Messages

  I can't speak for anyone else, but I, for one, am curious as to how your first session went.

Magintz:  You're welcome.

Ryan:  A game session, or campaign, is only as detailed and rich as the DM (Dungeon Master) is capable of imagining.  Designing a world for the players is a very intensive project, even at it's most rudimentary.  So, the cleverer the person running the game, the better.  As far as needing to constantly use those infamous d20's (20-sided dice, for the uninitiated) is another quirk of the DM. 
  D&D, or ANY pencil and paper rpg for that matter, is an exercise in imagination.  If you can think it, you can attempt it.  The DM is the one who ultimately decides what's possible.  The dice are just there to provide a random outcome.
  So, no, it's not an exaggeration.

  Check out this site:  http://www.knights-n-knaves.com/osric/, and download the pdf (link on the right-side of the page).  This is a very nice compilation of the basic rules (nearly identical to anything TSR published) and it's free!  Keep in mind that these look like the ones I used to play with (pre-2nd Edition) so they may seem dated, but will still give you good insight.

  Advice for the new player:  Until you're comfortable with the rules, and how a particular group plays (especially the DM/GM), keep it simple or you won't have any fun.  Avoid spell-casters, if you can, for the first couple characters you play.  Only start playing multi/dual Class characters until you have played each Class individually.
  Just like school, have your paper and pencils (definitely NOT pens), dice if you've got 'em (if not just borrow for a few games), and be prepared for a long session.  As most have said here, take snacks and beverages.

  Speaking as a long-time player, your experience will depend entirely upon the group you're with.  Personally, I've played with folks from nearly every extreme.  Fastidious rule-followers to 'dice-never-hit-the-table' types, dead-serious to 'monty hall' (just ask someone in the group, they'll know what it means), each has it's merits and pitfalls.  Whatever happens for you, don't judge the game by the first group you play with.

Have fun!

P.S.  Halflings aren't 'that' bad.  Really.  You just have to find something to hide behind...alot!

Thank you.  I just draw what I see...

Hopefully you like food more than drinks!

Unfortunately (?), I do!  And I have the spare tire to prove it.

Good idea ! I should have think of that before going melodramatic 

So, let extend this competition until the 15.

Geeezzz, and I always work better under an impending deadline...

  I wouldn't base the main characters on anything I'm about to suggest, but you might find some plot-line gems amongst the reading.
  Search www.tcm.com for the following: 
  - Boston Blackie
  - Nero Wolfe
   Both are classic detective-type movies but chosen mainly because the sidekicks play important roles in each, and the timeline/genre seem to fit what you're looking for.  TCM does a pretty good job of providing a synopsis for movies, in general, so the reading is good and can be used for your other choices as well. 

...but its mostly Americans that are so hung up on nudity...

As an American, I can agree with this statement, even if I don't happen to fit this particular stereotype.  We're still working on breaking through the puritanical origins of our country, and the fundamental Christian sects that have since maintained the majority of our voting population.  But consider that the largest grossing industry in the US happens to be adult entertainment.  So the closet liberals are out there, just not in charge yet!

Personally, I must reiterate the sentiments of the previous posters.  If graphics (no matter how graphic) support the story, or the purpose of the game (which may indeed be purely sexual), I see no reason omit them, as long as there's sufficient warning of the content prior to game play, or even download (that's what meta-data if for). 

As a parent, I admit to a bit of concern for what my kids are exposed to, but I take that responsibility.  I don't agree with the mass censorship of ANYTHING.  Subject matter is a personal decision, as much as faith or philosophy is, so don't let 'moral majority' dictate what you produce.  Just take responsibility for a little bit of forewarning.

Well...no, but that's not a bad idea!  Let's see... 'Retro-vator:  Old lifts for new digs.'  I like it.

But as to not hijack the thread;  After looking at the latest bg, for a bit, I think the lighting should tail off softly, instead of the stark break, at the edges.  More in-tune with the shading on the right wall (which is greatly improved btw).

You're welcome.  I've been researching the same time-period for a project I'm thinking of starting, in earnest, sometime in the near future.

