105 – I Have Beaten Baldur’s Gate 2!

Screen Shot 2017-11-26 at 10.42.05 PMThe latter chapters of Baldur’s Gate 2 felt like padding, but man, did the game stick the landing. Chapter 7 takes place in two parts–an elf city that Irenicus is laying waste to, and a hell dimension where you battle his soul once and for all or something. (Metaphysics in these games gets kind of fuzzy for me.)

In practice, there’s not much different between this chapter’s areas and the ones in 4 and 5–a small, linear place, heavy combat focus–but at this point, the tight focus and pace makes sense, feels right. This is endgame: We’re funneling to our goal, and anything left is a distraction. That kind of pace feels restrictive when in midgame chapters, but when we’re approaching the final boss, that acceleration is great.

I don’t normally like Infinity Engine final bosses–Sarevok and Behlifet are difficult beyond what their games warrant, and I seem to remember Icewind Dale 2’s final bosses being way above my party’s pay grade–but I loved the Irenicus fight, largely because I was able to finish it on my first try. Baldur’s Gate 2 does something interesting with its combat in that, for the most part, direct damage spells are irrelevant. Spells like fireball and magic missile and all of that are staples during Baldur’s Gate and Icewind Dale; in 2, many of the enemies have magic resistance, and in any case your spells only do so much damage.

Buffing and debuffing become the order of the day–enemies throw up different kinds of shields, and you’ve got to put in similar shields to counter their attacks, and you’ve got different kinds of debuffs and penetration spells, and in some cases, it’s sheer attrition–waiting their shields out and keeping your fighters healthy until their shield fizzles away and you can whap away some HP. Irenicus’s first form is a mage battle; his second, he goes into slayer form and has a few friends helping him, and by now I’ve gotten so used to the engine–I have, after all, am working on my second playthrough of the entire franchise–that while I wouldn’t call it easy, man, I’m pretty decent at playing Infinity Engine games.

I’ll probably have some thoughts on my journey as a whole when I’m done, but as for Baldur’s Gate 2, one thing that’s been on my mind throughout this game is a line I half remember from, of all things, the GoG.com installer which, as many of you may know, pops up little advertisements for other games they sell. Their ad for Baldur’s Gate 2 mentions that BG2 is an RPG that’s “considered one of the best ever”. I’ve played so, so many RPGs over the years that I’m pretty qualified to evaluate that statement, and–with some caveats–I’d say it’s fairly accurate. In terms of what it brings to the table as far as breadth and depth, it’s pretty unmatched; its characterization of the world is excellent; it feels like a major adventure, and completing it feels like an accomplishment.

I just wish the game had been a little more even. What makes Baldur’s Gate 2 great is the large nonlinear sections of chapters 2-3 (and the bits of cleanup you do in chapter 6)–not the linear journey of 4-5. It’s a fine line to tread, though–my issue with Skyrim, for example, is its aimlessness, is that there’s too much to do, and that you never really do focus in on your main quest unless you want to. Skyrim is the kind of game that’s too unwilling to make choices for you–this is Your Adventure and You Can Do Whatever You Want In It, even if that means being one of those assholes who writes a blog about ignoring all the quests and hanging out in town farming cabbages. Baldur’s Gate 2 decides, at some point, that the main quest needs to take over, that you’ve bummed around its world long enough, and that it’s time to get down to business. I respect that…but I can’t say I enjoyed it fully.

Like I have said–a shorter midgame would have perfected BG2. But of course I am coming at the game from a particular position–that of it being 2017 and I have so many games to play, because games are really cheap commodities; and I’m 35 and I work for a living so I am not spending a dozen hours every day playing. (I mean, admittedly, the lion’s share of my free time is spent gaming–it’s not like I just duck into these things for a half hour every few days.) Tightness and minimalism are things I value at this point in my life, but that’s not to say I don’t enjoy a large, sprawling game–I wouldn’t be into RPGs if I didn’t–and, honestly, it’s not as if Chapters 4 and 5 take up two dozen hours on their own. Still, less is more, says the fellow who’s written about 10 posts on this game alone. And I do like that BG2 doesn’t quite play it safe. The game comes from a place of both supreme confidence–after BG1, Icewind Dale, and Planescape Torment, the Infinity Engine knows what it’s doing–and heavy experimentation–because RPGs were still a very niche genre at the time, and because in general this period of time, for PC games, was a period of high experimentation.

