I love stuff like this. How to Host a Dungeon is a loose set of guidelines meant to aid one in the creation of a dungeon, fully developed with general lifeform populations and landmarks from ancient civilizations. More of an exercise than a proper ‘game’, the rules are well crafted and meant to simply aid, rather than direct. Many measuring systems are meant to be arbitrary and there are no concrete, correct ways to draw anything.

Created by the mind of Tony Dowler in 2008, this PDF is available for a one time fee of $0 is available from his website. If you like creative drawing or solitaire games I would suggest giving it a shot. For a small donation, a paid version exists that adds a new content for the later three ages in the form of an additional choice or two. Honestly, with how easy it is to just make stuff up for the game there is nothing these choices bring new to the table, so the decision to pay is mostly in aiding the developer which is a just enough cause.

As written, the game goes through four time periods known as Ages: the Primordial Age, Age of Civilization, Age of Monsters, and Age of Villainy. Each Age is intended to be drawn on tracing paper, with parts of your dungeon intended to be improved upon by the next age. I really like this concept, as its merits will become a bit more clear later. In preparing for this article it was only proper that I of course prepared my own example play of How to Host a Dungeon.

As any tale of a Dungeon, this story starts many years ago in the Primordial Age, with but a blank slate to mold the topsoil of in order to give yourself a playground, though the majority of it will fall beneath the ground. Three D8’s are rolled, and tables are consulted to add natural landmarks to the realm. Upon my realm I cast three heavenly die which broke my screen, so I just used a dice roller and drunkenly pointed where “it would be cool”. Upon my realm was a majestic goldvein that ran through it like a shiny river. Just over it was a network of caves inhabited by ancient Neanderthal Samurai. Little did they know that many miles underground on his gigantic lucre pile was an ancient dragon, for now, he slept…

Dungeon1

Our land having been defined, I believe those Neanderthal Samurai referred to the area as Gomjak, and as such it shall be known. As the days grew shorter and colder more and more of the Neanderthals flocked to the Gomjak Caves. Here it is said the mighty Samurai Jonathan of Clan London forged his empire within Gomjak. The London Clan controlled this land, and they were to carve it into a great paradise for their people. I based my custom Samurai Civilization on the Dwarves, but with key differences. Freshly minted, it was time to put it to the test. Their ancestral home has been turned into a deep loving place for them as they delved deeper into Gomjaks soil.

Dungeon2

Clan London’s trials were many, and times were tough in the Age of Civilization. Their knowledge of the land aided them as that Spring rose them to four great families of Samurai belonging to the Clan, able to make use of the ancestral resources available to support them. With the numbers capable of fulfilling the task, Daimyo Jonathan would face his first defeat at the hands of the Black Rider who had slain two of the great families that Summer. Further woes occurred over the next year as treachery took place when another Samurai tripped and accidentally murdered the entire Jonathan bloodline. This power struggle caused Clan Urmesh to ride by and wipe the rest of the clan home out. Within two years the Empire was burnt to a crisp. For decades the caves would lay in misuse…

Dungeon3

On a later fateful day, a great quake shook the land, a thick vein of lava spurting right to the top and bursting. This great shake awoke the mighty Lignog the Ferocious Dragon, and began the Age of Monsters. As Lignog stirred, he could find more monsters had come to inhabit his new domain, and in his sleep the Kingdom of Bargnor was above easing the panic of its citizens with the recent hellfire spewing from the mountain. It also seemed that deep beneath a collection of Magma Sprites had began melting over the ancient caves and hardening them, uncovering ancient treasures buried beside old bones in the ceremonial plot. While in yet another corner of the old dungeon it seems that some Gnoll Pirates had come as well to bury their Horde and turn the place into the perfect hideout!

Dungeon4

With the die cast for the monsters, it would seem the first year would also be the most interesting. A group of adventurers seems to have come in quite quickly in request of the King, to soften up any resistance beneath the undergrounds following the disaster. And that they did: the first major victory of the brave two soldiers sent in was defeating the dreaded Gnoll pirates and carting off their lucre, and soon the two warriors fell upon the Magma Spirits, quickly slaying the many beasts beneath. Twas a victorious day, for much loot was extracted from the underground! Little did they know, that every year Lignog would be crawling closer and closer. But alas, this did not really matter to the King, in a bid of madness with the riches carted from the Dungeons, he would descend underground with his greatest warriors, the Prince electing to rule in his stead.

The age of the Dungeonmaster had begun.

Dungeon5

My game was on a much shorter and smaller map; your games likely won’t end so violently or quickly, but I do hope you generally understand the idea now of what a game of How to Host A Dungeon looks like. Potentially I could continue, though honestly at this point the villain wins. Below I have included the custom Civilization I used, so that it can be used in your own games.

There are a few things like it, but How to Host as Dungeon covers pretty much every base it needs to, and helps tell a great story by the end with just a little bit of imagination.

-Necroscourge 3/30/13

 

Neanderthal Civilization

Forming into loose Clans, the ancient Samurai honed sharp stone blades of raw Stonesteel. The Clan seeks to journey abroad and gain honor as well as wealth. With the politics of the Clan come its vices, many such Empires soon found failure as the line of friend and foe grew thin often. Neanderthal caves are roughly chiseled from the earth itself, adorned with various paintings,tapestries, and pelts. While advanced at their time the Neanderthal Samurai were still not truly civil.

Choose a cave, preferably near the surface and connect it. If one does not exist, make one. The original cave becomes the Community Cave, which is enlarged, and where many families gather. Two small caves for Population and two for Storage should be attached to the Community Cave. Black Represents a force of Neanderthals, White represents wealth.

It is now year zero of the Empire.

The Clan Year

Duties among the Clan are often delegated to those too weak to fight, while those strong enough will also do sizable work during times of war, they must focus on combat. If no members of the Clan live the Age of the Empire ends.

Spring

In the Spring the Clan will breed and mate and Scouts will be dispatched to see what is available to horde. Gather all White not claimed by the Clan but near Clan lands, each White gathered must be stored in a Cave and if need be new ones shall be drawn. For every white gathered in this way a new habitat cave should be drawn if needed for a new black counter.

Summer

If at least four black are within the Clan there will be Blood this Summer, otherwise the Clan shall focus on its efforts mining as per Dwarves. When Blood will be had, half of the Clans Black will emigrate and a D8 should be rolled. On 1-4 a Black is lost permanently, but on 5-8 the Black will return with a White.

Fall

The season of scheming. Being crude people the Clan often works against itself. Roll a D8, on a 7 or 8 remove a Black for they have been wiped out by treachery. If this occurs then an enemy black appears for every two white the Clan owns. If no treachery is to be had they will build as per Dwarves but per the Neanderthal Construction Table

1

Family Shrine: Establish a shrine near entrance, which helps keeps evil ghosts from coming inside and looks pretty.

2

Honor Shrine: Establish an Honor Shrine, giving a +1 when defending the Civilization.

3

Personal Chambers: Draw a series of small cubbies and caves connected to a few corridors.

4

Great Hall: Draw a big fancy chamber, carved from the earth with a big fire in the center.

5

Great Statue: A Stone Sculpture is created in the Great Hall . This is a Great Treasure.

6

Sacrificial Pit: Draw a shaft about a finger down with a new cave. The Clan throws people they don’t like down this hole. In the Age of Monsters a Black will be placed here.

7

Great Foundry: A Great Smith is awakened and Establishes a Forge. This mighty room is three beads large and possesses a blessed Anvil. A magma vein is connected to this room and shoots straight down to the bottom of the page.  A Great Treasure is placed here

8

Great Spirit Guide: A Shamans Cave should be constructed, where the mystic of the Clan sit’s. Place a Treasure here.

9

Awakening: Fertile Ground spreads a finger from the Shaman Cave. In the Age of Monsters this land counts as it were Gold.

10

The Great Campaign: The Age of the Clan ends in this realm, for the Samurai have all left with their families to the greatest battle of History. Their Ancestors may be present in the Age of Monsters if they succeeded.

Winter

In the Winter the Clan will dump its bodies in a big hole. Dig a ceremonial bodyhole a finger down, with a new side room with an X representing the grave plot of a family’s worth of population for each lost Black this year and move a White into it.

End of the Clan Age

When the Age ends, remove the Samurai and all their loot except great treasures and White in Tombs.

A few weeks ago we had filmmakers Katie Graham and Andrew Matthews on the show to talk about their SXSW film Zero Charisma, the story of a tabletop RPG obsessed 20-something living with his grandmother who begins to lose control of his gaming group (and more) when a new table member threatens to sway his carefully crafted social order. At the time, I didn’t know Katie and Andrew, and they didn’t know me, but I really responded to the sincerity, and humor, of the Zero Charisma trailer and wanted to help them with their IndieGogo campaign to finish the film before the premiere. Sure, I had fears that most trailers are better than their actual films and that Zero Charisma might follow in a long line of indie films about our geek culture, and specifically the tRPG sub-culture, that have missed the mark. And every single one of them, from The Gamers to Role Models, have missed that mark, choosing the safety of goofing on the film’s subjects to actually compelling the audience to feel for them.

And not to say that it’s an easy temptation to avoid. We geeks and our and social idiosyncrasies are so particular that it’s just easier to point a camera at what’s loud and funny than what’s true. We spend so much time in fantasy (especially when tabletop roleplaying is concerned), that it’s almost always more appealing to narrate the fantasy of our lives than the oftentimes painful inadequacies underneath. But something in the trailer for Zero Charisma and its anger possessed main character of Scott, told me that Katie and Andrew’s film might just avoid those trappings and get right to the heart of the cultural and social re-appropriations that fantasy culture is all about. Going in to the film’s premiere on Monday night, and as the lights dimmed in the theater, I had hope (for all us geeks).

ZeroCharisma2

I’m happy to report that my hope in Zero Charisma was beyond well placed. Katie, Andrew and company knocked this one out of the park. Before there was even an image on screen, the music hit and I knew I was in good hands. The first thing that you hear is shrieking fantasy metal. I let out a loud “fuck yes” (which most at the after party admitted to hearing… sorry!). I’m a huge Luca Turilli and Rhapsody fan and the music that starts Zero Charisma off was right in line with the heavy metal songs of wizards and fantasy that inhabit his music. I even let out another shout when an extra in the film wore a Rhapsody shirt later on. The movie opened up and there was Scott, alone and head banging down a grocery aisle stocking up on snacks for his gaming like a playable character would on questing supplies. The journey was about to begin and I was thrilled knowing that I was in good hands.

The actual plot of Zero Charisma is simple. Scott lives with his grandmother and runs a tabletop RPG a few times a week for his similarly geeky group of friends. He invests everyting into the game and the experience he is creating. So when one of the longtime players drops out, it leaves Scott (and his sidekick Wayne), searching for a replacement. They find their fifth player in Miles, a hipster geek who is just looking for a group of guys to play with. Miles brings beers (and levity) to their first game, and quickly becomes its most popular and successful member and Scott’s alpha grip on the game begins to erode. Scrambling to keep the script that he’s written for everyone else on track, Scott wrestles to take back control and things go from bad to worse.

ZeroCharisma

 And that’s what Katie and Andrew got the most right: the personal nature of who we are. The group of gamers are a surrogate for Scott’s powerless role in a family that doesn’t really exist. His father is non-existent and his mother abandoned him long ago to move out of state. His Grandmother has had to look out for him long past the expiration date on his social maturation and he is angry. The failings of others in his life, and subsequently the excuses that have led to his own, have turned Scott into a short fuse who doesn’t see the dangers in scripting friend’s lives or trying to control others. From the opening metal music, he is both alone and ready to explode and watching newcomer Sam Eidson portray him is awesome. Sam’s not an actor playing a geek. He is a geek, and he gets the pain that makes our lots in life so compelling and Katie and Andrew don’t avoid going there. In fact, they go there a lot.

Other reviewers have said that when Scott’s mother shows up halfway through the film, that it feels like a plot device, because she only shows up to complicate things for Scott and his grandmother. I think those viewers need to re-role their Perception checks because you don’t need to hit a 20 to realize how wrong this is. The very antagonist of Scott’s fantasy quest is The Goblin Queen, a shadowy matriarch of a dark kingdom who rules from a distant tower. He’s enlisted his friends in helping him destroy the Queen and when that obsessive goal is challenged by Miles “just wanting to have fun”, Scott’s fuse is lit. Everything Scott does in the film is informed by the pain he feels towards his mother’s abandonment, and her showing up only makes a bad situation worse as he scrambles for a way to cope with a rapidly deteriorating social order that he had only a fabricated control of in the first place. Andrew’s script is fantastic on a character level and I urged he and Katie to continue Scott’s story in whatever other ways they could.

