who the fuck even wants cross play this badly? minecraft bedrock exists seemingly solely for cross play , and anytime i play minecraft with someone they specifically want to play java. i’m convinced the largest market share of cross play users is young folks with no real control over what play they play on.
That’s the excuse those companies give for it. There’s nothing stopping someone like Microsoft from making “Bedrock” and “Java” Minecraft versions play together. Just establish an API and make separate clients if needed.
And those separate behaviors would be minimized if they supported cross play between Java and Bedrock.
As for cross play and always online, you’re absolutely right that it doesn’t require it, but it makes things a little simpler. If a game requires you to login with the server on startup, that check only has to happen once, instead of happening when you engage with the multiplayer mode. It also makes it so the game can integrate social aspects pretty easily (friend X is online, do you want to play together?).
So if a game offers multiplayer as it’s intended main gameplay, then it can make sense to require always online.
That said, I still hate it. I would prefer companies be forced to support offline play if they offer a significant single player experience. I know it’s something I consider when buying a game (I play with my Steam Deck offline quite frequently), and ideally game stores would have similar requirements as well.
That's what the Unsubscribe button is for in the email, after the promotion is over. Or setting up a filter in your email to dump everything from Sega into its own folder.
Unless it comes with the old fishing controller (and that controller is also compatible with the Big sections of Sonic Adventure), I'm not interested. Half the fun of fishing games is using a goofy controller.
At least to some degree, yeah. Each origin character has more to their background, different choices, etc that you can’t get through a play through where they are your companion
I don’t know how it is in this game, but in their previous game, each of the origin characters brought unique goals and quests into play, on top of the usual backstories.
Yeah in divinity the origin characters were great, and their storylines fun. I kinda hoped BG3 would have the same because I really wanted to play an origin character with some cool sub-plot that we uncover while playing the main story.
That they are trying to create a robust custom character experience AND a robust pregenerated character experience is pretty damn ambitious. They must be pretty happy about the results if they’re talking it up this close to the release date.
Just spend hours making my first character today and honestly at the end just go with some instinct choice.(not familiar with the 5e rules, haven’t played turned based RPG for a long time. I picked a High Elf/Dragonblood(Blue) Sorcerer focused on lightning spells. The last bit where you can allocate stat points I am at lost so I just go with recommended values. (ie. to go from 14->15 requires 2 points, that really throw me off and your main stat is at 16 “maxed”?? I thought 18 is the highest. Don’t have time to waste on creating a EA character. )
I want to quickly go around, get familiar with the system so when the game released in a week to start over.
5e offers three ways to generate ability scores: dice rolls, the standard array, and point buy. Sounds like you’re using the point buy variant in this game.
It also gives bonuses to certain ability scores based on the race you choose (or maybe some other criteria in whatever changes they’ve made for One D&D) so 16 isn’t really the max even at level 1.
That’s the only way when I did the character creation. But I am glad that we don’t have to do the dice roll one(which is a cheat engine magnet), so I guess it means in order to gain from 16->17 I would need to subtract more points from other stats just to level up 1 point.(cause that + button didn’t light up when I reduced 2 or 3 points from Wisdom) but it seems that’s very costly trade. A point to point seems more fair and let you create some crazy biased char out of gate.
I haven’t touched the game since basically early access started since I decided to spare myself until full release, but that sounds like it’s just being faithful to DnD character creation which IMO is a bit of a mess because of legacy systems that are hard to give up. I think just getting rid of ability scores entirely and using only the modifiers would be a lot clearer. Larian isn’t really to blame for that if they wanted to use 5E for their game. I suppose it’s possible they could be more clear about the way character generation works in 5E.
There are quite a few reasons. New to DnD or RPGs, want to just get into the game, want to experience the cool backstory for each origin character are a few I can think of off the top of my head.
Counterpoint: All the origin characters have bespoke side stories and dialogue, and one of them is a chaotic neutral rogue who is also a bisexual vampire twink.
(Given Sven’s advice here I’m probably just going to go with a drow or tiefling warlock, but Astarion is absolutely on the table for the second playthrough.)
This is true of just about every story telling trope in every genre of every form of media right now. The gems that stand out genuinely change the formula, because otherwise, we’ve seen it all before.
That is an interesting read. Everyone in the comments are ripping the author as pretentious oof lol. As I said in my OP, I think this problem goes much deeper than shallow video games. Movies and TVs are struggling to find novelty in the endless deluge of content we’re currently experiencing. (Books and webserials seem to be doing more ok but I’m also a lot pickier about what I’ll consume there so its selection bias) We’re in an infinite monkey typewriter situation and at this point it seems mostly random when something is just different enough to be good television. A tale as old as time, the situation remains: the best stories are character driven.
I think the reason they are struggling is because all the decisions on what should be greenlit are being made by VC investor types, business people who arent in it for the love of film or storytelling etc. No chances are taken, only huge guarantees of big returns are considered (which means replicating what has made money in the past.)
This kind of thinking neglects what actually makes a movie good, and how movies were made in the past.
100%, Id say the problem is multi faceted but for sure a big (maybe even majority) part of it is big money trying to guarantee a hit rather than produce quality content
95% of everything has always been crap. We live in a golden age where we have enough non crap at our disposal that we never have to watch anything awful if we don’t want. You will, however, have to look for it – it’s scattered among a dozen services and you’ll need to engage with reviews and social media to find what you’re looking for, most likely.
There’s also a filter of time thing going on, where we forget the shitty media of the past. 1992 gave us Reservoir Dogs, A Few Good Men and My Cousin Vinny. It also gave us Pet Seminary 2, BeBe’s Kids and Love Potion Number 9. So was it a good year or a bad year?
This isn’t a well formulated idea but something that’s been kicking around in my head for a while. There have always been bad movies and TV but I think what is somewhat new is that the blockbuster films are so big budget that it’s always “a good movie” in that its well made but the substance is always lacking. It’s kind of a bizarre and unsettling feeling watching a well produced 200 million dollar movie that kinda… sucks? Is boring? Because movie magic has become so commodified its hard for a movie to ride on flash and sparkle alone.
Ah, I’ve seen this problem in storytelling broken down to this:
You don’t want your story to be a bunch of “and then and then and then.” You want your story to be “because this happened, this other thing happened, then because of that, this other thing happened.” Etc etc.
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