with the current love interest, or even just some dialogue with each of the companions. Something with them being the ones to comfort Rook for a change. Cause all that remains is devastating, and the bg3 act 2 redemptive durge scene is wonderful, but it’s also the aftermath that’s really tasty. And having some sort of Personalized Horror for Rook would’ve given us an opportunity to have that moment of them being vulnerable, and the companions stepping up to help them. That really would’ve made the team feel good and cemented, like they really were a strong team

And again, I know this is a personal preference thing. I have a friend who struggles whenever a game has any kind of established background at all and thinks that bg3’s tav is the absolute perfect kind of rpg protagonist and I’m sure there’s plenty of people who agree and prefer the fully blank slate. Some people do prefer to just headcanon all of this rather than have it directly in the game. And that’s fine. But for me, that personal involvement and motive is the real special sauce for rpgs and I think that’s why DA2 specifically is the one that made me insane lmao. And I think if veilguard had’ve had that bit of personalized angst, I would’ve put it an entire bracket higher than I did. It would’ve fit really well imo and idk if it was something bioware ever planned for the game, but I, for one, really would’ve loved it

[kilesplaysthings]

Happy Halloween! I hope you guys have a fun and safe spooky day! 

Now as a horror fan, I gotta tell you guys, I find the vampire lore in IkeVam a little weak sauce (ok, actually a LOT) lol But I do tend to like vampires as more of the monstrous villains in fiction too. So! in celebration of today kiles is gonna recommend some vampire flicks for you all that love these bloodsucking monsters. Let me know which ones you like and maybe even recommend ones that I don’t have on here! :D

Let the Right One In/Let Me In: both the original Swedish film and its American remake are very good, but I personally find the OG better in both acting and dark tones. The story is about a boy who is bullied by his peers and feels isolated from everyone, meeting what seems to be a little girl and befriends her. But there is more to this girl than meets the eye. I can’t recall there being a lot of warnings in this, but it does have some gore.

The Lost Boys: I love this movie. It’s so 80s lol But the vampire stuff is really fun. That and not only do you have a young Corey Feldman in a duo of kid vampire hunters, but you get a young Kiefer Sutherland running around with a sort of Glam Metal look going on. The story is about two brothers and their mom who move to a California town that wind up getting involved with a group of rebellious teens who turn out to be vampires.

What We Do in the Shadows: This is probably my favorite vampire movie. I love the faux-documentary of this New Zealand dark comedy, and I love the homage to traditional vampire lore. No more sparkling, no more resistance to daylight. The vampires in this movie are done right, in my opinion. I’m more of a traditionalist when in comes to monsters, you see. I almost wish we could get an ikevam version that was more like this, where MC is the person making the documentary filming the boys lol

Nosferatu: The Classic vampire flick from the Silent Era of film. It’s a German retelling of the story Dracula. Count Orlock’s design is perfectly eerie and creepy, iconic throughout media. If you don’t mind silent film and you haven’t seen this one, check it out!

Dracula: And then, of course, there’s the classic film with Bela Lugosi. His Hungarian accent became the go-to for other vampires in later media. It’s pretty close to the book for the most part. At least, it’s as good as most book adaptations that were made back then were (which wasn’t too good lol)

Fright Night: This is another very 80s movie. The main character is a teenager who is addicted to a tv show about a vampire hunter and how he hunts vampires. Because of this, he starts to become suspicious that his new, odd neighbor may in fact be a vampire. There is also a remake starring Anton Yelchin, Colin Farrell and David Tennant that’s.. ok lol

Salem’s Lot: Stephen King’s vampire tale. A man coming back to his childhood town realizes that a vampire is preying on the townsfolk. While this is an older flick that might not be exactly scary there’s some great classic vampire stuff and eerie scenes. Plus it’s Stephen King! 

30 Days of Night: Probably the most horrific vampire movie, where there is nothing redeemable or likable about the vampires whatsoever. The setting of this movie alone makes it terrifying. Set in a northern, remote part of Alaska, an isolated town is beset by ravenous vampires when the town is submerged in complete darkness for one month. Most of the town’s occupants go south for the winter, but those remaining have to fight and use quick thinking to survive. Warning to those who don’t like gore for this one. It’s pretty brutal.

Afflicted: A found footage film about two friends who are backpacking through Europe due to one guy wanting to live life to the fullest before he dies of cancer. Something goes wrong at a party however, and he soon begins to show signs of something... inhuman.

Van Helsing: I know a lot of people don’t think this movie is any good, but I admit I like it as a sort of guilty pleasure. Van Helsing is now a younger vampire hunter that’s sent by the church to help a town in Romania that is beset by Dracula and his brides. It’s got lots of funs stuff like a vampire masquerade ball, a sort of Frankenstein’s monster character, and a fight between a vampire and a werewolf that’s pretty beast :D

Bram Stoker’s Dracula: Though I haven’t seen this yet, the tone, acting, music and cinematography of this movie all look so darkly beautiful. Add a bit of gothic romance, this adaptation of Bram Stoker’s tale is one that I definitely plan to watch soon. 

Thirst: A Korean take on a vampiric story. A priest who wishes to save lives volunteers to be a guinea pig for a vaccine that is being made to cure a virus. But things go awry and he comes back to life as a vampire. Now he has to battle between his thirst and his faith. Haven’t seen this either, but I plan to! Korean films are always a cut above, and if you don’t mind some gore and adult elements, I’m sure you’ll enjoy this.

Others I would recommend: 

Interview with a Vampire, though I don’t really like that movie all that much. You do get a younger Tom Cruise as a vampire though lol plus Kirsten Dunst’s character is surprisingly sympathetic and sad (at least to me!)

A Girl Walks Home Alone at Night: This one’s unique, being an Iranian take on vampires. It’s a slower indie film, about a mysterious girl who only comes out at night and skateboards around a town. I wasn’t too crazy about this one, but it was interesting!

Shiki: I’ve seen three-ish vampire anime. This, Diabolik Lovers, and Vampire Knight. I didn’t like DL at ALL, and I could barely get through the first few episodes of VK. Shiki is excellent, though, if you can get past the odd character designs. I probably would have liked VK better if the story was focused solely on Zero’s character though. 

Vampyr.  This is an RPG actually, but the vampire lore is so dark, bloody and complex. The MC is a doctor that specializes in blood transfusions who comes back to London from WW1 right during the Spanish Flu epidemic. When he’s turned into a vampire by a mysterious sire, he has to find a way to survive while still acting as a doctor and decide if he will kill others or starve.

[battlemaiden13]

another 2 questions for bros from UT, US, HT, UF, SFR, Gastertale, MT, UL, and StoryShift Papyrus - 1. What games, board-games, video games, or card games might these skeletons play? 2. What is their favorite foods, or the foods they eat the most?

13: this turned out to be a bit longer than I thought it’d be, whoops. I’ve included a brief description of the games I figured most people wouldn’t of heard about to so you should be able to understand most of them. 

SansPulling pranks and being a pain aren’t really games you can tell people you enjoy although if they were that’s what he’d say. Instead he tells you his favourite game is questions only. It’s an improvisation game played between two people were they are only allowed to talk in questions. If someone manages to say something that isn’t a question than they’re out and the other person wins the round. He likes this game because he doesn’t necessarily need to stand up to play and there’s no set up. Of course he’s favourite food is obviously ketchup especially if he can have fries with them.

PapyrusWhy stop at a simple game? Being out of the underground Papyrus has discovered the wonders of escape rooms. Not only are they rooms filled with multiple puzzles but most are intended for more than one player making them the perfect bonding opportunity. Escape rooms are by fair his first choice of games if he could pick but he’s basically willing to try any puzzle based game from the digital game portal to just literal puzzles. Of course his favourite food is spaghetti.

RedReally likes RPG video games, his favourite though is the Persona series. They are a mix of RPG, logical thinking, fighting and strategy.  He enjoys other RPG’s to but this series is the one he keeps coming back to over and over again. He particularly enjoys the aesthetic of 5. Red’s favourite food to go along with his mustard is greasy cheeseburgers.

EdgeLikes games of subtle manipulation and control, his favourite of which is the board game series Munchkin. It’s a game where you have to work together in order to move forward but if you help out the others to much they will pull ahead and win the whole game. You have to figure out what alliances to keep and when to break them in order to best benefit yourself. Edge enjoys Lasagna, there are so many different ways to make it that he finds the whole thing very enjoyable.