I know I’ve given a pretty serious review for a movie that is being showcased as a comedy. And I don’t want to give you the wrong impression. Zero Charisma is hilarious. The crowd responded vocally to the many jokes in the film and I watched it in a constant state of losing my shit laughing. If I hadn’t had to return to Los Angeles, I would have caught the rest of the screenings in Austin, I am that obsessed with the film. I even B-lined it for the filmmakers and gave them a hug for how incredibly moving the movie is. It just does so many things right in regards to a subject matter that we care so much about (almost similar to Scott’s obsession!). From skewering hipsters for their misappropriation of Geek culture (that scene in amazing) to our intensely passionate debates (like if the USS Enterprise is faster than the Millennium Falcon), Zero Charisma does everything right. The comedy flies pretty frequently but never at the expense of what makes Zero Charisma work the most: its sincerity.

As I said to Katie and Andrew Monday night, I’ve been attending the SXSW Film Festival since it began playing films in 1994 and this is one of my favorite SXSW films that I’d ever seen. But beyond that, and probably more importantly, Zero Charisma is one of the best Geek culture films of all time. We will definitely be championing it here on Geekscape. Come to think of it, I can’t think of a quest more worthy of the undertaking.

If there was ever the perfect invention for gaming, it was giving us things to collect. People love collecting things, I know I do! That’s probably why Pokémon nearly took over the world in the late 90’s, as it was literally a show, cardgame, and series of gameboy games with the sole purpose of collecting creatures, using them to fight other creatures, and getting a bunch of shiny objects to help us collect more monsters. Why, there is almost nothing you can do to make it better, short of mixing it with Cthulhu. Cumberland Games brings us Pokéthulhu, illustrated by John Kovalic of Dork Tower and Munchkin fame.

 

The world of Pokéthulhu takes the concept of collecting monsters and vigorously mixes it with H.P. Lovecraft’s Cthulhu mythos. Players are Pokécultists, young children that have found a Pokénomicon and Shining Dodecahedrons and use them to capture and use Pokéthulu. You see, Pokéthulhu scare older people, but kids are unaffected. The eventual goal of all Pokéthulhu Cultists is to become a master, and what better way than to journey forth and collect Elder Badges.

 

The more you know about Pokémon, the funnier the game is, but really you can get away with just knowing about Lovecraft. There is no concrete lore used in the game, it’s expected of the players and gamemaster to go wild with their imaginations and just enjoy the game for what it is: playing psychotic children that pit fight other psychotic children with eldritch monsters for entertainment.

 

Characters have six different Statistics: Grade Level, Sanity, Phys Ed, Pokéthulu Lore, Shoplifting, and Trash Talking. Every kid also has a preferred Aspect, which is an overall type of Pokéthulhu and represents supernatural energy. The rules are simple, tasks consist of rolling a few D12’s, and you want to roll under your statistic. In combat, your Pokéthulhu Lore works in conjunction with your Pokéthulhu’s attributes. Every one of the darling non-euclidean monstrosities has a Power, Speed, and Hit-Point rating. There are also four types of attacks, each with their own ratings. Injure deals hit point damage, Trap binds the enemy, Dodge regains hit points from attacks, and Frighten attempts to end the battle by scaring the enemy away.

 

Pokéthulhu is completely free, and available on the author’s website. The games rules are amazingly simple and its a way to enjoy playing a Pokémon rpg without actually knowing anything about Pokémon, and while being cool. Go go Blhastur!

 

thulogo

 

Last month we showed you the wonderfully impressive trailer for Zero Charisma, the upcoming comedy by Katie Graham and Andrew Matthews.

 

The movie looks like an absolute blast, and will be premiering at next week’s SXSW. If you find yourself in Austin next week, I implore you to give Zero Charisma a shot, this one looks to be something special.

 

To celebrate the upcoming world premiere, a new poster for the film has been crafted by artist Jay Shaw. It’s quite the piece of work, and has some cool history behind it too; the weathering and texture from the poster is actually lifted straight from an old D&D Player’s Manual.

 

Check out the poster below, and let us know what you think! If you’re one of the lucky folks attending this year’s SXSW, the film will be screening at the following times and locations:

 

Monday, 3/11 @ 7:15 PM – Rollins Theater at the Long Center – World Premiere

Wednesday, 3/13 @ 7:00 PM – Rollins Theater at the Long Center

Friday, 3/15 @ 11:00 AM – Topher Theater at Zach Scott

 

ZEROCHARISMA_FINALPOSTER

 

Bah, I’d kill for a copy of that poster. Again, if you haven’t seen the trailer, watch it here, and get excited!

 

Something you quickly realize about Cutters Guild products is that they are all very clearly inspired by popular mainstream works, specifically popular games of the time. The mascot of Deathstalkers 2, which is fought in What Lurks Beyond, is a large armored black knight called a Juggernaut, which heavily resembles a Chaos Warrior from Warhammer, the popular tabletop wargame. The Shadow Project seems inspired by quite a lot of media while proving to be fairly original in its own right.

 

k2dcgg0600

 

This game, like many indie RPGs, is a custom ruleset with its own niche setting. This game is based on the fictional man-made island New Prometheus, a 3000 square mile large floating city-state off the coast of New England. Much like other islands off the coast of Eastern America, the entire island has entered a state of emergency. In this case, it’s due to a rogue computer virus so powerful it has hacked into the human genome and discovered the secrets of perfect biomechanical parasitism, enslaving the populous as cyber zombies and threatening to take over the entire world if so much as a single bit of corrupted data escapes the island. Thankfully the book later mentions that somehow the Shadow Project constructed a gigantic containment wall around the infected downtown sector (I suspect wizards were involved), which is where the majority of the game  is suggested to take place

 

The intro takes this concept and immediately poses a scenario that if  true, the world has already been conquered, and there is no further reason to play the game. It follows a combat journalist on his deployment to New Prometheus to help recon the city and figure out  just what’s going on. The team is killed near immediately by the techno-zombies, robo-vampires, and other deadly creatures of the city, leaving the infected journalist to wander off on his own. He eventually find a computer terminal, which the virus naturally threatens him with; it’s suggested that the man kills himself soon after. What is not mentioned however, is the fate of the anti-viral Archangel chip in his camera, which he did not botherto destroy after the evil virus pretty much demanded the damn thing. It’s implied that if the virus got its hands on this camera, it would completely nullify the single edge humanity had left against the DEVIL virus.

 

 

'The Shadow Project's character creation sheet.
‘The Shadow Project’s character creation sheet.

 

At the end of this story, the journalist also decides to mention that in addition, an Archangel chip that the player characters use is nearly ready, which indeed makes me wonder why they sent a recon team with the well known repercussions of rendering their secret weapon completely useless. The opening of this book is flawed; the players would get to the scene and immediately become infected since the virus has by then figured out how to defeat its one predator. This part of the setting drives me nuts, not only is the setting so generic but it flat out denies its own possible existence with just a small bit of logic.

 

The books art is the other thing that irritates me; for the life of it, the games artists cannot decide what any of The Shadow Project’s soldiers or the monsters themselves look like.

 

Many illustrations depict the cyber-undead as decomposing bodies with metal graphed bits, while the bestiary pages suggest they are built completely of sinew-like cybernetic tubing with maws of gnarly teeth. Other pages picture Shadow Project soldiers in infantry combat armor while other agents are decked out in the same sinew-armor the undead appear to wear. It’s like the art of two very different games but with the same enemies and ideas behind them.

 

Shadow Project soldiers are tasked with defeating the virus, and are outfitted with Archangel chips that limit the exposure of the DEVIL virus and allow the operatives to hack and utilize the virus for themselves. This is not only extremely dangerous but the main way characters gain power and weaken their enemies. Various weapons the agents are equipped with hack the data within the enemy which can then be applied to the agent’s body, mind, or soul. Yes, as in there is actually a readout on the wrist of every Shadow Project soldier that says body, mind, and soul, and their survival hinges on their ability to shoot monsters and apply it to their SOUL. The fact that this mechanic is in no way actually a meta-concept yet commonly accepted in the game world helps completely undermine any horror the DEVIL virus may have had. If the Hindu philosophers ever saw this book, I think India would declare war on us.

 

Boogeyman - one of the DEVIL virus' most feared spawn.
Boogeyman – one of the DEVIL virus’ most feared spawn.

 

With the great power and reward that comes with the virus there is also great risk. Every time you reach certain levels there is a chance that the DEVIL virus will assume direct control and kill you, as is what normally happens when you plug a virus that shares the name of the dark one into your neural net. Yet Shadow Project is completely fine with their agents doing this, to the aforementioned point of labelling their equipment for inputs of this data to their body, mind, and soul. I can’t get over how weird it is for a horror game to be so laughably flawed in its setting.

 

Every monster in the game is named after traditional fantasy monsters, with various ghosts, wraiths, werewolves, and vampires around. The art for them all is of the sinew variety, and thus once you see one you generally have seen them all. Large humanoid figures with big round eyes, gnashing teeth, and a PHD in kicking your ass. Many of them are designed to be serious threats, as they are created by the DEVIL virus for various functions and purposes. Why however the DEVIL virus named them the way they did, the world may never know.

 

This game is for collectors only, and I don’t suggest actually trying to play it. The book itself is a large softcover book, ships in great condition, and while the artwork flips between two different settings, it’s also rather in-depth and quite pretty. The story of this game is a black hole devoid of any actual plausibility, to the point of being insulting. I don’t question the DEVIL virus at all, in fact that’s the most brutal virus possible. What I object to is how there is no possible way with the current setting that the game should be playable. It sounds like the DEVIL can simply fall into the ocean, grab a fish and suddenly the world is fucked. Also, how is a 20 foot tall wall supposed to stop the DEVIL minions when they almost all can climb buildings effortlessly? There is no possible way to actually quarantine the island! Everything we know about the DEVIL virus just points out more and more that there is nothing we as humanity can do. Not since the reporter basically gave our secret weapon to it!

 

This is a horror game that manages to fail at every quality of being a horror game. The monsters are simply not frightening, the game technically has already been lost, there is a meter for soul on the military’s armor, and on and on. It’s too easy to analyze the game and see exactly what it is doing wrong, and thus draw little entertainment from it.

 

-Necroscourge 3/1/13

 

The company has much, much better offerings!
The company has much, much better games!

It looks like the folks at Square Enix are nearly ready to rerelease Final Fantasy XIV. The game initially launched in September 2010 in an apparently unfinished state; the title was full of balancing issues, glitches, and gamebreaking bugs.

 

Square Enix saw something in that mess of a game however, and decided to keep working on it (after apologizing to everyone that paid for it of course). The game is inching closer and closer to its wide release, and the company has released a new trailer showcasing the exploration elements of the title. Check it out below, and let us know what you think!

 

 

Want to give it a try? PC and PS3 betas are both taking applications on the game’s official website.

 

What do you think? Did you play the initial release of Final Fantasy XIV? Are you willing to give A Realm Reborn a shot?

 

FINALFANTASY_XIV_ARR_PS3_PUB_SS_02E

As I like to bring up near constantly, I love OGL (Open Game License) content. I play a third party character in every game that I play in, and utilize plenty of OGL content in my own games that I start. However, it’s not all made equal in any way shape or form and I make no claims otherwise; sometimes it falls flat and descends into obscurity where it can’t hurt anyone. What Lurks Beyond is a published 3.5 adventure that helps support the argument of why if you don’t specialize in writing DnD products you should not write one. This is also going to be your one warning, since this review covers a specific adventure it, by nature, is chock full of spoilers. If for some reason you plan on playing this adventure (you poor sadistic bastard!) then this review may hurt any enjoyment you would receive in doing so. Unless of course you are insane, then rock on!

 

What Lies Beyond

 

Supposedly, What Lurks Beyond is built for 4-6 level 7-10 characters and it warns not to admit anyone of a higher level than that. A core concept to designing adventures, or at least this is Wizards of the Coasts method, is to build it around a group of four characters and test it with various builds and parties of characters. On the first page this book has already filled me with a sense of dread, as you can’t help but wonder how the adventure accounts for the mere possibility of two extra party members. Another warning flag is the adventure’s size. The softcover book is easily over a hundred pages due to the two dungeons contained within.

 

The adventure is split up into a series of chapters, each covering a particular area of the adventure. This clean organization makes the adventure quite easy to run as there is no question as to where various areas are located, while past adventures I have seen lacked such a neat arrangement. The first of these chapters covers the overall area of the adventure and contains the entrances to the various dungeons as well as major points of interest while each more defined location has its own chapter.