A quick search on Yahoo/Google, for images of 'old elevator', coughed up some decent photos of what you're looking for.  Depending on your period (I'm assuming WWII) I would disregard the push-button controls, and opt for the original manual up-down lever controls and use a single 'call' button.  Collapsible gates were very much in use, but hinged gates, and doors, were also around, usually in pairs; one for the car and one for the shaft opening.

First off:  Very nice for an early stage.

As far as composition goes there's a little perspective tweaking on the left hand units that could be done, and another console, table, or somesuch wouldn't hurt in the middle of the room.  It's quite a large space to be so empty on a space ship.

Using a graphics app. that allows layering would help keep you from needing to change your editing approach so often, if at all.  By placing your pencil sketch on the bottom layer, then using a different layer for each room component (ie: walls, pipes, lighting, computers, individual cryo units, etc...) you can edit each without having to redraw entire areas.

First off:  Great work!

What I noticed was his right leg.  It appears to be swinging in-and-out almost as much as forward-and-back, giving him that Monkees montage cross-over walk.  It's not as on-line with his direction of movement as the other views, giving his hips more sway than swivel.

Been following the production of this for quite a while now, and it seems that Jake's undergone a couple remakes.  Unfortunately, I like this one the least.  He doesn't seem fit into the background at all, as much as look pasted on.  Suppose I should be more specific...

Likes:

- I too like the beard, but it could be a bit smaller.  It over takes his face and it's far too yellow.
- The new body shape is better.  It's not hero-ish, but it's not as scrawny as the old one.
- Really like the narrower eyes.  He doesn't look as clueless.

Dislikes:

- Outlines, and high saturation, separate him from his surroundings.  A bit too Hanna Barbera for me.  It lacks the depth that the rest of the art shows.    Maybe use shading to infer the pockets, cuffs, collar, etc... or at least make the outlines closer to their neighboring colors.
- Hat is too small, and I miss the hatband (maybe the same color as the gun belt).  At first glance it looks like a ball cap.

Misc Suggestions:

- Gun belt needs cartridge loops (whether or not he has ammo is another thing), and it hangs the wrong direction in this particular frame.  The pistol will weight it down on his left side more.
- Spurs?

Just my 'take it for what it's worth'.  Looking forward  to more from you.

This is just a reasonably quick edit, but you can see where it's going.

Helm:  My comments about conflict are no reflection on your post/story idea.  I was writing while you posted that.  And I agree that the length and breadth of the plot have little to do with continuity, or good puzzle design.

To die, or not to die.  That's another matter.  But, I am with MillsJROSS on this one:  A sufficiently violent story shouldn't be safe for the player.

Alright, I've been reading this post for days now, and have come to one conclusion:  It's the same discussion on every adventure site, continued in most adventure articles, and beat to death on most adventure forums.  And if that's not enough, the 'I.F.' sites are adding their opinions to the case.  So, as to not let us fall behind, I'll add yet more fodder to the fire.

I do believe there is a distinct difference between puzzles, and obstacles.

puz-zle
  v.tr.
    1. To baffle or confuse mentally by presenting or being a difficult problem or matter.
    2. To clarify or solve (something confusing) by reasoning or study.
    3. To ponder over a problem in an effort to solve or understand it.
  n.
    1. Something, such as a game, toy, or problem, that requires ingenuity and often persistence in solving or assembling.

ob·sta·cle
  n.
    One that opposes, stands in the way of, or holds up progress.

Now, I realize that it may be tacky to quote definitions, and I'll accept that (for now), but I think it's necessary to make my point.  Within an adventure game, puzzles and obstacles may indeed go hand-in-hand, but to vastly different purposes.  An obstacle is merely something, or someone, that's in the way and needs to be overcome/circumvented so that the player may continue.  That's it.  No big deal here.  But a puzzle, now that's a different matter.  A puzzle can tease, entertain, and move the story forward, if designed well.

To my mind, a puzzle, within the confines of a game, is anything that can be accomplished by the player.  Be it unlocking/opening doors, getting information from the NPC in the other room, or shutting down a doomsday device.  It doesn't matter what the task, how simple, complex, or convoluted, as long as it requires more than clicking 'Next', or leaving the room, it's a puzzle.  If it's in inventory, dialog, or multiple rooms, it's a puzzle.  Click it or parse it, it's still a puzzle.  But, the 500 pound gorilla in the room is:  What differentiates good puzzles from the bad ones? 

