Jump to content
Double Fine Action Forums


DFA Backers
  • Content Count

  • Joined

  • Last visited

About nazareadain

  • Rank
    Forum Commander
  1. I had actually missed it. i somehow managed to not see that they fell down below when I shook the branch and never tried going left while downstairs. (also was confused by the fact that you actually climb into the tree to get back up but cant get at the fruit then.) but from the riddle I knew that it had to be fruit from that tree so I went back. If anything, Id actually would want it so that you need to do it in that order - ie you find something in shellmound or the temple that helps you get the fruit. but thats another story... I think tims bosses work really great and are a very satisfying conclusion to every game! they up the tension at the end. mog is also good and could be great with some minor tweaks. I wonder if it would feel more tense and make more sense if they did a full throttle style (aah...let me try that again) instead of you kicking yourself loose. then maybe you wouldnt have to do the tentacles coming back, vella could actually be eaten...etc. itd be about doing all the right things in a short amount of time. BUT...since being eaten probably doesnt mean dying, as we found out, maybe thats part of why they didnt want to go there. It's just the entire element of pressure causes people to think in a very different way. You could just say that all they have to do is calm down, but I'd say it's the games duty to make the situation clear and make sure they're in the right mindset. It's good for the sake of adding ups and downs and variety of emotion, but you're demanding people to fight their own nature without explaining to them that that is exactly what they have to do. I think even though it's basically exactly as the rest of the game, having an early situation where it seems tense and you have to fight, to have a character tell you to keep calm, not think about the fighting, but think about the situation instead to be helpful, if a bit heavyhanded to serve as a tutorial to how fights are handled; even though it's not actually a change of mode, it doesn't matter unless the player understands it at such. Then again that defies the purpose of the situation which is to create a feeling of tension and that their life is at risk... it's messy.
  2. I only thought to shoot the tentacles when 'even the eyes are armour plated!' it honestly seems unnecessary, though; You're stilll shooting at it, but now you have to be more specific - then you have to repeat 2 more times, because 3 is the holy number, but repetition here is unnecessary since there's no finesse involved in the execution. When you're finally caught it feels counter-intuitive to not shoot the tentacle to let you go, unless you're familiar with the adventure game trope of never dying in these kinds of games and that you're not really in any kind of danger. Then again, that could be mitigated by actually knowing how the ladder works and that that is what you want to use on him once you get close enough. And then there's the tentacles growing back which had me wondering if this turned into a zelda boss where I had to eliminate the tentacles repeatedly until he gave up. It doesn't have to be obvious, but having revealing patterns would be nice; such as the tentacles trying to box you in which reveals the weak points - another trope, but Mog just floats around anyway, smacking some tentacles down to stop you from moving so much would still make more sense. I understand why bosses aren't a common thing in adventure.
  3. It's obvious if you've already picked up the fruit, but I'm not sure how obvious it is for others who might've just walked right past it to save Gus and the egg. There's also the discrepancy that the tree in question grew on a cloud, so apparently, rotten bed as a euphemism for earth is a technicality. Oh well; like I wrote, it's more a matter of convenience than anything else.
  4. Is this the new "What are you? Casual?" I never said there were. Glad we got to clear that up. Good talk.
  5. Just out of curiousity, how many of you are familiar with player- (or fan-)base's increased skill level's effects on future genre and sequel releases? And to make this interesting, I'm not even going to elaborate.