 

The back of the book also contains a series of “handouts” meant to be copied and passed out to players, though only a handful of them are not maps but actually puzzles. What Lurks Beyond prides itself in mentioning how well written and cerebral it is for having developed puzzles, but don’t get too amazed; these are mostly boring crosswords, hangman, and other such activities designed to pad out the sessions and punish any players that could care less about the adventure’s plot. The book also claims at the beginning that it is acceptable to swap out the names of some of the gods for whatever is relevant in your campaign, without telling you that one of these gods is the answer to some of these handout puzzles. Along with these puzzles are a series of small, barely detailed maps, but I have no idea why these maps would be passed out in favor of using a traditional mapping method since there is no reason whatsoever the players should have access to a personal map (A useless one at that; this is not exactly the most complicated adventure.)

We begin this adventure in the middle of the woods moving East. The party very quickly runs into a wrecked coach for a chance at a little looting before starting the adventure proper at a fork in the road, presenting the first choice since the book makes no claim that the party can deny to loot the wrecked carriage. The passage in the book swears up and down that it does not matter if you go left or right, and that is simply a damn right lie. No matter which path you take the party is thrown into its first combat encounter. Ever wondered what would happen if a Headcrab from Half-Life rampantly bred with rabbits? That’s more or less what a Blood Bunny is. On either side the party is faced with a large amount of the creatures and there is no written way to dodge this first encounter (it’s forced). That’s a shame because the adventure throws no less than TWENTY FIVE monsters at you, each with ten hit points and a +7 initiative, all of the little bastards do up to five damage per turn as the horde leaps around like the little hell-beasts that they are. Though this encounter is heavily overpowered there are ways of dealing with it using standard classes; if the party has spellcasters specializing in area of effect spells or stocked up on alchemists fire  then it should not be too hard to roast that army of head humpers.

 

No doubt spending eight hours to rest or using a good amount of healing magic, the party then continues to see what happens on the left side. Earlier the adventure claimed that it was fine no matter what side you took. By “it does not matter” they of course meant “Pick left and die.” As not even a page later the book mentions that the players are absolutely not supposed to go left, and “discourages” the players by putting yet another fight in their path in the form of tainted Grizzly Beasts, all the while showing the party signs to turn back now. The beasts are dispatched easily enough, they may hit like freight trains but at least they have a normal array of hit points and AC. Wasting even more healing, the party can then walk 30 feet down the road to a broken bridge, where once again the book begs the GM constantly to try and get the players to go right but by then it is too late since the party is then faced with a SWAMP DRAGON, on it’s own this is easily a CR 15+ monster waiting to penetrate you with four bladed tentacles a turn that do 4D6 damage EACH. Seeing a pattern here yet? Guess what’s directly after the dragon? Surprise, ANOTHER COMBAT ENCOUNTER!

 

By then if your party has not strangled you and impaled your skull on a pike for trying to run this adventure they will likely immediately plead to just let them go right. Unlike the left road, this option lacks the three encounters put there to ensure that the choice is one in name alone (Cutters guild, you are aware that a choice with one correct answer is not actually a choice right?).  Keep in mind that the party has no goals at the moment yet can already be faced with complete destruction. On the plot railroad the party finds the first handout, a cypher that leaves the party with a cryptic phrase that is the secret to finding hidden loot later in the adventure. Loot of course, the party would not know existed if they had gone left. Afterwards the party is introduced to the Tower of Bladesedge, the first dungeon (Likely designed by whoever built Sauron’s tower.)

 

The tower is the hellhole you would think it is, filled with arbitrary traps and strong use of the word “Immune”. I held back on this detail but most (if not all) monsters are outright immune to *something* as opposed to using the vulnerability and resistance system in D20. For instance, if you are a spellcaster that uses anything but Earth magic, a cleric or a rogue with points in Open Lock or Disable Device you are going to very quickly find that the book seems to be under the impression that everything only has one answer and will happily declare everything you do to be either ineffective or outright not allowed. As you could also tell the damage values of everything in the adventure are also very arbitrary, to the point where instead of having an enchantment rating like it’s supposed to, there is a sword laying around that is magical and does a whopping 3d8 damage per swing. I really want to know where all these high damage numbers came from and what game the writer thinks he is writing an adventure for, because it sure as hell is not standard 3.5.

 

The tower serves as another slog of secret doors, riddles, and tasks that all have one single way of being completed. The top of the tower is another deathtrap, with three riddles, ever descending spikes, and a conveniently impossible to dispel Wall of Force to contend with. Completing this riddle opens a secret door in the dungeon that contains the lock for the McGuffin you grabbed from the Well outside. “What key?” you ask? Obviously the key that was never hinted at before yet conveniently is the only way to work the lock that because the plot demands it opens the door to Ezreal’s tomb. Who’s Ezreal? The book seemed to forget to explain that part too. Hidden in *another* dungeon below the dungeon you already are in is a scrap of exposition explaining that Ezreal is a foul witch, though it’s never explained why all magic around Bladesedge is completely bullshit and incapable of being dispersed and why no locks in this land can actually be picked.

 

After wading out of that HELLHOLE the party can finally walk down the road to yet another fork, presenting the group with two possibilities. By now the party is aware that they have opened Ezreal’s tomb in the Cemetery so there is little reason to go anywhere else really. The Generic Hellish Cemetery houses the Tomb of Ezreal and serves as the last real area of the adventure and its oh so varied locations of ruined cities, abandoned towers, and dank dungeons all the while raining and storming. The Tomb is unlocked in the tower, or at least that remains an option since you could…. you know… just climb over the gate and enter the tomb anyway. And yes, that is a viable option capable of saving the party a large amount of time. You would think so at least, despite the ability to get into the tomb it’s still impossible to complete the adventure without opening it with the key in the tower (damned impossible to dispel enchantments!). Though you better hope that you have already done everything you need to do before going to confront Ezreal because halfway to the tomb the dead begin to rise in mass. You thought 25 rabbits was bad, try taking on 200 lesser zombies!

 

FINALLY! It’s time for the final battle! The party, tired from their battles stumbles into the main tomb of Ezreal to find his eternal prison, the stained glass statue of Ezreal and the four key shaped ho- No… NO… NO NO NO…. Ezreal’s tomb is surrounded by four towers, each with its own key and trial (and of course are protected by bullshit magic) that conveniently are required before the final confrontation. If the party were to start at level 7, by now they would measure around level 13-15 (Its hard to tell because the monster entries lack CR’s and thus make it difficult to award experience) from the sheer amount of puzzles, riddles, bullshit magic locks, monsters with bullshit immunities, and McGuffins the adventure puts them through, so what’s a few more towers? Just like every other dungeon in the adventure this is a linear trek to the top to solve a puzzle, slay some critters and repeat.

 

Four towers later….

 

Ok. NOW it’s time for the final battle. Ezreal’s dark soul encased in Stained Glass animates once the final key is inserted and turned and he gives the generic “Rule by my side” speech one would expect. In both forms he acts as a level 15 Sorcerer and is one of the easiest fights in the adventure, since Ezreal fights completely alone and as a Sorcerer will provoke attack of opportunities if he tries to cast any powerful spells; there is really no way you can fail to beat him… Upon destroying his larger Stained Glass form Ezreal rises in his medium sized mortal form ready to continue the battle, which actually makes him even easier to circle and puddle stomp. Suddenly, before you strike the final blow, Ezreal launches bolts of energy that instantly without any save needed knock you all out, he then turns you into his Nazgu- I mean Shades that have been hounding you this entire adventure. That’s right, Ezreal (like everything else in this adventure) has plot armor and cannot die thus winning by default. The party has failed and Ezreal goes on to rule the world because he is invincible for no established (or possible) reason.

 

clue-thats-how-it-could-have-happened

What the adventure fails to alert the players of in any real concrete way until they actually bump into the McGuffin required is that Ezreal can ONLY be slain with the powers of the dead paladin Seth, whom every now and then is referred to in scriptures found in the adventure. Due to how the adventure’s maps are structured and because the book itself makes it fucking impossible to go left (Which is where Seth is buried as well as the exposition needed to signify that Seth is even needed to slay Ezreal.) You actually are encouraged to metagame and be aware that Cutters Guild fucking hates you, has never played DnD in their life, and of course would never make it as simple as just slaying the end boss and bringing happiness to the world.

 

If the players instead chose to continue down the road before confronting Ezreal, and braved the lair of the growlings beneath the tower in order to get Seth’s amulet then the party can journey past the ruined city and travel to Seth’s burial ground where the party can then revive the dead Paladin, who promises to help you in the final battle against Ezreal. From then forward if you bring the Amulet to Ezreal and destroy his stained glass form the character wearing his amulet will poke’morph into Seth and thus be able to lay a divine asskicking on that damned defenseless Sorcerer that could not fight his way out of a paper bag. After the two to three rounds needed to encircle and destroy Ezreal, Seth will behead the blighter and forever doom his eternal soul to hell (Heaven and Hell of course is called something different in DnD and behaves completely different, but I don’t expect the authors to know the first thing about the game at this point)

 

The birds sing, the sun shines, and your party is now victorious holding the various overpowered weapons and artifacts found from the adventure and the knowledge that pulling their own teeth would’ve been less painful than trying to win this adventure. What Lurks Beyond is a strange animal, as the book itself is actually well written and diverse with plenty of adventuring to be had; yet it falls completely flat with its arbitrary judgement of monster and loot strength and the obvious fact that the authors probably never played a real adventure beforehand or have any knowledge pertaining to the balance of a written adventure. A core rule to playing GameMaster is that there should never be such a painfully linear path to victory, and I count the possibility of losing for just not exploring enough to be too much of a “videogamey” cop-out. Unlike a videogame, a RPG party rarely gets the option to continue from where they lost and often will not want to sit through fights or sections multiple times. There are too many overpowered enemies, arbitrary traps, and the ever present impossible to dispel magic that seems to litter these godforsaken woods.

 

Gary Gygax has often been accused of writing the worst modules in DnD’s history, and to that I call bullshit. Mr. Gygax’s infamous modules were written for the express purpose of thinning out crowds of gamers at tournaments and as a test of a party’s ability to min-max and create a balanced group while What Lurks Beyond was written as a serious, cerebral adventure of high (as a kite) fantasy. Though honestly the adventure itself is not too hard to fix, the main issues lay in the sheer amount of magically locked doors, unbalanced encounters, incomplete monster entries, and joke of a final battle that leaves you feeling like you wasted more than a months worth of sessions for the weakest payoff possible. Copies of this adventure are rare as the book was not very widely circulated. Like the rest of Cutters Guilds titles you can get What Lurks Beyond from their shop, while it may be the weakest of their titles I will one day visit their stronger ones, as their better works can be considered somewhat legendary.

It turns out the reason the balancing is off is because the module is technically not for D20 at all but their own 3.5 setting book Deathstalkers 2 that uses a very different ruleset, behaving like a completely different animal. Many of the monsters in this adventure are from Deathstalkers 2 as well (Including their re-used bestiary pictures, tsk tsk)

-Necroscourge 2/15/13

 

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RPG’s based on TV and movies are nothing new, with more famed series having received better and better adaptations by saner and saner designers. Normally a good sequel is met with a cash-in RPG, or in Highlander‘s case, a good third party RPG, The Quickening and later… The Source. Legacy: War of Ages can most simply be described as a labour of love for their favorite movie; taking every (good) part of the first two films and injecting their own creativity into the project to create an “Alternate Version” of the Highlander franchise with all of the buzzwords replaced with more generic titles. For instance, The Quickening became The Rapture, and The Gathering became The Conclave. Zeist of course, is never mentioned or even suggested to possibly exist.

 

The beginning of Legacy very quickly explains the various periods of Immortal History, along with the basic rules of Immortal protocol, such as “one must never do combat on holy ground”. It turns out that over this history, many important names have in fact been Immortals including Gustavus Adolphus, Gilgamesh, and Jesus. Not Hitler though, he was mortal. This history goes up until the 1890’s which is known as “The Age of Madness” by the Immortals. Oddly, directly after this history lesson is a section devoted to pointing out that this is in fact a Cyberpunk setting, complete with Neural Interfaces and a 3D version of the Internet called…. The Winternet. The reason I call this “Odd” is because the game points out quite quickly that Immortals are not able to use cybertech due to how their regeneration works, leaving me with many questions such as “Why is this important?” Answer? It’s not. As Neural Cybertech is THE method of reliably hacking anything, or even getting a decent experience out of the Winternet, it makes me wonder why they felt that they needed to explain a part of the setting, and immediately tell you that Immortals have little to no reason to care about it. They also cannot decide upon calling hacking countermeasures “ICE” or “EIC” (Supposedly pronounced “ICE”).

 

Character creation is simplified and offers a point buy system à la World of Darkness, with a few notable deviations. Such similarities include scaling costs for points, ranks 1-5, karma/experience system, and a constant “Crawling in my skin” tone towards how much it sucks to be Immortal. Anyone familiar with the storytelling system will be able to pick the game up rather quickly, making it a rather good alternative to those seeking a less complicated form of the World of Darkness. The key difference: rather than use a truckload of D10’s, Legacy only uses a single one, but with the same general idea. The Statistic, Modifier, and Skill values are attached and if this number is rolled at or under on a D10 the roll is considered a success, combat rolls being slightly different from this. The resulting system can be as lethal as any other hard realism game, which poses an interesting idea considering the general difficulty in killing that which cannot die.