BlueOne of his favourite games is Double memory! Of course you could also convince him to just play regular memory but double memory is way funnier in his opinion. Double memory is played with two decks of cards laying face down on a table, the joker cards are removed. With two decks you have to match both the number on the card and the suit where as with regular memory you just have to get the number because it’s played with a single deck. If you get a pair on your turn you get to go again, the person with the most matches at the end wins. Blues favourite food is tacos although he isn’t that great at cooking them he likes the different flavours you can get from a single bite from them.

OrangeLikes shooter video games, his favourite of which is borderlands. Not only is it a fast pace shooter but he really enjoys the style in the game and he adores the humour. First time he picked it up he wasn’t expecting it to be funny but it’s got him a few times and he was hooked. Orange has such a big sweet tooth anything to do with desserts he will love, that’s why he drinks honey. If he had to choose one thing though he’d definitely go with donuts.

LordLikes games that let’s him install fear in others usually done with contraptions he’s made himself. One such game he’s created is a game of chicken involving a finger guillotine. Players put their finger in the respective slot and take turns cutting a string. One of these strings will release sharp blade cutting off the players fingers. If you remove your hand you lose although losing a finger might not be the best option for any winner. Lord likes gyro’s and is convinced that they are the superior food.

MuttHe doesn’t really get to play games too often but if he had to pick one it would the card/ board game codenames. The game is played in teams, 12 tiles with different pictures are placed in front of you, the speaker has a card showing the locations of the different agents. The speaker gives the players a number and a word and the players have to try and connect the words to the pictures on the board. The number stated indicates how many agents could be hidden with that word.  The winners are the first team to find all their agents. Mutt likes it because you have to think about what your team or speaker would connect with each word in order to find the agents. Mutt also has a sweet tooth but prefers things a little bit sour. He could eat a ton of sour gummy worms along with the sour cream he always seems to be eating.

AxeHis memory makes it hard to concentrate on most games so it either has to be something he can leave and come back to or something that’s over pretty quickly. He does enjoy backgammon, he knows were his own pieces need to go and he doesn’t really need to concentrate when its the other players turn. He simple needs to role his dice and move his own pieces according to the numbers shown. He finds it easy to pay attention for these short times when it’s his turn and likes the logic and luck behind the game. Also loves ketchup but he will say that his favourite food is fruit. There wasn’t really a chance to get fresh fruit underground so now he really enjoys it.

CrooksLikes classic puzzles. Like puzzles, puzzles, you know the ones with pieces that fit together to show an image. That! The more pieces the better in his opinion and he finds the 3D ones just as fun. Over the years above ground he’s accumulated quite the collection of different puzzles. Like he has a wall in his house with a bookshelf covered in boxes of puzzles.  His favourite food is also spaghetti, he thinks it tastes best if made with rabbit meat or deer.

GGames aren’t really his thing but he has been known to play Tarot Cards of Fate.  The game is played in 3 rounds using a deck of Tarot cards. The cards are placed face-down on a table and the game is played by flipping them up one by one. Cards are assigned a score equal to their number shown on them i.e. The World being XXI is assigned 21 points. This score is awarded only to one of the players. Cards score also depends on their position when flipped up, if they are facing upwards the player is awarded positive points, if they are reversed they award a negative score. The sole exception to this rule is The Fool which serves as the game’s “Joker”. If The Fool is face up it is an instant-win for the score player, if reversed it is an instant loss regardless of any score. Although G does enjoy drinking Hot Sauce his favourite food is curry, the spicier the better.

GreenHe enjoys doing Sudoku puzzles. It’s something he picked up from his Gaster half and with his Papyrus half already enjoying puzzles there really wasn’t much argument about it. He’s filled in so many of those puzzle books that you’re sure it could fill a library. Green doesn’t really have a favourite food but he will indulge himself with different chocolates every now and then.

RouletteChoice poker is his favourite game. Any gambling he enjoys but he finds choices poker really raises the stakes. It has the same rules with common poker, five of a kind being the strongest hand and high card being the weakest hand. You are allowed to exchange your card only once. (You can exchange one to five cards). This game is also played with the joker and it is considered the strongest card instead of the ace. However, having the strongest hand doesn’t necessarily mean you’ll win, the higher bidder of chips in the betting round is given the choice to select whether the stronger or weaker hand will win that round. This means the bets are usually pretty high which makes for an exciting game. His favourite food is potato cakes alongside tomato sauce, he finds the flavour less sweet than normal ketchup although he’ll drink that two if it’s available.

SniperFavourite game is Duel Clash Poker. The game is played with a special deck, two pairs of players against each other. Each player has eight different cards: numbered card from 1 to 7 and one Joker. The player who plays the stronger card wins. However, if two players use the same card, they will cancel each other and the winner will be the person who played the next highest number. For example, when the chosen cards are two 7s, a 4, and a 2, the person who played 4 is considered the winner. The strongest card in the game is the Joker. Jokers can also cancel each other, though. The pair who manages to win four rounds first wins the game. Snipers favourite food is also pasta but he prefers them with white sauces.

LustAlso likes RPG’s his favourite currently being Skyrim because he has install all the horny mods, the same can be seen on his sims saves. He doesn’t play games to often but if and when he does you better believe his favourite things are the sexual mods that other creators have made for them. Lust favourite food is pizza mainly because he can argue it has veggies on it.

CharmPlays dating sims. Not only does he find them fun but he can use them as a training resource or as a way to test his skills. He doesn’t really have a particular favourite title as he’s basically willing to try any title in the genre and he’s actually pretty good at them. Charms favourite food is actually sushi, he finds it more romantic than pasta for some reason.

PoppyHis favourite game is actually Tetris. The other papyrus personalities don’t tend to enjoy video games but Poppy adores this fast paced puzzle game. A game of skill and quick logical thinking what could be better? You don’t think you’ve ever seen him lose unless he was super distracted. Just like the others have a tendency to though Poppy also really likes pasta. He doesn’t have a specific dish he enjoys more but he always seems to enjoy pasta.

[towaniegaita]

FAQs [Nozakibento, 16th October 2010]

Original post in Japanese

I collected together some of the questions I'm often asked.

 Basic Information

Name: Nozakibento

Date of Birth: 28th April 1986 (Showa 61)

Height: 177.5cm (as of 2018)

Weight: approx. 60kg

Blood Type: A

Home prefecture: Hokkaido. I was born in Sapporo. I also lived in Tokachi and Kushiro.

Current location: Tokyo (I moved there from Hokkaido in the year I turned 30)

Occupation: A 33 year old amateur idol

Hairstyle: I used to wear a wig, but now I mostly go for a messy style

Visual Acuity: Both eyes are around 1.5 without glasses

Characteristics: Nozakibento

Likes and Dislikes

Favourite food: Sliced senmai (boiled tripe), vegetables in general, meat in general (especially meat sashimi), seafood in general (especially octopus and oysters), anything cherry blossom flavoured, anything yuzu flavoured, rice, miso soup, soba, udon, niboshi ramen, yakuzen herbal soup, grated yam, tofu, shiokara, sushi, sashimi, seaweed, mochi, rice flour dumplings, wheat gluten cakes, keihan rice, oyster soy sauce, slow-boiled eggs, Indian curry from Tokachi, ice cream (especially citrus, mint chocolate, watermelon and vanilla flavours), hard gums, mini Ramune candy, agar jelly, almond tofu pudding, oroblanco

Least favourite food: None.

Favourite drinks: Tea in general, kale smoothie, scented but not sweetened sparkling water, vegetable juice, tomato juice, soba water, miso soup, dashi, non-alcoholic beer, ginger ale, black coffee

Favourite alcoholic drinks: Campari-based cocktails (especially Spumoni), Violet Fizz

Favourite animals: Daring crabs, spotted garden eels, owls, sea urchins when they eat cabbage

My type: Someone with a big heart, who isn't rude and doesn't complain all the time. Decisive, speaks logically and is a fast worker

Favourite scents: Bergamot, yuzu, oroblanco, lemongrass, lemon and lime, eucalyptus, vanilla, incense, hinoki cypress, the smell of hot springs, medicinal water, struck matches

Favourite sports: Table tennis, endurance running, non-competitive swimming, walking

Favourite instruments: When I listen to bands, I tend to focus on the drums, bass and keyboard. If I go to see a symphonic orchestral concert or something, I tend to watch the percussionists. I myself can't play any instruments.

