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Yesterday at the semi-weekly D&D game, we decided to hold it at the new gaming store in town rather than at the house. It's a nice place, well-decorated with great design sensibilities. Although one of the house artists has a problem with basic anatomy, the other's taste runs toward the awesomeness that is Frazetta-on-Velvet.

While we were there, a woman walked and identified herself as being part of a local business newsletter. She wanted to greet the new business and find out what it was "you did in here."

The proprietor on call leapt up and proceeded to tell her all about role playing, and he literally had to come in from the back and explain to her that Dungeons and Dragons is like World of Warcraft, only you got together with your friends and used your imagination, rather than sitting in front of a computer playing with strangers thousands of miles away. Where computers generate random numbers, we used dice, but it was all looking up the consequences in a rulebook somewhere, after all.

Right?

[Facepalm]

More Peter Watts: )
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Nobody in the party's quite sure how, but at the Lisakit's last D&D session, the pressing question of the day became, "And what color is kobold pee, exactly?"

I don't think we ever got an answer out of the GM.
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Toungue turned blue,
Everybody has one,
Tongue turned blue,
This infection is a bad one.

Me and you, will turn to goo,
In just a little while
The signs are there, I've lost my hair,
We won't go in style...
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One of the things I really like about Doom 3 and Quake 4 was the sound design. Both of these games went out of their way to make sound an integral part of the game. By doing thing with the range, volume, and pitch of a particular sound effect, these two games did an incredible job of creating a 3-dimensional sound experience where sound informed you as to the location and distance of immanent threats. Early threats came at you head on, and you learned what they sounded like; later threats came from all sides, as well as top and bottom, and acoustically aware filtering let you know from where the attack was coming.

Not so with Prey. I just finished the game before realizing that I had the left and right channels on the headphones backwards. This affected gameplay not at all. And that's really sad, because Prey had some excellent combat moments that were completely disorienting, and some huge rooms with massive machinery and explosions that could have benefitted greatly from the experience.

Part of this may be due to technological improvements. Prey is based upon the ID Tech 3 engine, whereas the other two games mentioned are based upon the ID Tech 4 engine. But that's probably a bad excuse: Prey suffered from sound as an additional, and not an integral, component of the development process.
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Oh, mighty LJ brain:

I once had a magazine with Ogre/GEV rules for ice and snow. It included things like rolling each round for ice breakthrough, and how Ogres handled it.

I believe it was the same issue that covered satellite mapping, and the reliablility (or lack thereof) of tactical battlefield information. Does anyone remember if it was Dragon, Space Gamer, or White Dwarf, and if so, what issue?
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The Illinois state ban on violent video game sales to minors went down in First Amendment flames this week, after state legislators had voted 106 to 6 in favor of it. The Chicago Times reminds us of this choice point:
Noting that the measure barred images of human-on-human violence, one lawmaker asked if human-on-space-creature mayhem was OK.

"Killing an alien wouldn't fall under the bill," Rep. Linda Chapa LaVia (D-Aurora) replied. But on further questioning, she said, "If it was an alien that pretended to be a human, I guess then it's human. Then it would fall under the bill because, it's human against human."


(Hat tip to Kerry Howley over at Hit & Run.)

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Elf Sternberg

May 2025

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