 

The only way to put down an Immortal for good is to sever the spine between the heart and brain, most popularly the neck. The book makes it quite clear that The True Death should never happen casually or randomly, as Immortals are expected to be “killed” often but never truly fall until their luck runs out. The reason for this is called The Rapture. When an Immortal’s neck is severed, energy forcefully pours from the corpse into the surrounding area, other Immortals in this area can collect this energy for extra experience, in the process causing thousands of dollars of property damage as the surrounding area bursts into flames and explodes from the amazing energy of Immortal life.

 

As any Highlander fan knows, Immortals can sense other Immortals based on their strength; in Legacy this is known as The Foreboding and is dubbed a psychic power alongside a choice of several other such abilities available to said psychics. Foreboding however, is always available to Immortals, and innately roll when another Immortal gets too close, which I like more than Vampires take on such a mechanic. Psychic powers are designed to be rather broad in order to be utilized in different ways, such as to denote psychics and vampires.

 

The combat mechanics are presented in a “use the rules you like” fashion and suggest that in combat the players make up moves and maneuvers to use for slight benefits such as a thrust doing more damage while sacrificing accuracy or vice versa. Legacy sports a large armory filled to the brim with all the weapons and armor one could ever need, from swords to assault cannons and all the way to plasma rifles. Armor includes the traditional Immortal garb of armored trenchcoats (Dishwasher safe!) with modern styled ballistic and heavy armors. Behind this of course is a load of Cyberwear that most characters can’t use. The rules do suggest a character may be mortal, and rulings do exist that specifically target mortals with the trade off of being able to use Cybernetics and the Winternet. Could you imagine having to choose living forever or being able to turn your car on with your mind?

 

Legacy was given a tough break due to the time of it’s conception, a mere two years after the very complicated Old World of Darkness began its run, and predating the New World Rules by nearly a decade. The setting and jargon heavily dates the game and really shows the paranoia people had towards gamers at the time. So much so that a very large disclaimer exists in the first few pages, and the game outright demands that this disclaimer be read before and after every single session of Legacy: War of Ages. With the added fact that Legacy‘s setting is Highlander with a coat of paint and the obvious influences of Highlander II: The Quickening can leave a sour taste in the mouths of some fans. The original book’s “art” is a series of black on grey polaroids of the Blackmoors with their friends running around with swords and trenchcoats, usually drained out by some annoying aftereffect. Every section begins with a loosely relevant quote from a movie or song (Including a mangled version of Pink Floyd lyrics).

 

There was a remake of Legacy published in 2010, I hear that this revision is vastly different from the original Paperback version that I own, which you can get in hardcopy from Amazon for just $5, half the price of the 2010 Legacy Revision PDF from Drivethrurpg. If you even loosely like collecting RPG’s I would suggest adding this title to your collection, as while its inspirations are painfully obvious, it still beats within it the Blood of Kings and deserves praise for doing so before its time, in an age where many games fell into obscurity. I would hurry on your decision between which copy you desire as much like the Immortals there will be one day where THERE CAN ONLY BE ONE! I’d love to see the look on the poor bastards face that tries to burn THIS book! KABOOM!

-Necroscourge 2/8/13

 

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Writer Ken Kristensen drops by to talk about his Image book ‘Todd: The Ugliest Kid on Earth’… and he brings gifts! Jonathan talks ‘Warm Bodies’! Star Wars spin off movies! The Luna Brother’s ‘Sword’ is getting made! The filmmakers behind ‘Zero Charisma’ call in to talk geek cred! Paul Walker is the new Agent 47! There’s a vigilante cop loose in Los Angeles… is it Frank Castle? Plus! Can you be a hero after smashing someone in the head with a hatchet?

Since discovering the trailer for Zero Charisma just a few days ago, I honestly couldn’t tell you how many people I’ve shown it to (I may be slightly hyperbolizing here, so let’s just say at least a dozen).

 

The movie looks like absolute gold, and as wonderful as the final product is sure to be, Zero Charisma also has quite the story behind it. Directors Katie Graham (Cinematographer of Best Worst Movie and The American Scream) and Andrew Matthews (Editor on Best Worst Movie and The American Scream) raised over $25,000 in preproduction over the course of their successful IndieGogo campaign in Spring 2011.

 

As I mentioned above, the first trailer for the film has just been released. Trust me, you’re going to want to keep your eye out for this one.

 

 

Metal-loving gamer geek Scott Weidemeyer lives with his ornery grandmother and works a lousy job at a donut shop. But every Tuesday night, he is the omnipotent Game Master, guiding his role-players through a tabletop journey of fantasy and adventure. However, when neo-nerd hipster Miles joins his game, Scott begins to resent the admiration Miles receives from the other players. To make matters worse, the health of his grandmother begins to falter, and his estranged mother visits town, reminding Scott of a childhood he’d just as soon forget. Caught in a spiral of rage and delusion, Scott is forced to take drastic steps to reclaim his honor, and his identity as the Game Master.

 

Of course, independent films are costly to make. Zero Charisma is currently in post-production, and Katie, Andrew, and everyone else involved need your help so the finished product can see the light of day. Another IndieGogo campaign is currently underway, with a goal of $30,000 (currently sitting just under $10,000). This campaign will take the film from post production through to distribution, and you can score lots of cool goodies by backing it (including of course, a copy of the finished feature).

 

You watched (and very likely loved) the trailer above, so why not throw them a few bucks and score yourself a copy! I’m sure they’d be forever grateful (as would I, as I really, really want to see this)!

 

Zero Charisma is set to premiere at this years SXSW, where Jonathan will be watching, and I’ll be stuck in Canada.

 

A048_C004_04125L

For months I have been awaiting the release of Paradox’s new title, Dungeonland. 

 

The game finally launched just a few days ago, and is most definitely an early contender for the most embarrassingly terrible release of 2013 (and it’s only February!). The game was originally pushed back a week to January 29th, with the promise of a smooth (and relatively bugless) launch. This would have been quite a change for Paradox, as they have a very spotty history, full of bugged releases and bad ideas.

 

 

Dungeonland released publicly with severe balancing issues, and Paradox decided to make it available the very hour Valve Staff were arriving to work at their California office, rather than a more traditional midnight release.

 

dungeonland logo

 

The Steam Community forums were flooded with cries of lag, connection problems, balancing issues, and a severe limit of content. Paradox’s Facebook page is filled to the brim with hatemail (Though to be fair, I wrote a fourth of it…). It’s almost a joke in the way Paradox behaves after botching a release so badly.

 

It was after trying this tangled mess of a game that I angrily stood up and perused my own game shelves, mumbling angry truths to myself that I dare not repeat here. It was only then that the planets finally did align and the angels did sing a lovely tune, my fingers grasping the sacred book as it came free from the shelf…

 

“Those petty fools and their Dungeonland stand no chance against the joys of… The Sunderdome!”

 

The book I held in my hands was Xcrawl; one of my most prized possessions and the tome that shall seal the fate of many witless saps and heroes who so much as dare to enter my domain! Xcrawl is a setting book based on a generic fantasy world with the idea that it is “Modern day” with a few very major difference between the two timelines. For starters, instead of beginning as a godless Democracy, Mr. George Washington took the other option and forged America as the North American Empire (NAE), crowning himself Emperor George Augustus I, with his first major decree being the immediate release of all slaves within the empire. Within this great Empire, LARP (Live Action Role Play… silly) was born when a pack of dim witted college mages descended into their basement, only to encounter a pack of ghouls (much to their dismay)! Instead of being terminally punished, the college boys were rewarded as the founders of the NAE’s new national sport. The titular XCRAWL Games!
 
Xcrawl Cover
 

I madly flipped through the pages, “Blah blah blah, Empire this, Empire that.” Normally I prefer to keep the setting intact when I do such a thing, however, any setting based in an empire that has banned all adult entertainment definitely has no room in my heart! Finally, 87 pages into the book, I was able to start reading about the actual sport of Xcrawl, which with some distinct differences, behaves much like a regular dungeon crawl.

 

Xcrawl is a combative sport where a previously established team of heroes ventures into the equally preconstructed labyrinths created by the event’s Dungeon Judge. This “judge” is given a generous budget to hire hunters to bring bloodthirsty beasts, wizards and architects to his hospitable dungeon! While real Xcrawl events have various “rules” (like a ban on firearms), I chucked such principles out the door nearly instantly realizing, “Those puny heroes will need every edge they can get in my new park!”

 

As such, it’s no big wonder that Sunderdome could be classified as an illegal event by the NAE. Well bah, I didn’t want my porn banned anyway! Much like the infamous illegal Chinese events, all players will be allowed in my dungeon at once without a real time limit, and will gain glorious prizes for bloodshed – the value increasing if they should happen to shed the blood of a fellow player, hehe.

 

Sunderdome gives its heroes the standard bonuses and edges one could expect from a regular Xcrawl event, including rest rooms and the Mojo system. For glorious feats of teamwork and violence the party is rewarded with Mojo points that can be offered to fellow players in times of need. However, a player may not beg for the use of these points; it needs to be offered naturally.

 

In my park, the heroes won’t be the only ones that are cheered for, as my hoards are also allowed Mojo points if they are built of preconstructed teams such as the vicious “Eleven Imps of Hate” I have hired to guard the exit to the first stage of Sunderdome. The ranks of Xcrawl are filled with the standard classes of adventuring lore, but for those that take the sport somewhat seriously, the Athlete class makes a good replacement for combatants that want to dedicate their lives to Xcrawl, or any sport really.

 

Ran by the enigmatic DJ Majesty, this dungeon will test the mettle of any party! Composed of two stages and a mighty Boss level to smash those would be heroes who progress too far. No expense was spared in the park’s development and even the most seasoned Xcrawlers will have a problem or two getting out alive! Why would one subject themselves to this? What are they playing for Suzanne!?

 

“Thousands of gold worth of prizes, with the winning purse valued at 100,000,000 gold!”

 

That’s going to buy the winning team a few good burials for their fallen comrades, with enough leftover to retire to boot! Remember, all teams are in it to win it. Running into another dungeon crawling team need not be a fight, but you can’t risk them getting to the Boss before you do, can you?

 

Stage 1 is more like an application than a true stage, as the heroes battle their way through the entrance area known in the nightmares of heroes as the Parking Lot of Pain! This regular looking parking lot has a few surprises in the form of Anti-Hero Mines scattered intermittently around the pavement. Those that evade the mines will then have to avoid the eagle-like sight of Crimbles, the Kobold Sharpshooter that makes his home in the water tower that overlooks the entire area! Head still intact? Time to march up the Sunderdome Steps as the famous Eleven Imps of Hate pelt the party with stones, small arms fire, and boulders. Only then will the party be allowed into the Sunderdome Proper and be admitted to Stage 2.

 

Stage 2 is the Sunderdome itself. A gigantic labyrinthine maze of twists, turns, and deadly traps! Players enter through the Lobby of Torment, assaulted at all sides by Rabid Elven Lobbyists my boys have injected with Kermitis C bacteria; highly illegal, very entertaining. From there, the Players must navigate the Vicious Maze of Horror and its assortment of Spike Cannon traps, more Anti-hero Mines, and the great many monsters that stand between the party and the elevator. Said elevator takes you atop the Sunderdome, where the final confrontation against whatever fiendish boss I have chosen to rip them limb from limb today awaits. If they can overcome this monstrosity of a problem, it’d be less of a problem than Paradox’s blundered release.

 

See, right there. RIGHT THERE is a better idea using Xcrawl and Dungeons and Dragons, than Dungeonland is; I suggest that you don’t question it. What? WHOS THERE!? NO DON’T TAKE ME BACK TO THE WHITE ROOM! AHHHH!
 
Its almost as if they thought I was crazy or something!
 

Fin.
-Necroscourge 1/30/13

Just like their video game counterparts, RPG’s fall into different genres as well as different styles of play. Some games glorify combat like a fighting simulator, while some focus on deep roleplaying experiences. Abandon All Hope is a Sci-Fi Psychological Survival Horror RPG effectively set in Hell, fully capable of immersing you in one of the worst possible situations a person can ever imagine. AAH presents an interesting concept; in the future, after a long string of wars, the tired planet turned to a paranoid utopian Meritocracy. One that grades everybody’s dispositions, attributes, and which even has a system of quantifying how crazy they are. Taking this knowledge, they proceeded to launch everyone, even those predisposed to violence on a big spaceship (called Gehenna) sent in a random direction. On this spaceship, you as a prisoner must survive both the robotic Custodians and your fellow prisoners.