Hobbies: Gaming, listening to game soundtracks, table tennis, reading, darts, being enveloped in aromas, checking my daily electricity bill using a bill management app

Special skills: Ability to work as a librarian, can sing The Tortoise And The Hare starting from different positions, a little bit of competitive eating (can eat up to about 2kg)

Qualifications: Librarian, teacher's licence (for primary, middle and high schools), certified member of the Sports Boy Scouts (link in Japanese), Kanji Aptitude Test Level 2, driving licence (for manual cars)

Person I most respect: My mother

Favourite subjects: Japanese (especially modern Japanese), contemporary society, ethics, politics and economics

Favourite season: The shade in midsummer

Favourite phrases: 

80% Preparation 20% Performance (dandori hachibu)

The early bird gets the worm (sente hisshou)

Niche business (sukima sangyou)

Information, Communication, Discussion (houkoku renraku soudan)

Easier said than done (iu wa yasuku okonau wa katashi)

Haste makes waste (tanki wa sonki)

Drink if you want, but be swallowed up (sake wa nondemo nomareru na)

The frog in the well knows nothing of the great ocean (i no naka no kawazu taikai wo shirazu)

A picture is worth a thousand words (hyakubun wa ikken ni shikazu)

Stress-free

Favourite Japanese poem:

'If I live long,

I may look back with yearning for these painful days -

The world that now seems harsh

May then appear sweet and good!'

By Fujiwara no Kiyosuke, translation by Peter McMillan

Favourite place to hang out: Inside a game

Favourite characters: Domo-kun (NHK), Moji-kun (Kotoba no Puzzle: Mojipittan), Zushi Hokki (official mascot of Hokuto city in Hokkaido), Jack Frost (Megami Tensei series), Morgana (Persona 5)

Favourite anime: Eureka Seven

Favourite manga: Love Roma by Toyoda Minoru

I Wonder If I Can Make 100 Friends by Toyoda Minoru

Yoake no Toshokan by Nonou Tao

Other manga I like: Nangoku Shounen Papuwa-kun, PAPUWA, Final Request, Yu☆Yu☆Hakusho, Revelations: Persona, Mind Assassin, Sayonara Zetsubou-Sensei, Arakawa Under The Bridge, Fushigi Yuugi, Ranma 1/2, Psychometrer EIJI, The Kindaichi Case Files, Rakudai Ninja Rantarou, Soul Hunter etc.

Favourite game: Devil Summoner: Soul Hackers

Other games I like: Shin Megami Tensei 1-4, Shin Megami Tensei 4 Final, Shin Megami Tensei if, Persona 1-5, Devil Summoner: Raidou Kuzunoha 1 and 2, DIGITAL DEVIL SAGA Avatar Tuner 1 and 2, Shin Megami Tensei: Devil Survivor 1 and 2,  Little Magic, Jake Hunter: Let Time Pass By, LIVE A LIVE, Final Fantasy 5 and 8, Fire Emblem: Shadow Dragon and the Blade of Light, Fire Emblem: Mystery of the Emblem, Secret of Mana, Trials of Mana, Schoolhouse Horror Story, Banshee's Last Cry, Jungle Wars 2, Ranma 1/2: Hidden Treasure of the Red Cat Gang, Renegade, The New Hot-Blooded Tough Guy: The Eulogy of Kunio and Co., Puyo Puyo, Puyo Puyo 2, Saga Frontier, Monster Farm, Monster Farm 2, KOF98, SAMURAI SPIRITS, vib-ribbon, Clock Tower 2, Clock Tower Ghost Head, Maria: Kimitachi Ga Umareta Wake, Double Cast, Sakura Wars 2: Thou Shalt Not Die, Kotoba no Puzzle: Mojipittan, RPG Maker Series, etc. As for social network games, I like Kuroneko no Wiz Dx2 Shin Megami Tensei Revelation, and Ensemble Stars!

What I most want right now: Time

Do I smoke? Never. But I have nothing against those who do. I don't mind if someone smokes next to me.

Things I struggle with: Exercise, exercise, exercise, exercise, English, mental arithmetic, making other people cross.

What I like about myself: Large earlobes

What I don't like about myself: The fact that I easily neglect my work if I lose focus.

Do I like nurses? I like them if they're good at giving injections.

Favourite way of heating things up in a microwave: 2 minutes at 500W

Ideal way to spend a day off: Sleep like I've melted into the bed, do the cleaning and laundry when I wake up, play games like I'm bathing in them, sleep again.

Novels I’m glad to have read and why: There's a lot, so I'll just list what I can remember off the top of my head.

★ Criss Cross - Konton no Maou by Takahata Kyouichirou, published by MediaWorks. This was the very first book that made me interested in reading novels.

★ Natsu no Niwa - The Friends by Yumoto Kazumi, published by Shinchousha. When I felt down, I read this and my heart was cleansed.

★ Rirekisho by Nakamura Kou, published by Kawade Shobou Shinsha. Because it gave me courage.

★ Tsubasa wa Itsu Made Mo by Kawakami Ken'ichi, published by Shuueisha. I simply thought that it was a really good book, and reading it made me want to read more books like it in the future.

★ Tsumetai Kousha no Toki wa Tomaru by Tsujimura Mizuki, published by Kodansha. This was the book that reminded me that I wanted to keep reading novels forever.

NicoNicoDouga and Dance covers

When did you start using NicoNico? 2007, in the earliest days of the RC version.

What kind of videos do you watch on NicoNico? Anything.

Were you learning how to dance? I've never learnt how to dance.

Why did you start dancing? I wanted to take part in the first large-scale Cirno meeting. (T/N: An event where a whole bunch of people from NND get together to dance to Cirno's Perfect Math Class. Here's the 2009 version.)

What's the average production time for a single video? It varies.

What's been the most fun thing to dance to so far? Ren'ai Hunter

Which of your own dance videos are you most satisfied with? Domo-kun's dance to MERRY GO ROUND

Where you happy to be chosen in the Geiran videos (A series where a gay man ranked dancers on NND)? I was.

Which version is your current Domo-kun?

Hokkaido and Tokyo version: Tiramisu (Original version. Mainly stays at home. On active duty)

Osaka version: Chocolat (Retired)

Fukuoka version: Fondue (Retired)

Tokyo version: Belgium (Retired)

Tokyo version: Demel (Retired)

What kind of expressions do you make and what feelings do you have when dancing as Domo-kun or in the blue full bodysuit? None

What would happen to you if you drank a strange potion? I'd become aggressive.

Aren't you going to wear a wig anymore? I'd like to wear one again some time soon.

Other

Were you in any clubs during middle school? I was in the table tennis club for all 3 years. My high school club is a secret.

Do you have a girlfriend? It'd be annoying to have to update this page if I got a girlfriend or if we broke up so that's also a secret.

What are your dreams and goals? To make the people I love happy. I want to live in a way that I can look back when I die and think that I lived a good life.

What are your habits? Looking at the ingredients and nutrition facts labels on food. Looking at the ingredients labels on shampoo. Moving around unsteadily. Clicking my tongue without any thought behind it.

What are your typical phrases? Okay (ii yo), I see (naruhodo), Why?! (nande dayo), hahahaha, hah hah hah hah, HAHAHAHA

What are your main principles? To always live calmly, and to never miss an opportunity

Does your Roomba have a name? It's called Junpei.

When did you first meet Domo-kun? A friend gave me a Domo-kun plushie for my birthday and the rest is history.

What was it that drew you to Domo-kun? His loveliness.

Where did you get such a large number of plushies from? Some of them I bought, some of them I received. A few of them I got from a crane machine.

What do you want to do right now? Sleep.

What part time jobs have you done in your life? Waiter at a sushi restaurant, library work, private tutoring.

If you have a child in the future, what book would you absolutely want them to read? You Are Umasou by Miyanishi Tatsuya, published by Poplar

Do you have any rivals? No (because no-one will compete in the same ring as me).

What's your image of the ideal human? Someone who can do fundamental things reliably.

What's your motto? Stress-free

What's the reason for your name?