  6. Overview I feel like I should've taken notes while playing it, but with so little that I enjoy now adays, I focused on just enjoying it, which I thankfully did. It's got charm coming out of its ass. I know there's been more focus on pacing this time around, and avoided puzzles with obtuse logic required to solve them, which are probably more fun to make or look at retrospectively than to solve. And I appreciate it. Most of the solutions come from noting a detail about the object, which makes it easy to solve some of the puzzles if you just make a note of it. Obviousness is a relative thing, but there could be some more subtlety to the puzzles. A main issue is that a lot of the puzzles simply require you to use an item on the right object, which is a simple process of elimination. The only puzzle sequences with increased level of interaction that I could think of at time of writing is the space weaver's crocheting part, and the mog chothra fight. There should be more like this for the sake of variation and avoiding the issue above. If the items could be used in different ways, then that would at least give more possible options. Speaking of which; does optional puzzles cause a problem in design? I know adventure games had a tendency to naturally bottleneck, but It would be a nice way to give more information on the world and/or characters if you solved puzzles to reveal information about it/them or received an item to allow you to do so. So long as you're already clear about the player's goals, the optional things could be purposely harder to avoid messing with the pace of the main part. Specifics (mostly issues of clarity and convenience.) 1. The peach and the riddle. When you get the riddle it would be nice to get a piece of paper with it written on - even given a highlighter for the player to choose which words to give a shit about. It's also irritating that the tree is placed on the furthest possible screen away from where the riddle needs to be. I'd actually like the tree to fall (and why not scream and have a whale crashing in the background for a heavy handed arbitrary HGtG reference. I would love to see the bird try to carry THAT back.) along with you all the way down to the hipster jack's house and scare the shit out of him. Of course, one of the simpler solutions would be to have Vella simply carry more than one peach. I wasted it on myself, which had me thinking it was an item with an endowment effect on the character (so that if you use it on yourself, you've 'solved' the puzzle, like putting on the shoes, jetpack, or air supply) - especially since you can't give it to Gus. Or you bite it to reveal the pit, then you just carry it with you, unwilling to eat the rest. 2. Mog chothra fight. The ladder. Figuring out that you were supposed to use it as a jacklift wasn't something that came natural by any means; it would've been nice if you were notified in any way that it opened with quite a bit of force. I didn't understand that it would be strong enough to open up his mouth, and only figured out through process of elimination instead of any amount of thinking. I'll likely return and edit as more things come to mind. Especially as I'll likely talk with a friend of mine about it.
  7. You should have cared - if you'd payed attention to some of the early videos, you'd known that these changes were to be expected. They weren't inadequate - they weren't inline with your expectations. A couple of comments you read in these forums that you happen to agree with will not be acknowledged as consensus elsewhere, even less so as overwhelming. It is too early to judge act 1; both in game design and story structure, different parts can be used to reinforce each other and build upon one another. Until you know what they're building up to, you're judging a puzzle piece. By all means judge, though. Fewer hints; sure. I flat out agree. more inventory items - well that would solve absolutely nothing other than to tick off an item on the checklist of typical adventure game tropes. Also known and treating a symptom, not the disease. More complex puzzles - nope. Depth and variety, however, absolutely. Formulaic repetitious use of items was the main issue. Which I'm guessing is why you tried to solve it with the issue above.
  8. Sorry about the cop out, but that's something that I'd figure out after I'd played it, to see what I feel I'd want or change, for example what sort of mechanics they actually end up using for the different classes. If it's bordering to perfect, the mod changes become just for my own amusement.
  9. Feel free to try to persuade me but I don't see the virtue in regurgitating the same content which already exists. Ah prefer more distinct class designs like logdude, gloveguy, and heavy-bowman to swords all game every game. You change your tone pretty fast. It kind of makes you wonder how unfamiliar with warfare they are if these are the weapons they choose to use. I would always aim for believability over originality, since every unfamiliar trait would be something that requires exposition (although it can be extremely terse), before the world starts teetering to "lol, world, you so random." Which may very well be something they might aim for. I would've started with the removal of the arbalist, though only based on what I've heard about them so far; Direct damage just isn't an interesting description. Damage seems to be a given as to what you would attempt to accomplish, you just give the player round about methods of achieving that. It just feels redundant when listed as such. I feel like the classes should be described in a different way, though since you haven't revealed more about them, I don't know what