 

Cross section of a typical Gehenna floor.
Cross section of a typical Gehenna floor.

 

Of course, it always gets better. At some point during the Gehenna’s voyage the ship was caught in a form of rip in the Space-Time continuum referred to by the prisoners as “Perdition”; that is for lack of a better word, Hell incarnate. This is both a weak and strong point of the game’s writing, as the book assumes that players begin after Perdition, and everything has already gone wrong, leaving a sense of confusion for those that don’t understand prison life as it is, much less how a prison behaves in hell. In addition, AAH has no source books, only additional adventures taking place in a canon plot string. The result is that the setting book provides only the core basics of how the ship operates with very little explanation of how things actually *work* on the ship. This can make Abandon All Hope a hard game to DM, despite how comparatively easy (and fun!) it is to actually play.

 

Character Generation is very simple and demonstrated in an easy step by step (and to the point) process, beginning with rolling up your Prisoner ID number. From there, you make choices for your inmate regarding his criminal background, attributes, mental health, and even your secret agenda which in turn opens up several Traits that can be taken to make your character even more unique. The result is that every player’s Prisoner will widely vary depending on their dice rolls and Trait choices. AAH also sports a very efficient balance: those who lack high statistics as weaker characters are given extra Build Points to buy more equipment and traits than a stronger character who has less dependence on good starting equipment.

 

Death Slither, a demon from the game.
Death Slither, a demon from the game.

 

In its inspirations, the game pays a lot of homage to Survival Horror games such as System Shock 2 and several high-casualty RPGs such as Call of Cthulhu and Paranoia, all of which is very evident by reading through the games rulings. However, amidst all of its detailed rules and systems there is always one thing that seems to be missing from every section. Fluff. As stated before, the game makes little to no mention besides casual references to “common” rules and laws amongst the prisoners and the vague warning that you will be searched for contraband often. There is very little mention of the inner workings of the prison itself besides the presence of robot Custodians and a Warden AI that rule the ship with an iron fist. The end result is that the book only contains rules and should be treated as a rulebook only (All of the story seems to be in the adventure modules), which as stated before makes this game hard to DM: if you lack basic knowledge of how prison life works, you will be playing this game wrong.

 

This is an important thing to mention, actually. This is a game based in a prison spaceship that tells you absolutely nothing besides basic descriptions of facilities and expects you to run the game as a Survival Horror Prison game. Honestly, I think detailing how a prisoner lives their daily life in this gigantic deathtrap of an ugly ass spaceship is sort of important. Things such as politics and the behavior of the Robot Custodians are often hinted at and mentioned at different parts of the book but there are no concise rulings actually made concerning the ships politics besides the enigmatic Wardens control of the ship and the SUGGESTION that there are demons running around.

 

A preview of the Abandon All Hope character sheet.
A preview of the Abandon All Hope character sheet.

 

Yes, Suggestion. You see while the game does detail several demons and how they generally appear, the rules for actually using demons are incomplete. A demon can spawn when a mental statistic meets or exceeds 10, however no mention is made of how often this occurs, or when another demon is allowed to spawn (I emailed the writer, all he could do is copy paste the rules on manifestations in the hope it answered my question. It didn’t). Demons are also mentioned to be prowling the decks often yet the Wardens Guide (DM Section) swears up and down that such beings should be rare due to their strength and shock value which leaves me the impression that they never considered that Abandon All Hope could be ran without the adventure modules.

 

While the game is criminally lacking in fluff, explanation, or plot, AAH does have a brisk explanation of the combat system within two pages and that is a plus. There is also a loosely imagined crafting and salvage system in place for those that want to research and build new items out of items collected from the various broken terminals and devices around the ship. As crafting systems go, AAH’s is easily my favorite. Every source of salvage can be checked once for materials, of which it has 0-2 different components you can grab that can be in turn used to make items and equipment using experience points. Certain characters may even to learn how to craft various items with toolkits, or even craft drugs.

 

Cover from the module 'Seeds of Rage'
Cover from the module ‘Seeds of Rage’

 

Despite the numerous weak points, AAH is a fairly well written game for those who just want to use the rules and play their own campaigns. There is very little effort required to make your campaign unique and interesting as the setting itself (while unexplained) is original enough to be interesting on its own, but could also easily be adapted to any space-borne setting from DOOM, all the way to Pandorum. Abandon All Hope is a Horror game by heart and its unexplained vacuous nature lends to the setting, adding to how lethal the game itself is.

 

Abandon All Hope is available on Amazon and various other websites where RPGs are sold. I do give you one word of warning however when purchasing books from the RPGObjects website: Only buy in bulk from them. My copy of Abandon All Hope came in a flat rate envelop with no protection whatsoever and thus arrived at my doorstep damaged and dogeared; the response I received from RPGObjects was an amatuer “Wow, How did that happen!? Pay for the shipping and I will replace it” response. I was also not happy that the PDF(Less than $3) is in full color while the print version of the book($25) is in black and white. This normally is not too much of an issue. In this case however, the most painful section to look at is the Demons part of the book; all of the art is bright and colorful causing the pictures to come out as muddy dark and grey abominations. This alone is enough reason to skip on getting a hard-copy in favor of the cheaper (and prettier) PDF if you have the means to.

 

Despite how much I hate their business practices (and owner), I do have to report that RPGObjects games (Of the four or five books of hardcopy that I own) are brilliant. For instance, I have been running a weekly Darwins World game for a little under a month now and it’s an extreme hit with my group, and when we start our weekly AAH game I’m sure it will be a hit too. In short, their books are good, but for the love of the maker don’t get anything non-bulk shipped by them if you like your books being in mint condition.

Abandon All Hope is a an easy to learn system akin to Traveler, and is perfect for Horror gamers.

 

Screen Shot 2013-01-25 at 7.25.35 PM

 

In the 27th century, after generations of war, Terra has finally entered a Golden Age. With the rise of a new global regime, and the installment of a Pan-Terran Meritocracy, efforts are made to stamp out crime and violence permanently. The solution: the ruthless rounding up of all murderers, vice offenders, dissidents and anarchists and loading them onto the colossal prison hulk, Gehenna. The concept is simple. Eradication of all lawbreakers from Terran society and indefinite exile to the furthest corners of space.

Five years into its automated voyage, the Gehenna has inexplicably vanished from all tracking and earth-based telescopes. Five years into is voyage, the Gehenna and the nine million souls aboard her has slipped through a spatial anomaly into another dimension entirely.

The event has wrought havoc on the ship and caused the death of many aboard. Thousands more are now free, running riot in the ship’s dark levels. Murderers, rapists, and maniacs are loose, but they are not alone. This new dimension is home to strange alien lifeforms that are drawn to the hate, misery, fear and suffering of those aboard.

Abandon All Hope is a science-fiction/supernatural horror role-playing game in which players take on the role of the condemned aboard an automated spaceship that has plunged over the edge of the known universe. Here, in another dimension, they must contend with escaped lunatics, robotic controllers, and monstrous aliens who feed off of their fear and suffering. Former convicts are now the heroes, and every day is a fight for survival. For those who seek it there will be chances to escape, to gain power, embrace damnation, or seek redemption…

Today is finally the day that RPG fans can rejoice. After a surprisingly successful launch of Xenoblade Chronicles in North America, (especially considering that the game is a GameStop exclusive,) The Last Story is looking to follow suit. What’s the significance of this release you might ask? Simply put, from the minds at Mistwalker Studios, led by Final Fantasy creator Hironobu Sakaguchi, (who was involved with the legendary series from I-X. You know, back when it was actually good,) The Last Story promises to be a return to form for the once great JRPG genre and the swansong for the Nintendo Wii. While most gamers might have given up on Nintendo’s little white box by now, it doesn’t change the fact that not only are the two titles above catered to the supposed hardcore crowd that seemingly felt abandoned by the motion controlled giant, but the success of these titles has a strong chance of shaping the WiiU into a console that caters to all audiences.

Above all, Nintendo is a business. And if there’s one thing a business cares about, it’s making lots of cash. If Nintendo of America feels like the potential reward of releasing a particular title offsets the risk, then why would they ever want to pass it up? In reality, we weren’t ever supposed to get these titles on our side of the shore. As I’ve mentioned in passed posts, it wasn’t until a group of respectful, passionate gamers banded together and proved to Nintendo that yes, in fact there was an audience for these games that were originally only meant for Japanese and European eyes.

That hot night with a Chocobo and Lion-O has come back to haunt Ganondorf.

I’ve never shared the idea that the Wii wasn’t welcoming to the hardcore gamer. Personally, I’ve never had a hard time finding fantastic exclusive games to quench my thirst while waiting for the next Zelda or Mario. On the flip side, it was hard for me to argue when Nintendo time and time again decided not to release games like Fatal Frame 4. Or Another Code: R, (Trace Memory 2 for us Yanks.) Or Disaster: Day of Crisis. I mean why would they? As much as gamers cried out for quality hardcore games, how much did Zack and Wiki really sell? How about Madworld? Or either Conduit game? One was an incredibly vibrant title with charm to spare, one was a vulgar, violent bloodbath and the last two were solid FPS titles with fantastic online multiplayer. Of course, these aren’t the only examples, but I’m not here to list great titles that were overlooked, (I’ll save those for my Underground Games series, *shameless plug.) Most gamers didn’t even give these titles a chance, all while crying to the high heavens that there weren’t any releases catered to them. Although it may be too late for the Wii, The Last Story can help it go out with a bang straight into the WiiU’s release.

Last Story has all the tools needed to be a success. It has the all star pedigree developer wise. It promises to satisfy starving RPG fans regardless of console preference. It promises to be a memorable epic that reminds us of the feeling we got spending hours leveling up our favorite party members over a decade ago. Now whether or not that pans out remains to be seen, (look for a review in the near future, *shameless plug #2,) but according to critics so far, it seems to be a winner.

But in the end, it’ll be up to us gamers to buy it and show that we want games like these. Game publishers will have to take notice, especially when all they can see from us is dollar signs. As the WiiU approaches, we really need to prove that while party and fitness games are all well and good, we want our games with depth. Titles we can lose hours on if we choose to. Because there IS an audience out there. We just need to open our eyes as a group and recognize quality titles when they’re released. Maybe then we’ll actually get the next Disaster or Another Code for WiiU. Hell, maybe Xbox and Playstation will get more decent JRPGs if we show we want them on other platforms.

As the enemy waits, Elza bravely lets out a battle cry that sounds a lot like, “I’ll be finished in a minute!”

So there it is arriving on store shelves. Xenoblade created the momentum but Last Story continuing it will play a big part with whether or not we show we want strong titles like these rather than another half-hearted Mii game, (I still haven’t forgiven them for Wii Music.) Let’s prove that North America is about more than gore fests and that we want a variety of quality titles. And from what I’ve played so far, Last Story is one that will be well worth our time. You know, unless Wii Play 3 is on the top of your WiiU list and Carnival Games is your game of the year. I won’t judge.

Heroes of Ruin seems great when you skim the surface. A dungeon crawling, loot based game that’s portable with actual controls instead of using your fingers to manipulate a virtual D-Pad or buttons is perfect. Almost too perfect. As with most of the games that fall into this category, the addiction is hard to deny. Searching every corner of the current dungeon you’re in looking for that one piece of loot that will make the difference in some of your stats is more important than the actual battles in these cavernous mazes.

Loot seemed to be the only thing keeping me going though. With a story that is too generic, Heroes of Ruin fails to stand out in the crowd of typical fantasy stories. Trying to find the lost relic that will revive the king in the land of “insert name here” while trying to figure out who is trying to deceive you in order to wield that power has been seen all too often and recently with games such as Diablo 3. Since games that fall into the loot finding category are never about the story, I can’t fault Heroes of Ruin too much on that respect.

I was enamored by every piece of loot I found even if it wasn’t something my Gunslinger could use. n-Space was smart enough to incorporate an easy way to sell items in your inventory, at a lower cost than selling at a vendor in town. Considering that you can only hold 34 items, which include the ones equipped in your inventory, you will be using this feature a lot. Near the last quarter of Heroes of Ruin, selling loot found in the dungeons won’t be an option due to your gold capping out at 99,999. This makes searching for loot, what makes games of this caliber fun to play, a painstaking task. Hovering over every piece of loot to find something you can use that is better than what you have equipped becomes tedious. Considering you would be better off just spending all your gold at the character specific vendors in town for gear, such tasks seems worthless.

Playing as the Gunslinger, everything felt a little too easy. A perk in one of the three skill trees lets the gunner have a good chance to knock back enemies with each shot as well as damage enemies close to each other. As soon as I heard a any noise at all, I would let loose with my pistols and let the auto-aim do its thing. I tried playing as a Vindicator class, think paladin in World of Warcraft, and combat was still easy but I had to adjust my tactics a bit and use more abilities than the Gunslinger. The only trouble I ended up in while playing Heroes of Ruin was getting stuck in attacking animations. Not being able to quickly react to anything is something developers have to get in their head as being a bad thing. Yes, your animations for the character models are pretty but having me locked into said animation is not doing the player any favors.