Nozaki → Named after Nozaki Megumi from the idol group CHECKICCO

Bento → My inspiration

 -------------

First published 16th October 2010, updated 1st December 2019

[awesome-ace18-blog]

My Personal Ad

Name: AcePreferred

Titles: Ace (Daddy once we make a connection and if its going places)

Description of Me: 33 UK experineced straight Daddy dom, blue eyes, brown hair, 5'8 med build with a cute smile.I like sailing, swimming, gym, shopping, technology, day trips, picincs.I live in the UK,

I live practically next to a huge mall, with a varied amount of coffee shops, store and a Cinema. I’ve lived in this part of england for 26 years, also a very short ride away 55-hectare Wildlife park which has baboons, wolfs, cheetahs, meerkats, to name but a few.

My favourite NFL (US football) teams are The Seattle Seahawks and The New England Patriots. I used to sail locally and have done competition sailing in the past. I love spending time in the wilderness with awesome caves and climbing adventures to be had, some of my favourite places are right here in the United Kingdom, about an hour from my home town, hidden up in the welsh countryside and valleys,

I guess I love the freedom, exploration and being away from the hum and bustle of busy life.One of my favourite outings is Escape Room, an interactive and intuitive real-life escape game. You are locked in a room with a group of 2 to 6 people, participants have 60 minutes to solve challenging puzzles to escape the room. http://www.theescaperoom.co.uk/

I am a huge theme park coaster enthusiast and some of the best are in America. Playing Lego is so cool, because you don’t have to follow the directions to create amazing things.I play a varied amount of video games; I prefer to play on PC. I have a few different consoles as well,

I like playing RPG’s and FPS type games. I also love board games and can be found at my local comic shop playing games weekly, some of my favourites would be Quartermaster General, Star Realms, Istanbul, GMT/Coin Games,

I also go to four events a year, where we get together at a hotel and have a weekend of gaming.Reading wise, I very much enjoy Sci-fi, Lord of The Rings, Harry Potter, The Hobbit, A Song of Ice and Fire and other G R R Martin books. My favourite museum would have to be the science museum, there is just so much cool stuff. I also love the transport museum. In terms of theatre, it has to be musicals, most recent and notably, “Sister Act.”Musically, I like Simon and Garfunkel, Dolly Parton, Charlie Puth and various others.

I have an eclectic musical taste. I very much like country. One of my favourite bands is “Gloriana.”I sing a lot of Disney songs as they get stuck in my head when watching Disney films. You never know, I might just break into “A Whole New World”I hope you are hungry! I cook from scratch spaghetti Bolognese with homemade sauces, Sunday Dinner. I bake pies, cakes, deserts, treats and bread. I am a fan of steak-house restaurants with a good grill selection.

Not really a foodie, but I do enjoy a good feast.I’ve travelled both Europe and the US, I do wish to travel the Asian countries, visit Russia and many other places. I don’t have animals, but I do like Huskies and cats.Thanks for spending some quality time with me. I can’t wait to hear from you. Let’s get this DDlg fantasy started. Partner Preferences:About you, My Precious Little:“In you,

I seek a lovely, cute princess, who is always trying her hardest and likes to remind daddy how special he is. Just know that Daddy is proud of you and that Daddy knows how valuable you are and never doubts your ability to grow.”You need to be 18+ with a little age between 3 to 10 years oldI’m looking for a companion, someone with her own life, with a strong personality, yet also able to make the compromises that life sometimes requires. who is able to laugh at herself.

No smokers, please. She is worthy, deserving, grateful, responsible… I’m looking for that one special little who shares my respect for honesty, openness, and the need for communication.You are my little Space champion, enjoying cuddles, relaxing on Daddy’s lap, snuggling up and watching your favourite Disney Movie or your choice of movie or TV show, reading you a nice bedtime story and making sure you are ready for bed and tucked in.

We can play in the garden with bubbles, swim in the pool, take a day trip to the zoo, Where I can teach you about the animals, perhaps will take pictures, eat ice cream and maybe a happy meal. An outing to “Build a Bear” for a nice new stuffy chosen with love. A walk to the park and a play on the swings, slide, perhaps even a day at the beach with some arcade to play on the games machines or even just a nice walk along the river.

You will get spoiled with nice long relaxing coloured and sweet smelling bubble baths while listening to your favourite Disney tunes, with coloured lights to give a relaxing experience. I adore bathing, washing your hair, wrapping you in a nice warm fluffy towel and drying you before dressing you in a pretty fun outfit or pj’s. Perhaps even daddy will help you decide what to wear if you’re stuck.

I do have a few rules which are fairly important and can be customized to my little,-You must eat at least 1 (preferably 2) good/healthy meals a day, and I may ask for pictorial proof-You must send me a message in the mornings when you wake, whenever you go somewhere (So I know you get from A-B safely) and when you go to sleep, if I haven’t put you to bed-Bedtimes are enforced and checked upon

I will allow occasional stay up late for special events-You have to do your chores for sweets and rewardsIt doesn’t matter if you suffer from any form off mental illness, as Daddy is happy to work with you, overcome any challenges and help you become the best damn little you possibly can.

[tumblunni]

Hey! random ask time! Did anyone ever have a fun name for leftovers in your family? Like, yknow, the sort of nebulous undefined stew that you make with whatever ingredients are left over, and just hope on the 50/50 chance it won’t taste awful. My family wasn’t really very.. umm... “close”, to put it lightly. So we didn’t have a fun name for it. I wanna try and find a name cos I thought it could be a good item to include in an rpg of mine, like this is the failure result of a cookery minigame or something! I’ve been playing Rune Factory 4 and I liked how Failed Dishes actually have some use, they cast proportional 50% poison damage so they can be the best way to damage enemies that’re really high leveled. I think the idea of failed dishes being like loot boxes with a small chance of good stuff would be neat! Tiny chance of getting an even better result than if you’d succeeded at cooking!

I dunno why but I always personally called it scrummage/scrimmage, and I legit thought that was the official word for it?? I can’t even remember if I picked it up from my grandma before she died or if I just made it up someday or something. But apparantly the actual definition of the word is ‘a rugby tackle and/or a general fight or quarrel’. Huh! Well i guess i can see where the association came from, at least?? Other cool ones I’ve seen across the internet while searching: stone soup, pocket soup, army soup, garbage plate, [insert day here] surprise, pail ale (the cocktail version), slop, girl scout survival omelette, slumgullion And apparantly Bubble And Squeak started off as one of these, but nowadays its got more of a concrete definition as a national speciality. Its sort of a mashed potato and vegetable pancake I guess? I just know I’ve never tried it, thats how divorced it is from the original context. Now its a thing you only see in expensive tourist restaurants out in the country, and if you actually threw together all the mash after your christmas dinner you probably wouldnt call it that! I think I like ‘musgo’ best! (from ‘everything must go’)

Oh and my personal favourite that I’ve been eating a lot this week is the version where its hash browns and/or mashed potatos with everything thrown on. Less of a soup and more of a lump?? But seriously thats the best way to make minimalist shoddy food that’s not only cheap but actually tastes decent. Especially if you toss a tin of tuna on top! (or any other scrap meat/fish/protein) Also never underestimate the power of sauces! You can make even the pickiest kid eat anything as long as its mashed up enough and has the right sauce. Disguising the taste and texture is key to enduring the most terrible of stews! Sometimes it kinda only works if someone else makes it though, I still cant eat something if I know peas are in it, even if I cant taste them :P

[ciathyzareposts]

Darklands

Darklands may well have been the most original single CRPG of the 1990s, but its box art was planted firmly in the tacky CRPG tradition. I’m not sure that anyone in Medieval Germany really looked much like these two…

Throughout the 1980s and well into the 1990s, the genres of the adventure game and the CRPG tended to blend together, in magazine columns as well as in the minds of ordinary gamers. I thus considered it an early point of order for this history project to attempt to identify the precise differences between the genres. Rather than addressing typical surface attributes — a CRPG, many a gamer has said over the years, is an adventure game where you also have to kill monsters — I tried to peek under the hood and identify what really makes the two genres tick. At bottom, I decided, the difference was one of design philosophy. The adventure game focuses on set-piece, handcrafted puzzles and other unique interactions, simulating the world that houses them only to the degree that is absolutely necessary. (This latter is especially true of the point-and-click graphic adventures that came to dominate the field after the 1980s; indeed, throughout gaming history, the trend in adventure games has been to become less rather than more ambitious in terms of simulation.) The CRPG, meanwhile, goes in much more for simulation, to a large degree replacing set-piece behaviors with systems of rules which give scope for truly emergent experiences that were never hard-coded into the design.