they would be. It feels like they should be described in terms of the pay off for their optimal situation (natural habitat), what the optimal situation is, and what hinders (obstacles) them achieving those situations. For example: Caberjack. Payoff: manipulation of enemy movement, Damage denial. Natural habitat: Middle of mass of enemies. Obstacles: mobility, single strong enemies. Arbalist Payoff: Heavy direct damage, personal safety. Natural habitat: weakened enemies, Stealthed. Obstacles: Swarms of melee enemies, untouched enemies. Alchemist Payoff: area damage, area debuffs. Natural habitat: stationary enemies, single enemy to fend off. Obstacles: Mobile enemies, Strong long range damage. Example for supporting abilities: Contingency: once a round: when attacked by a melee attack, automatically activates a chemical bomb that blinds an enemy, causing it to deal less damage on its attack. This also leaves a smokescreen where the enemy was, reducing chance to hit anything for targets inside the square. Lasts 2 turns.(checklist: area debuff, single enemy defense.) Firebomb: attacks an area, leaving fire behind that deals additional damage if an enemy ends a turn in the fire, and less if they tries passing it. (checklist: area damage, area debuff, stationary enemies) I don't mean to sound controlling, I just prefer if the circumstances in which their strengths occur is expressed, because it doesn't feel like it does the classes justice, if you don't.
  10. You can do a lot with the models so long as you don't start resizing different parts that messes up the skeleton for animation. as soon as you do that, the budget explodes because you constantly have to reskin the models to adapt to every variation. However, this is still the type of game where customization probably has the least payoff considering your effort has a countdown on it till it dies. In terms of visuals for heritage, lining them up and seeing the whole family could make it worth-while, but it's the sort of element where it doesn't feel like it'll have a lot of payoff if you don't go far enough. For me it comes down to you either do it right, or not at all, and unfortunately, height and size should be part of that which, like I've said, causes problems, not to mention the vizualization for the family tree is about the only situation I can think of where it has any real payoff.
  11. Let's see; Classes, add them and tweak them. Add random events. I'd probably add a relationship system, because that's one of the things I saw the most potential in. I might revamp the class system completely - I've elaborated in another post that I love the ability to hybridize in anyway I want. All of these depend on difficulty, availability and access.
  12. http://www.youtube.com/watch?v=7Ke-_nKHpDs
  13. Wow, yup, it adds 800 megs right to the memory just opening the thread. I actually have to close the thread to play the videos properly. Nothing wrong with my computer though, so it seems flash has a weird protocol when it comes to having multiple videos open. Or maybe it's firefox compounding all the elements into a single process. Either way, I'll try to chill with the linked screens. I wish the clip capture just how trippy and downright disorienting that chant sounds when you get up close and surrounded by the voices that keep jumping around, especially when it doesn't seem to have an immediately recognizable pattern. I can't help but feel that some balinese is going to be offended by having the chant be associated with something demonic, but I don't think they can really blame us,
  14. King Arthur, another game by Paradox who made Crusader Kings, had something that functions the same way as a random event, but was structured like a quest and a series of choices instead of just one. This could be a way to make random events more random and interesting; sending a hero into a dungeon might have the same initiator (send hero to dungeon), but what you encounter might not always be the same, and can make experimenting with which kinds of heros you send worthwhile. That's about all I've got to say.
  15. here's one of my favorite tracks: Maybe not as cool as throat singing, but I think the approach the FFCC composers took is similar to something the MC devs were talking about on a teamcast about design. I really liked CC's music for the authentic feel in the instruments http://www.youtube.com/watch?v=FWmAjgsH6Ng This is probably my favourite from the soundtrack, and I initially thought it would be too dynamic to fit in with menu navigation and such, but after listening to it now, it seems mellow and consistent enough, despite its dynamic elements to fit rather well. If anything, I wish it would be possible to have a song as dynamic as Time's Scar by Yasunori Mitsuda, but the changing tones not to mention overall feel through the piece probably wouldn't go together well with the other elements despite the strength of the piece. Make sure you listen till the violin solo.
  • Create New...