Multiplayer seems to work for the most part. In the time that I played for the review, I ran into very little lag and finding games was actually easy. I tried using the mic to talk to others that where in the game with me but it seems that people have the option to use voice chat turned off. Either that, or they didn’t understand how to turn it on in the options menu. The one thing that actually made my online experience with strangers horrible in Heroes of Ruin was the way loot was setup for online play. I would barely get any of the loot since the people I was playing with would just take it as soon as it dropped, even if they didn’t need it. Even though the best loot is usually at the vendors in town, it’s still annoying to have people join your game, steal all the loot and then quit. The separate loot system is the one thing Blizzard got right with Diablo 3.

Diablo 3 is wearing thin and Torchlight 2 is nowhere in sight. What’s a gamer to do while waiting for Runic to toss a bone our way? Heroes of Ruin may seem like the answer but ends up being nothing more than a temporary fix for the dungeon crawling loot junkies.

 

XSEED announced today that the prequel to the popular Ys series, Ys Origin will be coming to Steam on May 31st. At the price point of $19.99, this is a perfect time to get acquainted with what everyone in Japan got to play back in 2006.

Besides having the game translated in English for the first time, being on Steam will have the usual achievements and cloud support. For those who prefer to use a controller instead of mouse and keyboard, you heathens, you will have that option as well.

If you are not familiar with anything Ys, check out http://www.worldofys.com/yso/ to get caught up.

 

As with most people, I have only experienced Game of Thrones through the HBO series and not the books. The political turmoil, crazy plot twists and yes, boobs, makes the show entertaining to watch. And of course, with every great series, we sooner or later get a video game (remember the Lost game?). The first try for Cyanide (Montreal) was with Game of Thrones: Genesis, a turn-based strategy game that was ill received. This time around, Cyanide (Paris) takes a stab at Game of Thrones with an Action RPG.

Instead of following the original story, Cyanide crafted a new one, a tale that takes place before and during the first season of the HBO series. The story revolves around 2 different characters. One is Mors Westford, a Night Watch ranger that has to go on a mission to find a woman that Jon Arryn, the hand of the king, wants protected. The other is Alester Sarwyck, a red priest who comes home after many years to pay his respects to his dead father as well as to rightfully claim the throne of his home, Riverspring.

With the help of George R.R. Martin, Cyanide has created a fantastic story that is a joy to experience. Just be prepared to sit through a lot of text and dialogue. Game of Thrones has so much exposition in the beginning that it almost wore me down. So much information passed before me through my 25 hour play-through that I was wishing that I had the Cliff Notes in front of me by the end (because without complication, it’s not Game of Thrones!)

Speaking of the end, Game of Thrones just doesn’t seem to want to end when you want it to. Multiple times I thought I was at the end of the game when it just kicks into another chapter. It’s kind of frustrating when you are up at 4am thinking that you are at the end and you end up with 3 more chapters to go. Choices that you make in the game are supposed to change the outcome as you progress yet I felt that the changes were minor and never had the impact Cyanide intended them to have. The only choices that seemed to matter where the ones near the end which decided which of the 4 endings I received.

Thankfully, the story is worth it due to some good voice actors. Only two, unfortunately, are the actual actors from the HBO series. James Cosmo (Lord Commander Jeor Mormont) and Conleth Hill (Lord Varys the Spider) had me seeing them as they are in the HBO series while talking to me in the game. Of course it helps that the characters were also modeled after their HBO counterparts. I had a hard time with Alester’s voice acting. There are times when he nailed it. Too bad there are many other times where the delivery of the lines were awful. Mors, on the other hand, was amazing throughout the game. With the low, gravelly voice, you knew that he was a man best left alone.

Combat ended up being quite boring at first. Having to queue up 3 actions at any given time was unsatisfying. It only got a little better when you had more than 1 person to control to switch between and manage their attacks. I appreciated how the action slows down when you bring up the radial skills wheel. I had a few close calls with drinking a potion to stave off death. Just like the story, the good combat takes some time to get to. Once you learn that enemies with different armor types are susceptible to certain weapon proficiencies, you try to set the weapons in your 2 separate load-outs to accommodate that. You can get by with just using weapons with the proficiencies of cutting and perforating. I rarely ran across enemies that blunt weapons had a bonus effect on.

The absolute, best thing about the combat is using Mors’ skinchanger ability. With this ability, you can control your mangy mutt of a bulldog. Doing so lets you run around in first-person view as the dog! I became more wrapped up in the sneaking around, stealthily killing soldiers by ripping their throats out. It reminded me that someone needs to make a Milo & Otis game. You can sniff around for hidden treasure too but thinning out the ranks by leaping at enemies throats is really, really fun.

I see where Cyanide was going with the customization for each of your characters. Having the option to pick between 3 different battle stances for Mors or Alester will have an effect on what skills you can learn and what weapons you will be more proficient using. Late in the game you can add a second stance to add more abilities to your arsenal. None of this seems to really make an impact since most will settle on the 2 or 3 skills that are the most useful and spam them over and over ad nauseum. One thing I did find surprising is being able to pick your strengths and weaknesses. For instance, I can pick leadership as a strength and to balance that out, I would have to pick something to offset that like a weakness to fire. I would like to see this implemented in more RPG’s. More customization is not a bad thing, as long as it’s done right.

With such a vast world to use, it’s a shame to not have anything really to do in it. There are side quests to be found albeit very few of them. I wanted more to do than just the main quest and lazily exploring the world and found myself disappointed when there wasn’t a reason to do anything but the main story quests.

Still, the Music in Game of Thrones is pure bliss and worth wandering around listening to. Again, having HBO on their side helps out with some licensing and Cyanide was able to use the theme song from the TV series. I spent the whole week humming the very infectious theme. The visuals of the world and characters could have been cleaned up a bit as they are not pretty to see at times and some clipping issues are bothersome but none of it should take you out of the game as you play.

With George R.R. Martin helping craft the story, fans of the books and TV series will find enjoyment in the intertwining stories between Mors and Alester. People that love a good story in their RPG but don’t follow the book or HBO series will still find Game of Thrones interesting enough to sit through the dull moments in combat as well as the world feeling a little empty. Everyone else coming to this game on the assumptions that it will be “Game of Boobs” will be sorely unsatisfied. After 25 hours with the game, my quest to find some boobs was still unfinished.

Crowdfunding has been making a big impact in the realm of video games, with the most famous being the Double Fine Adventure kickstarter started by Tim Schafer, which raised nearly $3.5 million dollars to fund development for their new game. It’s a model of funding that could become really big in the future, although I’m personally waiting to see when the 1st real failure of crowd-funding occurs, just so we can analyze and improve on the process of crowd-funding, enabling a better service for fans, consumers, and developers alike.

I am a huge fan of the SNES-era Shadowrun game, and to be able to play this game on the PC, with a level editor built into the game, does sound like a real treat, especially for fans of the Blade Runner/Deus Ex: Human Revolution aesthetic. And now we’ll hopefully get a chance, as the experience I’ve just described, entitled “Shadowrun Returns”, has successfully hit its Kickstarter goals! Well done, internet!

For more information, visit the official Kickstarer page here.

Source: http://venturebeat.com/2012/04/29/shadowrun-returns-raises-1-8m-in-kickstarter-campaign/

We’ve all wondered what would happen if our favorite pop culture characters were pitted against each other in mortal combat. Well we’ve got a few match-ups covered for you! In this exciting episode it is movie villains vs. super heroes. With the help of some trusty 20-sided dice and their vivid imaginations, Heidi and Stephen tackle just who would win and why. Prepare to be surprised and possibly delighted by the outcomes

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The insanely popular book and now TV series, Game of Thrones, has branched out to another media. Games!

It’s obvious that the RPG Powerhouse, Atlus, really put their entire effort into this game. It looks AMAZING, with good voice acting and an original story written under the direct supervision of George R. R. Martin I do not feel that this game will disappoint.

Game hits stores May 15th. Thats for Xbox, PS3 and PC (STEAM).

Check out the official site for the game here.

 

I have heard a lot of interesting crossovers during my time as a gamer: Kingdom Hearts, Super Smash Brothers, and Marvel vs. Capcom to name a few, and I’ve enjoyed many of these crossovers whenever I came across them, though I was never seriously invested in any of them to warrant dedicated gameplay. Most of these crossovers warranted at least a cursory examination depending on how out-of-place they were, or how the developers came up with a way to unite two completely different franchises, though there usually was an element tying them together that made sense, whether it’d be story-setting, similar game mechanics, or artistic aesthetic.

When I first heard about Pokemon and Nobunaga’s Amibition having a crossover, I was dumbstruck because these two franchises are extremely different to me.  Pokemon is a family-friendly RPG series where you capture monsters to become a Pokemon Master while Nobunaga’s Ambition is a RPG series in which you choose one of many feudal warlords of Japan in order to conquer and unify the country under a single ruler. How in the world would you take these two franchises with two completely different themes and settings and combine them into a coherent story with gameplay?

Analyzing one of the trailers, it looks like you choose one warlord with a specific Pokemon, and you attack your opponent’s Pokemon in a tactics-based RPG combat setting, similar to Final Fantasy Tactics advance, and you proceed to conquer your other opponents in their story, whether each warlord has their individual story, or you’re playing the same story with each warlord offering their own unique dialogue to situations in the game. The game does certainly look interesting to at least check out, though whether it is good or not, or even if the game will even see an international release, remains to be seen.

Source: http://venturebeat.com/2012/03/24/pokemon-nobunagas-ambition-crossover-is-a-real-thing/

Mass Effect 3 is a game I was anticipating for a long time. The 1st game completely immersed me within its universe, an experience that really drew me in. I played Samuel Shepard, a paragon vanguard who strove for peaceful dealings and diplomacy in his dealings, but was not afraid to fight back with a shotgun.  A year later, I bought Mass Effect 2 and was quite impressed with the sudden change in game play, an increased focus in character development, and seeing some of the decisions I made in Mass Effect 1 having visible consequences that made me rethink how I played. My Shepard continued to use his diplomacy and combat skill well, which ultimately led to his entire squad surviving the Suicide Mission and delaying the Reapers from attacking. Another year after that, Mass Effect 3 is now in my hands and I can safely say that the conclusion to my Shepard’s story is complete, if not abrupt.

Between the 2nd and 3rd game, the human Alliance had Commander Shepard grounded and took back the Normandy SR2, with your squad mates from the previous game splitting up to do their own respective tasks. After some time has passed, the leaders of the Alliance call Shepard into a meeting to inform that the Reapers have arrived. You run into Virmire Survivor from the first game (Ashley in my case) and in the meeting, you confirm that the Reapers are here. Immediately, Reapers attack Alliance Headquarters, with Shepard and Admiral Anderson being the only ones alive. Shepard comes across a young boy who he is unable to rescue and later sees dying while escaping from the Reapers. After escaping from Earth, you learn of  a Prothean super weapon that has enough power to supposedly destroy the Reapers, and Commander Shepard is tasked with uniting the different alien races and finding assets that will not only help attack the reapers, but also build this super weapon which is later known as the Crucible.

In my opinion, the story is the weakest of the three, but it is a Bioware game which means that it is still well-written and epic as ever. Development for many of the characters reaches their conclusion as everyone is now focused on the war. It is still satisfying to interact with them and hear their personal observations on the war, and there are still great moments despite the war being the primary focus. Ironically, Commander Shepard gets the most character development. While your Shepard has always built his own story based on your choices, the death of the child as well as maintaining leadership in rallying both his squad and entire races to fight the Reapers has started to wear him down, though that has not affected his ability as a leader. With the exception of some story elements, particularly with the Crucible and the ending, the story is mostly excellent, and what doesn’t work all depends on how you partake in suspension of disbelief. For some elements, it is easier said than done. As for the decisions you made through all three games, they definitely have an impact as some of the major decisions you made will have conclusions to its stories, and these events will succeed or fail based on some these choices. These moments helped make me feel that the choices I made were not wasted.