Another clear difference between the two genres, however, is in the scope of their fictions’ ambitions. Since the earliest days of Crowther and Woods and Scott Adams, adventure games have roamed widely across the spectrum of storytelling; Infocom alone during the 1980s hit on most of the viable modern literary genres, from the obvious (fantasy, science fiction) to the slightly less obvious (mysteries, thrillers) to the downright surprising (romance novels, social satires). CRPGs, on the other hand, have been plowing more or less the same small plot of fictional territory for decades. How many times now have groups of stalwart men and ladies set forth to conquer the evil wizard? While we do get the occasional foray into science fiction — usually awkwardly hammered into a frame of gameplay conventions more naturally suited to heroic fantasy — it’s for the most part been J.R.R. Tolkien and Dungeons & Dragons, over and over and over again.

This seeming lack of adventurousness (excuse the pun!) among CRPG designers raises some interesting questions. Can the simulation-oriented approach only be made to work within a strictly circumscribed subset of possible virtual worlds? Or is the lack of variety in CRPGs down to a simple lack of trying? An affirmative case for the latter question might be made by Origin Systems’s two rather wonderful Worlds of Ultima games of the early 1990s, which retained the game engine from the more traditional fantasy CRPG Ultima VI but moved it into settings inspired by the classic adventure tales of Arthur Conan Doyle and H.G. Wells. Sadly, though, Origin’s customers seemed not to know what to make of Ultima games not taking place in a Renaissance Faire world, and both were dismal commercial failures — thus providing CRPG makers with a strong external motivation to stick with high fantasy, whatever the abstract limits of the applicability of the CRPG formula to fiction might be.

Our subject for today — Darklands, the only CRPG ever released by MicroProse Software — might be described as the rebuttal to the case made by the Worlds of Ultima games, in that its failings point to some of the intrinsic limits of the simulation-oriented approach. Then again, maybe not; today, perhaps even more so than when it was new, this is a game with a hardcore fan base who love it with a passion, even as other players, like the one who happens to be writing this article, see it as rather collapsing under the weight of its ambition and complexity. Whatever your final verdict on it, it’s undeniable that Darklands is overflowing with original ideas for a genre which, even by the game’s release year of 1992, had long since settled into a set of established expectations. By upending so many of them, it became one of the most intriguing CRPGs ever made.

Darklands was the brainchild of Arnold Hendrick, a veteran board-game, wargame, tabletop-RPG, and console-videogame designer who joined MicroProse in 1985, when it was still known strictly as a maker of military simulations. As the first MicroProse employee hired only for a design role — he had no programming or other technical experience whatsoever — he began to place his stamp on the company’s products immediately. It was Hendrick who first had the germ of an idea that Sid Meier, MicroProse’s star programmer/designer, turned into Pirates!, the first MicroProse game to depart notably from the company’s established formula. In addition to Pirates!, for which he continued to serve as a scenario designer and historical consultant even after turning the lead-designer reins over to Meier, Hendrick worked on other games whose feet were more firmly planted in MicroProse’s wheelhouse: titles like Gunship, Project Stealth Fighter, Red Storm Rising, M1 Tank Platoon, and Silent Service II.

“Wild” Bill Stealey, the flamboyant head of MicroProse, had no interest whatsoever in any game that wasn’t a military flight simulator. Still, he liked making money even more than he liked flying virtual aircraft, and by 1990 he wasn’t sure how much more he could grow his company if it continued to make almost nothing but military simulations and the occasional strategic wargame. Meanwhile he had Pirates! and Railroad Tycoon, the latter being Sid Meier’s latest departure from military games, to look at as examples of how successful non-traditional MicroProse games could be. Not knowing enough about other game genres to know what else might be a good bet for his company, he threw the question up to his creative and technical staff: “Okay, programmers, give me what you want to do, and tell me how much money you want to spend. We’ll find a way to sell it.”

And so Hendrick came forward with a proposal to make a CRPG called Darklands, to be set in the Germany of the 15th century, a time and place of dark forests and musty monasteries, Walpurgis Night and witch covens. It could become, Hendrick said, the first of a whole new series of historical CRPGs that, even as they provided MicroProse with an entrée into one of the most popular genres out there, would also leverage their reputation for making games with roots in the real world.

The typical CRPG, then as now, took place in a version of Medieval times that had only ever existed in the imagination of a modern person raised on Tolkien and Dungeons & Dragons. It ignored how appallingly miserable and dull life was for the vast majority of people who lived through the historical reality of the Middle Ages, with its plagues, wars, filth, hard labor, and nearly universal illiteracy. Although he was a dedicated student of history, with a university degree in the field, Hendrick too was smart enough to realize that there wasn’t much of a game to be had by hewing overly close to this mundane historical reality. But what if, instead of portraying a Medieval world as his own contemporaries liked to imagine it to have been, he conjured up the world of the Middle Ages as the people who had lived in it had imagined it to be? God and his many saints would take an active role in everyday affairs, monsters and devils would roam the forests, alchemy would really work, and those suspicious-looking folks who lived in the next village really would be enacting unspeakable rituals in the name of Satan every night. “This is an era before logic or science,” Hendrick wrote, “a time when anything is possible. In short, if Medieval Germans believed something to be true, in Darklands it might actually be true.”

He wanted to incorporate an interwoven tapestry of Medieval imagination and reality into Darklands: a magic system based on Medieval theories about alchemy; a pantheon of real saints to pray to, each able to grant her own special favors; a complete, lovingly detailed map of 15th-century Germany and lands adjacent, over which you could wander at will; hundreds of little textual vignettes oozing with the flavor of the Middle Ages. To make it all go, he devised a set of systems the likes of which had never been seen in a CRPG, beginning with a real-time combat engine that let you pause it at any time to issue orders; its degree of simulation would be so deep that it would include penetration values for various weapons against various materials (thus ensuring that a vagabond with rusty knife could never, ever kill a full-fledged knight in shining armor). The character-creation system would be so detailed as to practically become a little game in itself, asking you not so much to roll up each character as live out the life story that brought her to this point: bloodline, occupations, education (such as it was for most in the Middles Ages), etc.

Character creation in Darklands is really, really complicated. And throughout the game, the spidery font superimposed on brown-sauce backgrounds will make your eyes bleed.

All told, it was one heck of a proposition for a company that had never made a CRPG before. Had Stealey been interested enough in CRPGs to realize just how unique the idea was, he might have realized as well how doubtful its commercial prospects were in a market that seemed to have little appetite for any CRPG that didn’t hew more or less slavishly to the Dungeons & Dragons archetype. But Stealey didn’t realize, and so Darklands got the green light in mid-1990. What followed was a tortuous odyssey; it became the most protracted and expensive development project MicroProse had ever funded.

We’ve seen in some of my other recent articles how companies like Sierra and Origin, taking stocking of escalating complexity in gameplay and audiovisuals and their inevitable companion of escalating budgets, began to systematize the process of game development around this time. And we’ve at least glimpsed as well how such systematization could be a double-edged sword, leading to creatively unsatisfied team members and final products with something of a cookie-cutter feel.

MicroProse, suffice to say, didn’t go that route. Stealey took a hands-off approach to all projects apart from his beloved flight simulators, allowing his people to freelance their way through them. For all the drawbacks of rigid hierarchies and strict methodologies, the Darklands project could have used an injection of exactly those things. It was plagued by poor communication and outright confusion from beginning to end, as Arnold Hendrick and his colleagues improvised like mad in the process of making a game that was like nothing any of them had ever tried to make before.

Hendrick today forthrightly acknowledges that his own performance as project leader was “terrible.” Too often, the right hand didn’t know what the left was doing. An example cited by Hendrik involves Jim Synoski, the team’s first and most important programmer. For some months at the beginning of the project, he believed he was making essentially a real-time fighting game; while that was in fact some of what Darklands was about, it was far from the sum total of the experience. Once made aware at last that his combat code would need to interact with many other modules, he managed to hack the whole mess together, but it certainly wasn’t pretty. It seems there wasn’t so much as a design document for the team to work from — just a bunch of ideas in Hendrick’s head, imperfectly conveyed to everyone else.