A good puzzle fits in the setting, doesn't make assumptions, or force the player to do anything randomly.  A good puzzle will also challenge the player to think within the game-world defined by the developer, and make sense once it's solved.  Each of these points can be discussed endlessly, as to what they mean for each game, but for sake of brevity we'll condense them for general consumption.

- Setting:  The puzzle must use components, knowledge, or language consistent with the rest of the story.  Keeping the technology/magic/realism level the same is important.  Good puzzles, like good writing, require what authors call a suspension of disbelief.  If the developer breaks that suspension then the puzzle is little more than fool-the-player.  This is frustrating at best.

- Assumptions:  Puzzles shouldn't rely on specialized knowledge, or education, that isn't hinted at within the game.  It's absolutely fine if a player has to go look something up, if he has a clue where to start.  The other pitfall for an international gaming community, such as this, is euphemisms.  Expecting everyone to understand a particular slang can be a puzzle killer.

- Random:  I despise randomly set locks, color codes, passwords, etc...  You can't figure out random.  Random should be saved for stock character responses, or anything else that gets boring after reading it the umpteenth time.

- Sense and Sensibility:  If the puzzle means nothing to the plot, once it's solved, it shouldn't have been there to begin with.  If the solution isn't obvious, after it's over, then the puzzle was poorly conceived.  If the story can move on without it, well, let it.

Plot + setting + character.  It all adds up to one thing:  Good writing.  We've seen all of the puzzles based on surroundings and objects (setting).  We've gone through dialog trees of outlandish size (character).  But how many puzzles take advantage of plot?  What's plot but a series of conflicts and their solutions?  All good writing has conflict.  Ask any writer.  Conflict of interest, conflict with one's self, conflict with the environment, conflict on any scale.  It needs to be there to make a story interesting.  It's these conflicts that can create natural openings for some puzzles, and ones that have been very underutilized.  Don't take this as applying to only serious writing.  I wouldn't expect a 'Monty Python' game, and it's puzzles, to be anything less than absurd.  'Care-Bears' should be obnoxiously cute, and so should the puzzles.   Conflict exists in comedy, and childrens stories, too.

Anyway, just an idea of what makes a puzzle, and where to get some inspiration for them.

I'll close with one more (tacky) definition just to make sure that we know where these puzzles belong.

ad·ven·ture
  n.
    1.
      a. An undertaking or enterprise of a hazardous nature.
      b. An undertaking of a questionable nature, especially one involving intervention in another state's affairs.
    2. An unusual or exciting experience: an adventure in dining.
    3. Participation in hazardous or exciting experiences: the love of adventure.
   v. ad·ven·tured, ad·ven·tur·ing, ad·ven·tures
    1. To venture upon; undertake or try.
    2. To expose to danger or risk; hazard.
    3. To take a risk; dare.

Daytime pic would have entriely different light sources than the night.  Send more light in from windows, doors, and foreground (window outside of view?) than your lamps.  Then use only your lamps for the nighttime shadows.  The difference will be quite dramatic.

Rather than placing the tablelamps on the floor you might add an electrical outlet and plug-in night light, under the fire extinguisher.  It would certainly make more sense for the amount of light, as well. 

The lamp in the forground can be omitted entirely, in my opinion.  That far forward the light can come from an imaginary point without distracting the eye too much.

Keep up the good work Shade.

Not sure if this, (Puzzle Theory, by Blake Spears) is what you're looking for, but it's a very good article anyway.

Edit:  Or perhaps, this one:  (Puzzle Implementation, by Stuart Young)

I don't see the map as merely a 'get together' thing, Nipper.  Personally I like to have an idea of where the other people, that I interact with, are from.  Gives you persepective.  Leaping the cultural bounds, and all of that.  Not everyone uses English as a first language either (that goes for a good lot of Americans too), and I think the map illustrates this rather well.

I'm dyin', just dyin' over here.

But seriously, the darker background does wonders over in the Critics Lounge.