Combat is similar to Mass Effect 2. You still have the same battle mechanics: running from cover to cover, firing from cover, and using your powers tactically. There are some tweaks, like how Shepard can run (Unlike the running from Mass Effect 1) and dodge attacks by rolling, which will help as enemies are more aggressive than before. You have a few more ways to attack with melee, like a heavy attack, a stealth kill, and a short combo. There is also another combat: the inclusion of weight in weapons. The weight of your weapons determines how fast you recharge your powers, and you can also equip all 5 weapon types in the main game, so having all 5 weapons equipped will slow down your power usage. Depending on your class and play style, it may be beneficial to have one-two weapons to maximize power usage, or have a variety of powerful weapons with minimal powers, and it is possible to equip all 5 weapons and have a decent power recharge if you pick the lightest weapons and choose skills that reduce your overall weight. I actually like this change as it ultimately refined my play style. With this system, you choose how you play even more. On a side note, what’s disappointing is the removal of Heavy Weapons as part of your standard arsenal. Instead, they now appear in a few specific missions and are used more as a situational weapon. I ultimately did not bother with Heavy Weapons in Mass Effect 3, but I do miss having another option available.

Outside of combat, you still are able to interact with NPCs and engage in meaningful dialogue aboard the Normandy and the Citadel, and the decisions you make not only boost your Paragon/Renegade meter, but also your reputation. When you talk to people, or complete a side quest, you get a Reputation boost which essentially enables more dialogue options as you play through the game. I assume that with higher reputation, not only can you use high charm/intimidate decisions, but there is no major penalty to mixing up Paragon and Renegade.  I do appreciate having some Renegade options open thanks to reputation, but I ultimately didn’t notice it’s effect as I played typical Paragon and chose Paragon options all the way. Aside from side quests, you can also repurchase all of your equipment from Mass Effect 2, including DLC-exclusive weapons and armor from the different stores. I was disappointed that my inventory did not import directly into Mass Effect 3, but I did appreciate being able to buy DLC gear with in-game credits. On that note, armor works exactly the same as in Mass Effect 2: You buy pieces that have various stat bonuses, and you mix and match to form the best armor for you. There are also full suits of armor you can’t customize, but they offer bonuses in various stats, which are definitely more accessible if you’re waiting for a specific armor piece.

The scanning from Mass Effect 2 has been improved as you are scanning for military resources and artifacts instead of hoarding minerals for research. The new scanning not only help you finish side quests, but also build up your War Assets which determines the ending of the game. However, when you scan the system, it attracts Reapers, so when you scan too many times in a single system, they will come to kill you. You have to evade the reapers quickly, or else it’s game over. This adds tension and it makes flying around the galaxy a bit more exciting. You can easily leave and come back to scan while reapers are after you. It’s definitely more enjoyable to scan planets this time around. Aside from this, there are no other mini-games, not even hacking from the previous games, leaving combat as the only gametype.

Your squad is definitely smaller compared to Mass Effect 2, which I did appreciate. While I really enjoyed the large cast in Mass Effect 2, I found myself favoring Garrus and Tali in every mission and did not use anyone else except for their loyalty missions. While I did the same thing in Mass Effect 3, because of the smaller roster, I did enjoy that each character was more or less unique with their abilities. While I did appreciate the smaller-sized roster in general and seeing former squad mates in their individual mission, I was hoping to have them tag as a temporary party member, similar to how Liara was used in ‘Lair of the Shadow Broker.’

Is It All Good?

The technical issues are where Mass Effect 3 falls short. To start off on a positive note, the visual aesthetic of the game is fantastic, especially with how the environments are awe-inspiring in how it shows the Reapers destroying everything, setting up a well-executed mood of constant struggle, hopelessness, and determination to succeed against all odds. However, there are some low-resolution textures in the game which also has some really slow loading, otherwise known as pop in. A prime example would be when you exit from a planet after a mission, and seeing the various landmarks load one at a time. On top of that, some characters glitch with their attention focusing on another object, their eyes spontaneously rolling up like they’re possessed, or completely disappearing. They were very few of these technical errors, but they do stand out.  In terms of the soundtrack, there are some great pieces of music, particularly with the multiplayer tracks and some of the boss fights, but the score is more orchestral, and you can tell the change of focus in music styles. It’s not bad at all. Actually, the music is really good as I wanted to listen to the soundtrack more than once while working. However, it doesn’t stand out as much as Mass Effect 2’s soundtrack. As a matter of fact, the only thing that really stood out to me as WRONG is the technical errors. If these errors can be fixed through patches, the overall experience will be much more immersive.

Multiplayer is the same as it was in the demo. You make a character and play on different maps against enemies in 11 waves of co-op action. You earn credits as you play, and these credits are used to buy equipment, weapons and powerups. It still has the same strengths and faults as it did in the demo, so I’ll explain what’s new. What are new are the different maps and the enemy factions. You have 6 maps total and three enemy factions: Reapers, Geth, and Cerberus. Cerberus plays exactly the same as in the demo, and they are the most tactical enemies. The Geth are powerful and have a variety of enemy types though their weaknesses can be easily exploited. The Reapers are the most aggressive and difficult of the enemies as they will continuously move forward, keeping you mobile.  Each faction requires different strategies and tactics, which keeps gameplay fresh. The store has a new item pack, the Spectre Pack, which costs 60000 credits and will let you get more powerful items. You can also use real world money to buy these packs. It’s optional to purchase these, which is much better than being forced to pay with real money.  Multiplayer is holding my attention, but I don’t know how long it will last. Thankfully, there seems to be DLC coming that will add more characters, items and hopefully, new maps. I would also love to see more gametypes personally, as co-op play is fun, but is starting to get a bit old.

The Controversial Ending

Despite how many people have enjoyed the game, there has been a nearly universal outrage over how Bioware chose to resolve the third game as well as Shepard’s story. (SPOILER ALERT AHEAD) Many people stated that the endings were too similar to one another, the decisions you made essentially didn’t matter in the game’s conclusion, and that collecting War Assets was also pointless as the battle proceeded the same way as if you collected minimal assets.  On top of that, by activating the Crucible, you destroy all the Mass Relays, crippling all of galactic civilization and potentially destroying all life since Mass Effect 2’s ‘Arrival’ DLC established that destroying a single Mass Relay would create a supernova that would destroy an entire planetary system. People were also angry that the Normandy ran away from the main battle and into a relay, essentially trying to escape the explosion caused by its destruction. (SPOILER ALERT END)

The outrage was so significant that fans had started a facebook page called ‘Retake Mass Effect 3’ as well as a charity for Child’s Play to raise awareness of a petition for Bioware to change the ending to make much more sense and provide proper closure to the series. series (Although the petition had just recently ended with an official statement from Child’s Play on Reddit, which makes a lot of sense from the charity’s point of view) One fan even went so far to make a complaint against Bioware to the Federal Trade Commission for ‘false advertising.’ This has also led to a fan theory, the Indoctrination Theory, which basically tries to prove that Shepard had been indoctrinated since the start of Mass Effect 3, and that many of the ending events are a hallucination in Shepard’s head. It’s extremely detailed and lists a lot of great points for its arguments while other players claim that players are grasping at straws in order to make sense of what might simply be a badly-written ending.

Initially, Bioware’s executive producer Casey Hudson claimed that he wanted the ending to be as unforgettable as possible in an extremely polarizing way, stating that the intention was to get gamers talking and discuss what’s next with the franchise as well as the characters. Well, talk about it they did, but not in the way that the team had expected. Eventually, they released a statement on the Bioware social forums that they are listening to the feedback and will engage in healthy discussion about the ending when more people have had a chance to play it, which indicated a good sign that things might change, especially since Bioware’s Jessica Merizan posted a thread on the forums asking for constructive criticisms and suggestions on what to change in Mass Effect 3. Well, just yesterday, Bioware’s co-founder, Dr Ray Muzyka has released a statement that they are working on ‘a number of game content initiatives’ that will help answer questions and ‘providing more clarity’ for those seeking further closure to their journey.’ Here is a segment from his statement.

Building on their research, Exec Producer Casey Hudson and the team are hard at work on a number of game content initiatives that will help answer the questions, providing more clarity for those seeking further closure to their journey. You’ll hear more on this in April.  We’re working hard to maintain the right balance between the artistic integrity of the original story while addressing the fan feedback we’ve received.  This is in addition to our existing plan to continue providing new Mass Effect content and new full games, so rest assured that your journey in the Mass Effect universe can, and will, continue.

This honestly could mean anything, whether it results in new cutscenes after the ending, if the game opts for a Fallout-style epilogue, or if the ending will be significantly changed.  However, there will be more information come April in regards to the proposed changes. You can bet that there will be unhappy fans that won’t be happy with what Bioware decides to gives the fans, but the fact that Bioware is modifying the ending after only two weeks of the games release is quite significant, and it will probably be the first game that modifies the ending substantially through DLC, at least in recent history.

Mass Effect 3 is definitely the conclusion of the Shepard Saga of this franchise. Where the franchise goes, it’s unknown. I would say that despite the ending of the series, the game franchise still has a bright future ahead of it, and I’m excited to see what the next game will bring us. In regards to the ending, I’ve opted to omit the ending from this review as I feel it requires a separate discussion and article in order to do it justice. Regardless of how you feel about the ending, this game should be played, regardless whether you’re being introduced into Mass Effect, or if you’ve played from the very first game. I would recommend that for the absolute best experience, you start from the very first game all the way to the third.

With stunning art style that looks like it’s straight out of a animated film, The Banner Saga looks to be a must play RPG for everyone. Of course the story is going to be great when you have the triple threat of Alex Thomas, Arnie Jorgensen and John Watson who before forming Stoic, worked on Bioware’s Star Wars: The Old Republic.

Having some questions on my mind, Alex Thomas was so kind enough to indulge me in answering them.

How much influence from working with Bioware on The Old Republic and each other has carried over to your new company, Stoic?

Hmm, I’m not sure if influence has been as important as experience. Our gameplay is very different from The Old Republic in both combat and exploration. Though I love the scope of what BioWare achieves with their dialogue we’ve taken a slightly different approach to it. I would say it’s more similar to The Witcher in that our goal is to give the players choices in conversation when it’s really important and when it affects the development of the story. That said, the experience we’ve all gained from working at BioWare is immeasurable. John, who is creating all the tech for The Banner Saga, was the lead combat programmer on SW:TOR. Arnie’s experience as the lead concept artist translates perfectly into making a 2D game where his artwork becomes the actual game. My time on design and cinematics gave me a lot of experience on just how to make dialogue that branches, and once you know how it works you realize it’s nowhere as easy as you’d think. In terms of successfully developing a game we absolutely owe this to all our previous development experience.

Why Vikings?

It’s interesting that we’ve gotten this question as much as we have, it was a pretty easy decision for us. We really love the visual themes, history and mood of their culture and (pre-Skyrim) it was rare to see them in games, especially the role-playing variety. We knew we wanted a fantasy setting but desperately wanted to avoid from the very overdone “elves, dwarves and orcs” dynamic. It’s also worth mentioning that one us is named “Jorgensen”.

The name, The Banner Saga, immediately has my mind thinking about Game of Thrones. Does that series have any influence on your game, The Banner Saga?

Who doesn’t like Game of Thrones? One of the biggest inspirations from that series is when you say it’s a mature story you understand it’s about political intrigue and the relationships between the characters, not sex, swearing and violence. It’s also not about high fantasy and dragons and magic, and it’s not about black and white, good versus evil. It really is a story written for thoughtful adults, and that’s refreshing. We’re desperately avoiding swiping any of their fantastic story, but that’s definitely the tone we’re trying to hit with The Banner Saga. I’m glad it came across!

This could have very well been a 2D action game with how the beautiful the art design of the games looks. How did you decide on making it an turn-based RPG?

There were several reasons for this but two very prominently; firstly, we love the genre. Not to namedrop, but I’ve been a fan of almost every TBS to come out on the market since I was a kid- Tactics Ogre, Shining Force, X-COM, Fire Emblem, Disgaea, Jagged Alliance. That’s not to say we’re going to be just like all those games, but I love them all. I think we’ve actually come up with a pretty unique strategy system that people may not have seen before. I’m excited to start talking about more about that in the near future.

To a lesser degree, a turn-based game is more within the scope of what a small team can create, at least with the breadth of content that we’re going for. One of the interesting side effects that we’re noticing is by saying we’re from BioWare and showing things like branching dialogue, people are starting to look at our product like it’s going to be made by 200 employees. Instead, we’re making it as smartly as we can, and going for innovation in each system, and turn-based combat was a big part of that.

I see that you have “free multiplayer combat coming soon” listed on The Banner Saga’s info page. Can you explain a little about what players can expect from multiplayer?

As we were developing our first release we felt like the combat was really fun and couldn’t really think of a great reason not to release it as a standalone. If you don’t have marketing dollars you’ve got to make your game available in some way as soon as possible and let people talk about it. So basically we’ve taken our turn-based combat, broken it out of the full game and will be making it free to play on PC and Mac, while we continue to develop the first part of our single player campaign. In this release we’ll have all the classes we’ve currently developed available to play and upgrade over time. We’ve added a narrative story you can progress through if players just want to play against the computer and we’ll be featuring multiplayer matches for people who want to try it competitively. As we continue to work on the single player game we’ll release new content to the multiplayer standalone. We’ve also got big plans for future crossover between our multiplayer and single-player releases, as they both persist in the same world.