The first advertisement for Darklands appeared in the March 1991 issue of Computer Gaming World. The actual product wouldn’t materialize until eighteen months later.

It’s small wonder, then, that Darklands went so awesomely over time and over budget; the fact that MicroProse never cancelled it likely owes as much to the sunk-cost fallacy as anything else. Hendrick claims that the game cost as much as $3 million to make in the end — a flabbergasting number that, if correct, would easily give it the crown of most expensive computer game ever made at the time of its release. Indeed, even a $2 million price tag, the figure typically cited by Stealey, would also qualify it for that honor. (By way of perspective, consider that Origin Systems’s epic CRPG Ultima VII shipped the same year as Darklands with an estimated price tag of $1 million.)

All of this was happening at the worst possible time for MicroProse. Another of Stealey’s efforts to expand the company’s market share had been an ill-advised standup-arcade version of F-15 Strike Eagle, MicroProse’s first big hit. The result, full of expensive state-of-the-art graphics hardware, was far too complex for the quarter-eater market; it flopped dismally, costing MicroProse a bundle. Even as that investment was going up in smoke, Stealey, acting again purely on the basis of his creative staff’s fondest wishes, agreed to challenge the likes of Sierra by making a line of point-and-click graphic adventures. Those products too would go dramatically over time and over budget.

Stealey tried to finance these latest products by floating an initial public offering in October of 1991. By June of 1992, on the heels of an announcement that not just Darklands but three other major releases as well would not be released that quarter — more fruit of Stealey’s laissez-faire philosophy of game development — the stock tumbled to almost 25 percent below its initial price. A stench of doom was beginning to surround the company, despite such recent successes as Civilization.

Games, like most creative productions, generally mirror the circumstances of their creation. This fact doesn’t bode well for Darklands, a project which started in chaos and ended, two years later, in a panicked save-the-company scramble.

Pirates!

Darklands

If you squint hard enough at Darklands, you can see its roots in Pirates!, the first classic Arnold Hendrick helped to create at MicroProse. As in that game, Darklands juxtaposes menu-driven in-town activities, written in an embodied narrative style, with more free-form wanderings over the territories that lie between the towns. But, in place of the straightforward menu of six choices in Pirates!, your time in the towns of Darklands becomes a veritable maze of twisty little passages; you start the game in an inn, but from there can visit a side street or a main street, which in turn can lead you to the wharves or the market, dark alleys or a park, all with yet more things to see and do. Because all of these options are constantly looping back upon one another — it’s seldom clear if the side street from this menu is the same side street you just visited from that other menu — just trying to buy some gear for your party can be a baffling undertaking for the beginner.

Thus, in spite of the superficial interface similarities, we see two radically opposing approaches to game design in Pirates! and Darklands. The older game emphasizes simplicity and accessibility, being only as complex as it needs to be to support the fictional experience it wants to deliver. But Darklands, for its part, piles on layer after layer of baroque detail with gleeful abandon. One might say that here the complexity is the challenge; learning to play the entirety of Darklands at all requires at least as much time and effort as getting really, truly good at a game like Pirates!.

The design dialog we see taking place here has been with us for a long time. Dave Arneson and Gary Gygax, the co-creators of the first incarnation of tabletop Dungeons & Dragons, parted ways not long afterward thanks largely to a philosophical disagreement about how their creation should evolve. Arneson saw the game as a fairly minimalist framework to enable a shared storytelling session, while Gygax saw it as something more akin to the complex wargames on which he’d cut his teeth. Gygax, who would go on to write hundreds of pages of fiddly rules for Advanced Dungeons & Dragons, his magnum opus, was happily cataloging and quantifying every variant of pole arm used in Medieval times when an exasperated Arneson finally lost his cool: “It’s a pointy thing on the end of a stick!” Your appreciation for Darklands must hinge on whether you are a Gary Gygax or a Dave Arneson in spirit. I know to which camp I belong; while there is a subset of gamers who truly enjoy Darkland‘s type of complexity — and more power to them for it — I must confess that I’m not among them.

In an interview conducted many years after the release of Darklands, Arnold Hendrick himself put his finger on what I consider to be its core problem: “Back then, game systems were often overly complicated, and attention to gameplay was often woefully lacking. These days, there’s a much better balance between gameplay and the human psychology of game players and the game systems underlying that gameplay.” Simply put, there are an awful lot of ideas in Darklands which foster complexity, but don’t foster what ought to be the ultimate arbitrator in game design: Fun. Modern designers often talk about an elusive sense of “flow” — a sense by the player that all of a game’s parts merge into a harmonious whole which makes playing for hours on end all too tempting. For this player at least, Darklands is the polar opposite of this ideal. Not only is it about as off-putting a game as I’ve ever seen at initial startup, but it continues always, even after a certain understanding has become to dawn, to be a game of disparate parts: a character-generation game, a combat game, a Choose Your Own Adventure-style narrative, a game of alchemical crafting. There are enough original ideas here for ten games, but it never becomes clear why they absolutely, positively all need to be in this one. Darklands, in other words, is kind of a muddle.

Your motivation for adventuring in Medieval Germany in the first place is one of Darklands‘s original ideas in CRPG design. Drawing once again comparisons to Pirates!, Darklands dispenses with any sort of overarching plot as a motivating force. Instead, like your intrepid corsair of the earlier game, your party of four has decided simply “to bring everlasting honor and glory to your names.” If you play for long enough, something of a larger plot will eventually begin to emerge, involving a Satan-worshiping cult and a citadel dedicated to the demon Baphomet, but even after rooting out the cult and destroying the citadel the game doesn’t end.

In place of an overarching plot, Darklands relies on incidents and anecdotes, from a wandering knight challenging you to a dual to a sinkhole that swallows up half your party. While these are the products of a human writer (presumably Arnold Hendrick for the most part), their placements in the world are randomized. To improve your party’s reputation and earn money, you undertake a variety of quests of the “take item A to person B” or “go kill monster C” variety. All of this too is procedurally generated. Indeed, you begin a new game of Darklands by choosing the menu option “Create a New World.” Although the geography of Medieval Germany won’t change from game to game, most of what you’ll find in and around the towns is unique to your particular created world. It all adds up to a game that could literally, as MicroProse’s marketers didn’t hesitate to declare, go on forever.

But, as all too commonly happens with these things, it’s a little less compelling in practice than it sounds in theory. I’ve gone on record a number of times now with my practical objections to generative narratives. Darklands too often falls prey to the problems that are so typical of the approach. The quests you pick up, lacking as they do any larger relationship to a plot or to the world, are the very definition of FedEx quests, bereft of any interest beyond the reputation and money they earn for you. And, while it can sometimes surprise you with an unexpectedly appropriate and evocative textual vignette, the game more commonly hews to the predictable here as well. Worse, it has a dismaying tendency to show you the same multiple-choice vignettes again and again, pulling you right out of the fiction.

And yet the vignettes are actually the most narratively interesting parts of the game; it will be some time before you begin to see them at all. As in so many other vintage CRPGs, the bulk of your time at the beginning of Darklands is spent doing boring things in the name of earning the right to eventually do less boring things. In this case, you’ll likely have to spend several hours roaming the vacant back streets of whatever town you happen to begin in, seeking out and killing anonymous bands of robbers, just to build up your party enough to leave the starting town.

The open-ended structure works for Pirates! because that game dispenses with this puritanical philosophy of design. It manages to be great fun from the first instant by keeping the pace fast and the details minimal, even as it puts a definite time limit on your career, thus tempting you to play again and again in order to improve on your best final score. Darklands, by contrast, doesn’t necessarily end even when your party is too old to adventure anymore (aging becomes a factor after about age thirty); you can just make new characters and continue where the old ones left off, in the same world with the same equipment, quests, and reputation. Darklands, then, ends only when you get tired of it. Just when that exact point arrives will doubtless differ markedly from player to player, but it’s guaranteed to be anticlimactic.

The ostensible point of Darklands‘s enormously complex systems of character creation, alchemy, religion, and combat is to evoke its chosen time and place as richly as possible. One might even say the same about its lack of an overarching epic plot; such a thing doesn’t exist in the books of history and legend to which the game is so determined to be so faithful. Yet I can’t help but feel that this approach — that of trying to convey the sense of a time and place through sheer detail — is fundamentally misguided. Michael Bate, a designer of several games for Accolade during the 1980s, coined the term “aesthetic simulations” for historical games that try to capture the spirit of their subject matter rather than every piddling detail. Pirates! is, yet again, a fine example of this approach, as is the graceful, period-infused but not period-heavy-handed writing of the 1992 adventure game The Lost Files of Sherlock Holmes.

The writing in Darklands falls somewhat below that standard. It isn’t terrible, but it is a bit graceless, trying to make up for in concrete detail what it isn’t quite able to conjure in atmosphere. So, we get money that is laboriously explicated in terms of individual pfenniges, groschen, and florins, times of day described in terms that a Medieval monk would understand (Matins, Latins, Prime, etc.), and lots of off-putting-to-native-English-speakers German names, but little real sense of being in Medieval Germany.

Graphically as well, the game is… challenged. Having devoted most of their development efforts to 3D vehicular simulators during the 1980s, MicroProse’s art department plainly struggled to adapt to the demands of other genres. Even an unimpeachable classic like Sid Meier’s Civilization achieves its classic status despite rather than because of its art; visually, it’s a little garish compared to what other studios were putting out by this time. But Darklands is much more of a visual disaster, a conflicting mishmash of styles that sometimes manage to look okay in isolation, such as in the watercolor-style backgrounds to many of the textual vignettes. Just as often, though, it verges on the hideous; the opening movie is so absurdly amateurish that, according to industry legend, some people actually returned the game after seeing it, thinking they must have gotten a defective disk or had an incompatible video card.

One of Darklands‘s more evocative vignettes, with one of its better illustrations as a backdrop. Unfortunately, you’re likely to see this same vignette and illustration several times, with a decided sense of diminishing returns.

But undoubtedly the game’s biggest single problem, at the time of its release and to some extent still today, was all of the bugs. Even by the standards of an industry at large which was clearly struggling to come to terms with the process of making far more elaborate games than had been seen in the previous decade, Darklands stood out upon its belated release in August of 1992 for its woefully under-baked state. Whether this was despite or because of its extended development cycle remains a question for debate. What isn’t debatable, however, is that it was literally impossible to complete Darklands in its initial released state, and that, even more damningly, a financially pressured MicroProse knew this and released it anyway. To their credit, the Darklands team kept trying to fix the game after its release, with patch after patch to its rickety code base. The patches eventually numbered at least nine in all, a huge quantity for long-suffering gamers to acquire at a time when they could only be distributed on physical floppy disks or via pricey commercial online services like CompuServe. After about a year, the team managed to get the game into a state where it only occasionally did flaky things, although even today it remains far from completely bug-free.

By the time the game reached this reasonably stable state, however, the damage had been done. It sold fairly well in its first month or two, but then came a slew of negative reviews and an avalanche of returns that actually exceeded new sales for some time; Darklands thus managed the neat trick of continuing to be a drain on MicroProse’s precarious day-to-day finances even after it had finally been released. Hendrick had once imagined a whole line of similar historical CRPGs; needless to say, that didn’t happen.

Combined with the only slightly less disastrous failure of the new point-and-click graphic-adventure line, Darklands was directly responsible for the end of MicroProse as an independent entity. In December of 1993, with the company’s stock now at well under half of its IPO price and the creditors clamoring, a venture-capital firm arranged a deal whereby MicroProse was acquired by Spectrum Holobyte, known virtually exclusively for a truly odd pairing of products: the home-computer version of the casual game Tetris and the ultra-hardcore flight simulator Falcon. The topsy-turvy world of corporate finance being what it was, this happened despite the fact that MicroProse’s total annual sales were still several times that of Spectrum Holobyte.

Stealey, finding life unpleasant in a merged company where he was no longer top dog, quit six months later. His evaluation of the reasons for MicroProse’s collapse was incisive enough in its fashion:

You have to be known for something. We were known for two things [military simulators and grand-strategy games], but we tried to do more. I think that was a big mistake. I should have been smarter than that. I should have stuck with what we were good at.

I’ve been pretty hard on Darklands in this article, a stance for which I don’t quite feel a need to apologize; I consider it a part of my duty as your humble scribe to call ’em like I see ’em. Yet there is far more to Darklands‘s legacy than a disappointing game which bankrupted a company. Given how rare its spirit of innovation has been in CRPG design, plenty of players in the years since its commercial vanishing performance have been willing to cut it a lot of slack, to work hard to enjoy it on its own terms. For reasons I’ve described at some length now, I can’t manage to join this group, but neither can I begrudge them their passion.

But then, Darklands has been polarizing its players from the very beginning. Shortly after the game’s release, Scorpia, Computer Gaming World magazine’s famously opinionated adventure-game columnist, wrote a notably harsh review of it, concluding that it “might have been one of the great ones” but instead “turns out to be a game more to be avoided than anything else.” Johnny L. Wilson, the magazine’s editor-in-chief, was so bothered by her verdict that he took the unusual step of publishing a sidebar response of his own. It became something of a template for future Darklands apologies by acknowledging the game’s obvious flaws yet insisting that its sheer uniqueness nevertheless made it worthwhile. (“The game is as repetitive as Scorpia and some of the game’s online critics have noted. One comes across some of the same encounters over and over. Yet only occasionally did I find this disconcerting.”) He noted as well that he personally hadn’t seen many of the bugs and random crashes which Scorpia had described in her review. Perhaps, he mused, his computer was just an “immaculate contraption” — or perhaps Scorpia’s was the opposite. In response to the sidebar, Wilson was castigated by his magazine’s readership, who apparently agreed with Scorpia much more than with him and considered him to have undermined his own acknowledged reviewer.

The reader response wasn’t the only interesting postscript to this episode. Wilson:

Later, after 72 hours of playing around with minor quests and avoiding the main plot line of Darklands, I decided it was time to finish the game. I had seven complete system crashes in less than an hour and a half once I decided to jump in and finish the game. I didn’t really have an immaculate contraption, I just hadn’t encountered the worst crashes because I hadn’t filled my upper memory with the system-critical details of the endgame. Scorpia hadn’t overreacted to the crashes. I just hadn’t seen how bad it was because I was fooling around with the game instead of trying to win. Since most players would be trying to win, Scorpia’s review was more valid than my sidebar. Ah, well, that probably isn’t the worst thing I’ve ever done when I thought I was being fair.

This anecdote reveals what may be a deciding factor — in addition to a tolerance for complexity for its own sake — as to whether one can enjoy Darklands or not. Wilson had been willing to simply inhabit its world, while the more goal-oriented Scorpia approached it as she would any other CRPG — i.e., as a game that she wanted to win. As a rather plot-focused, goal-oriented player myself, I naturally sympathize more with her point of view.

In the end, then, the question of where the point of failure lies in Darklands is one for the individual player to answer. Is Darklands as a whole a very specific sort of failure, a good idea that just wasn’t executed as well as it might have been? Or does the failure lie with the CRPG format itself, which this game stretched beyond the breaking point? Or does the real failure lie with the game’s first players, who weren’t willing to look past the bugs and other occasional infelicities to appreciate what could have been a whole new type of CRPG? I know where I stand, but my word is hardly the final one.

Given the game’s connection to the real world and its real cultures, so unusual to the CRPG genre, perhaps the most interesting question of all raised by Darklands is that of the appropriate limits of gamefication. A decade before Darklands‘s release, the Dungeons & Dragons tabletop RPG was embroiled in a controversy engendered by God-fearing parents who feared it to be an instrument of Satanic indoctrination. In actuality, the creators of the game had been wise enough to steer well clear of any living Western belief system. (The Deities & Demigods source book did include living native-American, Chinese, Indian, and Japanese religions, which raises some troublesome questions of its own about cultural appropriation and respect, but wasn’t quite the same thing as what the angry Christian contingent was complaining about.)

It’s ironic to note that much of the content which Evangelical Christians believed to be present in Dungeons & Dragons actually is present in Darklands, including the Christian God and Satan and worshipers of both. Had Darklands become successful enough to attract the attention of the same groups who objected so strongly to Dungeons & Dragons, there would have been hell to pay. Arnold Hendrick had lived through the earlier controversy from an uncomfortably close vantage point, having been a working member of the tabletop-game industry at the time it all went down. In his designer’s notes in Darklands‘s manual, he thus went to great pains to praise the modern “vigorous, healthy, and far more spiritual [Catholic] Church whose quiet role around the globe is more altruistic and beneficial than many imagine.” Likewise, he attempted to separate modern conceptions of Satanism and witchcraft from those of Medieval times. Still, the attempt to build a wall between the Christianity of the 15th century and that of today cannot be entirely successful; at the end of the day, we are dealing with the same religion, albeit in two very different historical contexts.