How many people are working on The Banner Saga or is it just the three of you?

At this time it’s just the three of us. We are literally an independent studio paying for production out of our own pocket. We’ll be putting up a Kickstarter campaign soon and depending on how that does we’ll start looking into creating more content and expanding the scope of the game.

With Kickstarter being in the spotlight recently with Double Fine’s new game, do you think this will help bring more attention to smaller studios wanting to put their ideas into reality?

I can’t say for sure what the success of Double Fine’s product means for everyone else but I’m thrilled about the chance that it’ll give indie development a boost. Already I’ve seen a handful of really great projects get amazing funding since then, which is seriously encouraging. This might sound pretty obvious but an expanding indie market can only mean better things for both big and small studios, not to mention gamers. Everybody wins.

 

More info from Stoic Studio will be released later this week with the Kickstarter page being published. For now, head on over to www.StoicStudio.com to read more about The Banner Saga.

Late last week, Nintendo held their Direct Video conference and dropped a bomb on North American RPG fans. The Last Story, a Wii exclusive RPG that was never supposed to see the light of day in the west, is being brought over thanks to a publishing deal with Xseed games. And yet, it’s ironic that a big reason why this game is seeing the light of day here is because of a little bit of rainfall.

If you’re wondering why this is such a big deal, there are a few reasons. First, this is the next major RPG developed by the folks at Mistwalker Studios, headed by the father of the Final Fantasy series, Hironobu Sakaguchi, (Last Story, Final Fantasy… Get it!?) Impressions coming in from Japan and Europe are incredibly positive, showing that Sakaguchi has not lost a step when it comes to creating these epics. After all, the last good single player Final Fantasy to me was the X series, (yes, including X-2.) And what a coincidence, these were the last ones he worked on. This game is the real next step in the series in my imaginary world where FFXII and XIII don’t exist.

To think we almost weren’t going to get this.

Second, it’s one of two high quality JRPG’s coming to a system that’s not only starving for RPG’s, but games period at this point. With Nintendo focusing on the Wii U, Wii owners haven’t had much to do in the way of new games for awhile now. Maybe the promise of a mini JRPG revival in a generation that’s been lacking all around in the genre will send the Wii out on an incredibly high note.

And lastly, it proves that a group of passionate fans can make a difference when they’re persistent, respectful and enthusiastic. Since the creation of Operation Rainfall, the Facebook group dedicated to bringing three Wii exclusives to the west after Nintendo of America had shown no interest in shipping them over, they’ve built awareness and a following that couldn’t be ignored. The first game of their campaign, Xenoblade Chronicles, was announced for an April release a few months back, and now with The Last Story on its way, even if they were to stop at this point, it’s impossible to argue that this wasn’t a huge victory. Plus, it proves the naysayers, pessimists and douche bags who berate groups like these by saying they’re “whining” because they won’t accept the unfair decisions that are force fed to them wrong. Capcom fans can learn a thing or two from this.

The Last Story is scheduled to be released this Summer, with Xenoblade coming out April 6th. The third game, Pandora’s Tower, has yet to be announced, but with the momentum this movement has built, don’t be surprised to hear about it soon. Until then, check out the new Last Story trailer that hit the webz after the announcement and prepare to get hyped!

During the Pokemon Smash! TV show in Japan, Game Freak head Junichi Masuda let the electric shooting cat out of the bag; Pokemon Black and White 2 are headed to the DS!

The announcement was surprising on many levels. First, it’s no shocker that a new version of Black/White would be coming eventually, especially considering the series is known for releasing a third “enhanced” version, (and by enhanced, I mean the same game with a few slight changes.) However, these games are the first full fledged sequel within a Pokemon generation. Whether or not the game will have a new story, an updated Unova region or a new region altogether remains to be seen, but I’m crossing my fingers that the game will expand on the surprisingly well told story from the originals. Oh, and now there are two new versions instead of one, proving once again that Pokemon’s strongest ability is the ability to print money.

Secondly, while I have no idea how the games would properly communicate if they were on different platforms, it seems to be a shock to some that the games are coming to the DS instead of the 3DS. It makes sense to me that a direct sequel to a DS game should remain on the DS while the next generation is prepped for the 3DS, especially since the 3DS is fully backwards compatible, but I feel for my 3DS owners who want their creatures to take advantage of their shiny new handheld. Let’s just hope that the games will have extra 3DS functionality or bonuses, like Zelda: Oracle of Seasons and Ages did for the GBA.

And lastly, the cover Pokemon seems to be the complete version of the three main Legendaries from the first games. It was said that the previous mascots, Reshiram and Zekrom, were once one Pokemon that split into two, while the hidden ice beast Kyurem was implied to be their discarded body after the split. What can these new creatures be? Are they new Pokemon, or are they Kyurem with either Reshiram’s fire element or Zekrom’s electric element? I can’t wait to find out!

Black and White 2 will hit Japanese shelves in June, while the games will be “coming soon,” to North America.

When the Xbox Live Marketplace accidentally leaked Mass Effect 3’s DLC “From Ashes“, people were outraged. People were angry that Bioware/EA had seemingly taken out content developed alongside the main game and are selling it as DLC, especially since there are supposedly voice files for the DLC character simply known as “The Prothean” already packed into the demo. Whether this is the real voice of the character or not, people were raging pretty hard at Bioware and EA. One of the more common complaints is that the character was already built into the game during development and was subsequently removed to become paid DLC for an already pricey game. Its 60 dollars for the standard edition of the game and having to pay 10 more dollars for DLC that was supposedly developed alongside the main game on Day One is definitely outrageous and can also become pretty expensive as further DLC is released.

Three days ago, Michael Gamble (Producer of the Mass Effect franchise) posted on the Bioware Forums regarding the leak and wanted to clear things up. This is from his post:

As most of you know, yesterday there was a leak that revealed the upcoming DLC “ME3:From Ashes” on the Xbox LIVE Marketplace. This leak took place before we were prepared to make an announcement about the details of that pack (slated for this Friday).

There has been a lot of discussion about the DLC offering but we wanted to clarify a few things…

– “From Ashes” includes the Prothean squad mate, an adventure on Eden Prime, a new weapon, and an alternate appearance for every squad mate. Note that these alternate appearances are in addition to the ones already advertised in the CE.

– The Collectors Edition has been advertised from the beginning as containing a bonus character/mission, but we were not at liberty to provide the details. The Prothean is optional content that is certainly designed to appeal to long-time fans, which is why he is part of the CE offering (the version many fans would be likely to purchase).  Mass Effect 3 is a complete – and a huge game – right out of the box.

– The content in “From Ashes” was developed by a separate team (after the core game was finished) and not completed until well after the main game went into certification.

– The Collectors Edition has been sold out in most places for some time now, and is becoming very hard to find (many players prefer not to purchase the digital version). As such, we wanted to make this content available so that SE buyers could also incorporate the Prothean into their game.

As always, we are extremely thankful for all of your support. We pulled out all of the stops to make Mass Effect 3 the best game ever, and we can’t wait for you all to experience it.

Mike

So that’s the official response from Bioware. Interestingly enough, Gamestop’s facebook also leaked screenshots ahead of when Bioware was planning to announce From Ashes officially. Screenshots are below if you can handle minor spoilers.

To the geeks out there, what do you think? Feel free to let us know in the comments below!

Source: http://social.bioware.com/forum/1/topic/323/index/9403705

Everyone is pumped for 2 weeks from now, when Mass Effect 3 is released. Why wouldn’t you be? Look at this trailer! It’s p0rn for geeks! The only question now is: How will you play through?

Let us know in the forums how you played through the first two games!

 

When it comes to modern RPGs, the Mass Effect series is at the top for me. It’s much better than Persona 3, Fallout 3, and even Skyrim. For the main games, you got fantastic cinematic storytelling, an extremely immersive universe, and most importantly, excellent characters that you really care about. It’s also interesting to see how the game evolved from an RPG similar to Knights of the Old Republic to an extremely competent hybrid of 3rd-person shooter and RPG, and when it was announced that it would have multiplayer, I was worried that it was the first potential sign that Mass Effect 3 would not be as great a game as the first two. To my surprise, when the demo was released and multiplayer was open to everyone, it was fantastic…! Intense game play that plays EXACTLY like Mass Effect 3’s single player campaign, strong co-op, and a really fun experience, the multiplayer certainly has a lot going for it.

Mass Effect 3’s Multiplayer has you playing as part of a squad whose task is to survive wave after wave of enemy forces until an Alliance shuttle can extract you and your squad from danger. You and three other players have to survive ten waves of enemies, with special tasks to accomplish at the 3rd, 6th, and 10th wave. These usually involve deactivating/activating 4 targets on the map, or fortifying a specific location to allow/stop the upload of intel, and after the final wave, you fortify your starting location for 2 minutes until a friendly shuttle can pick you up and end the mission. At this time, there are only two maps with three difficulty levels, but it’s still fun to play.

What’s great about the multiplayer is the sense of teamwork you get from each match as you need to work together in order to survive. It is possible to play by yourself or with one other person, but the maps do not adjust the amount of enemies in relation to how many players are in a single match, especially since the enemies are actively pursuing you in Mass Effect 3, unlike Mass Effect 2 in which the majority of enemies only advanced when you moved from your position. In order to win, it’s best to have at least 2 other people to back you up. At the end of each match, you get experience to level up your character and credits to buy different packs of items, which include weapons, mods for your weapons and armor, weapon upgrades, consumable items, and the ability to unlock further customization for a specific class.

When you start multiplayer, you choose a class and then you choose a character. There are 4 characters to each class: Two humans (Male and Female) and two aliens. As of now, only one character is unlocked, and I’m assuming that as you buy more item packs, you can unlock the other characters. Each race per class has unique abilities, so if you want a specific power set, try to unlock that character as you play more of the game. After you name your character, you can adjust his primary armor color and highlight color, with other customization options waiting to be unlocked.

Afterwards, you’re brought to the character menu in which you can choose and upgrade your powers like in the main game, change your weapon loadout as well as mod your weapons with scopes and other add-ons, add special enhancements for a single match via the Equipment option, or buy more item packs from the store. With weapons, you can only equip two guns total and you can’t carry two of the same type (IE, can’t carry two shotguns at once), but you can choose whatever guns you like, so it’s a good balance. One disappointing thing is that while you can create more than one character per class, you can’t delete your character. If you’re playing a human, you can move to the other gender since humans have the same skills in each class, but if you mess up with any of the other races, you’re stuck with a bad setup, and at this point, I don’t know if there is a way to re-adjust your powers.

When you’re done perfecting your character, it’s time to join a match. You’re able to join any match via Quick Match, create a new match and see personal and global leaderboards. Regardless of whether you choose quick match or create new match, you get to choose your map and your difficulty level. With creating a new match, you can choose to make it public, so anyone using quick match can access your lobby, or private, so that only your Origin friends can access the room. You can examine mission settings, adjust your character settings as if you were in the character screen, and adjust options here.

When you’re ready to play, click “Ready”, wait for everyone else, and in 5 seconds, you’re dropped into the match.  Another disappointing note is that there’s no general lobby where you can pick and choose player rooms, so you can pick the ones with a decent internet connection. When I used Quick Match, the hosting player’s internet connection was unstable half the time, which meant plenty of lag and matches ending prematurely when the hosting player is disconnected. This is probably the most disappointing part of the Multiplayer, and I hope that when the full game is released, there is at least an option to pull up a general lobby to pick your matches.

All in all, the multiplayer for Mass Effect 3 is very solid, and it is a good example of how to do co-op multiplayer well. The aggressive enemies and increasingly difficulty help reinforce working together as a team, and that is definitely the best part of the multiplayer altogether. It also feels more immersive than the main game at this time since you are playing as your own character in the Mass Effect universe rather than your version of Shepard. However, the disappointments that I pointed out will definitely turn off some players, especially those who play mostly for the multiplayer. Bioware/EA has at least some time to fix these issues, and if not, there will hopefully be a patch that addresses this in the near future. I definitely recommend checking out the single player campaign before you dive straight into the multiplayer, just so you can get an idea of how it works. You can download the demo and get more information about Mass Effect 3 at masseffect.bioware.com.

Warning! This episode has a ton of sex talk in it! Satine Phoenix is an artist, sculptor, roleplaying game enthusiast and model. She invited me to be a part of a fundraising D and D gaming event and I thought it was long since she should have come on the show to talk Dungeons and Dragons,  her former career as a stripper and porn actress and her own writing and artwork. Why not have her on to talk about this fundraising event? Also, she talks all about the scandal of purposefully bringing women by the Geekscape booth at Comic Con to try and ruin Jonathan’s life!

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