Opinions vary as to whether the universe in which we live is entirely mechanistic, reduceable to the interactions of concrete, understandable, computable physical laws. But it is clear that a computer simulation of a world must be exactly such a thing. In short, a simulation leaves no room for the ineffable. And yet Darklands chooses to grapple, to an extent unrivaled by almost any other game I’m aware of, with those parts of human culture that depend upon a belief in the ineffable. By bringing Christianity into its world, it goes to a place virtually no other game has dared approach. Its vending-machine saints reduce a religion — a real, living human faith — to a game mechanic. Is this okay? Or are there areas of the human experience which ought not to be turned into banal computer code? The answer must be in the eye — and perhaps the faith — of the beholder.

Darklands‘s real-time-with-pause combat system. The interface here is something of a disaster, and the visuals too leave much to be desired, but the core idea is sound.

After my lights, Darklands is more of a collection of bold ideas than a coherent game, more of an experiment in the limits of CRPG design than a classic example of same. Still, in a genre which is so often in thrall to the tried and true, its willingness to experiment can only be applauded.

For sometimes experiments yield rich rewards, as the most obvious historical legacy of this poor-selling, obscure, bug-ridden game testifies. Ray Muzyka and Greg Zeschuk, the joint CEOs of Bioware at the time that studio made the Baldur’s Gate series of CRPGs, have acknowledged lifting the real-time-with-pause combat systems in those huge-selling and much-loved games directly out of Darklands. Since the Baldur’s Gate series’s heyday around the turn of the millennium, dozens if not hundreds of other CRPGs have borrowed the same system second-hand from Bioware. Such is the way that innovation diffuses itself through the culture of game design. So, the next time you fire up a Steam-hosted extravaganza like Pillars of Eternity, know that part of the game you’re playing owes its existence to Darklands. Lumpy and imperfect though it is in so many ways, we could use more of its spirit of bold innovation today — in CRPG design and, indeed, across the entire landscape of interactive entertainment.

(Sources: the book Gamers at Work: Stories Behind the Games People Play by Morgan Ramsay; Computer Gaming World of March 1991, February 1992, May 1992, September 1992, December 1992, January 1993, and June 1994; Commodore Magazine of September 1987; Questbusters of November 1992; Compute! of October 1993; PC Zone of September 2001; Origin Systems’s internal newsletter Point of Origin of January 17 1992; New York Times of June 13 1993. Online sources include Matt Barton’s interview with Arnold Hendrick, Just Adventure‘s interview with Johnny L. Wilson, and Arnold Hendrick’s discussion of Darklands in the Steam forum.

Darklands is available for purchase on GOG.com.)

source http://reposts.ciathyza.com/darklands/

[symbianosgames]

The following blog post, unless otherwise noted, was written by a member of Gamasutra’s community. The thoughts and opinions expressed are those of the writer and not Gamasutra or its parent company.

We’ve all heard the question.

What’s your game about?

After all, that’s why you asked for the meeting in the first place, to be able to answer that question. But if you need to set up a laptop, queue up the dancing bears, or perform any other gyrations before you answer the question, then you already come off as unprepared. Don’t get me wrong, visual aids are important, but only after you have established a mindset where the potential buyer wants to see them. So, ideally, you are answering that question clearly and concisely in one minute or less, and thirty seconds is even better. You cannot get there without practicing with others and refining your message.

Try it right now, and time yourself. How did it sound to you? Pretty good? Now ask yourself the following question, since you are intimately familiar with your game and have likely been working on it for months, how much of your evaluation of your own pitch is biased because you can mentally fill in the gaps in your presentation?

Now go to someone, anyone, who knows nothing about your game and is also not pre-disposed to tell you what you want to hear, and do the same exercise. Typically, you will find that your presentation time will have doubled or tripled, because you have to give them more information to get that look of comprehension on their face. You will also, without them saying a word, recognize gaps or flaws in your presentation that you need to correct. Don’t worry, that is to be expected and part of the whole point of practicing.

Next, before going deeper into any of your follow-on material, ask them to recap to you what they understand about the game so far. This accomplishes two things. First it helps you determine how much of the message you want to convey is getting through. Second, their answers will naturally be even briefer and to the point than your presentation, and those answers will give you great clues about how to further tighten your messaging. You may even stumble upon the perfect one-line response to the question of what your game is about.

Lots of folks in our industry poke fun at the Hollywood method of pitching movie ideas, ala “well it’s like Bambi meets Godzilla.” Even if you haven’t seen the animated clip of that mash up idea, it immediately conjures visuals and sets an expectation in the mind of the listener. Taking that same line of thinking into the game space, how would you describe the original Puzzle Quest, from our client Infinity Plus 2? In 2006, when we began pitching what would eventually become the 2008 Mobile Game of the Year, there was nothing like it on the market. We distilled the essence of the game to this: “Puzzle Quest is a fantasy RPG battler that uses match-3 gameplay as the primary combat mechanic.” Short, to the point, and the listener knows what to expect next even though they have never seen anything like it before because you gave them points of reference to things that are familiar to them. Keep refining and distilling the opening of your pitch until you can reach a similar level of clarity, and this will also give you a consistency of presentation thereafter.

The same approach applies to how you present your company or your services. There are tons of developers and outsource providers in the world, so your opening statement needs to go beyond the simple facts of who you are to answer the unspoken question they really want answered, which is, “why should I pay attention to you?” Describing the special sauce of your company needs brevity as well, but less than distilling a game down to its core. Give yourself a paragraph rather than one to two sentences. Be sure to highlight what sets you apart from your competitors without saying anything negative about them in the process.

If you are struggling to come up with those points, ask yourself the following questions:

What are the highest profile titles your team has worked on?

What is my longest term or highest volume customer relationship?

How did that become a successful repeat business relationship?

How many of my customers come back more than once, and why is that in general?

What kind of references can these partners give me to use in my presentation?

How flexible are we in terms of work hours/overlap with global partners?

How do we typically communicate/provide transparency to our partners?

How does our pricing compare to market expectations for these services?

Why should someone be willing to pay more, or LESS than the norm?

What creativity do you bring to the process?

What awards or critical acclaim have you received?

What success stories can you share later in your presentation? Can you tease them in your opener?

Which do you think is the stronger of the two openers below:

Joe Blow Studios is a game developer based in San Francisco whose mission is to create great games for PC and Console. We make the games that we want to play, so it’s all about fun. We published our first title, Super Fun Guy, in 2011 with Publisher X, but they really didn’t promote it well so it never took off. So we started doing work for hire to keep the doors open and get enough money together to make this demo for Super Fun Guy 2, which is what we want to show you today.

Please understand that this is a real opener pitched to us, but obviously the names and locations were changed for this article. After interviewing this developer further, we learned the following relevant points.

Their fifteen person team was 80% veterans, with an average of over ten years experience working at other firms

The main reason it was four years from their first game to their second publishing attempt was because they were so in demand as code fire-fighters for other people’s projects, and they had almost an 80% repeat business rate once people worked with them the first time.

The first title wasn’t ever really shopped to publishers, it had been placed with a friend of one of the founders, and when that friend left the publisher during development, it lost its internal champion and was relegated to filler status in an otherwise crowded publisher line up.

So here is the opener they should have given.

Joe Blow Studios is an in demand veteran game development studio with an average of 10+ years experience. Our team comes from a console background, having worked on over fifty console games between us, including 6 of the top 20 gaming franchises of all time. Since we were founded in 2010, we have worked as external developers on major releases for EA, 2K, Activision, and Microsoft, primarily on UE4 programing, networked multiplayer and level design and building. 80% of our customers are repeat business customers and the primary reasons they tell us that they keep coming back are our quality and impeccable communication/customer service. We aren’t happy unless they are happy. Today, we would like to show you the game we want to make next, Super Fun Guy.

See the difference? Go find your difference and polish it until it flows smoothly from your lips time after time. Good Hunting!