In a way, it’s making me very excited for Pillars of Eternity 2–you can see a lot of parallels between the Infinity Engine and the Pillars engine–the two franchises mirror each other in many ways. PoE is an obvious standin for Baldur’s Gate, being a sprawling woodsy adventure that sometimes collapses under its own ambitions but remains fascinating even for every time it falters; Tyranny and Icewind Dale are weird side adventures that a lot of people don’t quite like but remain trimmer, more linear, more focused; and Torment: Tides of Numenera is an obvious cousin of Planescape: Torment. 20 years later, PoE2 might be a reincarnation of Baldur’s Gate 2, and I look forward to seeing the improvements it makes on its predecessors.

Ah fuck, every time I mention Pillars of Eternity I remember that I plan on replaying it in time for the sequel to come out. That’s a hundred hours I’ve got to brace myself for.

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102 – Baldur’s Gate 2: Spellhold And Environs

Screen Shot 2017-11-22 at 9.05.27 AM.pngStructurally, Chapter 4 of Baldur’s Gate falters a little bit. It’s strange to say this after the epic that was Chapter 2–that pile of quests–but Chapter 4 feels very unfocused. If you remember, the chapter is nominally about going to Spellhold to rescue your pal Imoen and confront the evil wizard Irenicus.

But before you get to Spellhold there’s a little detour to the pirate town where Spellhold is. There’s a single sidequest, and some light branching–there’s two ways to enter Spellhold and you can pick your favorite, and you get a slightly different introduction to the asylum depending on which you choose. But the entire area feels like an afterthought. It’s a pirate town, yarr, without a lot to do–maybe it’s a final opportunity to pick up some items and prepare your party, if you missed the game’s exhortations to do so at the end of Chapter 3–but mostly, it’s time spent waiting for the real action to start.

And the Spellhold level itself is great–you meet some inmates, briefly, and you have your confrontation. You find Imoen. If Yoshimo is in your party, it’s revealed that he’s working for Irenicus and he’s killed off (to make room for Imoen, I assume), but he wasn’t in mine because why have Yoshimo as your thief when you can have Jan Jansen, turnip-obsessed thief and decent mage? (Yoshimo was in my party the first time around, so I know about his betrayal and stuff, but it is a shame they didn’t figure out a way of getting him into Spellhold to have his scene–I’m curious what’ll happen when I go back to Athkatla to seek him out later.) Irenicus captures you and performs one of his experiments and awakens…something in you. The evil vampire Bodhi appears. Imoen becomes available to join your party again but why have Imoen as your thief/mage when you can have Jan Jansen, turnip-obsessed thief and decent mage? (Sorry, Imoen lovers, I know there’s many more of you than there are of me, but I ain’t apologizing.) And then…there’s an unnecessary dungeon.

It’s not a bad dungeon by any means–it’s got some good puzzles, a couple of decent combats, but for the most part, it’s a dungeon under Spellhold that has a flimsy reason to be there. I suppose there are some Revelations there–it’s revealed that Bodhi is Irenicus’s sister, and you get your first taste of a power called Slayer Form–but it feels like a breather you don’t quite need. And after that dungeon is another quick dungeon–a test concocted by the former director of Spellhold, and so nominally connected to things–and then, only then, can you have your battle with Irenicus that you’ve been waiting the whole game for. He of course teleports away before you finish fighting him, but that’s okay.

And then you’ve got some more light branching–you can either go directly to Chapter 5, or you can take a detour to a Sahaugin city where you do another short couple of quests to determine their ruler. (This was a section I missed the first time around–I took the direct route that time.) It’s fine. It’s all fine–Chapter 4 is a fine chapter. But it’s not a tight chapter like Chapter 3 was. I suppose it’s got a clear goal and motivation–find and escape Spellhold, and if there are some detour adventures along the way, more XP and magic items for me, I guess. And I’m sounding a little more down on it than I am–I enjoyed all of it. I’ve certainly earned a little bit of a right to nitpick, and–Extended Edition content aside–Baldur’s Gate 2 doesn’t deserve more than nitpicking.

I’m going to run into this exact issue with Planescape Torment–in many ways it and BG2 are structured similarly: There’s a long time spent in a dense city in the first half; and a broader, shallower journey in the second half. The effect is of things moving very quickly–you establish a routine, a life, a presence in the city, you get to know it intimately, learn its ins and outs, befriend its people, assimilate into its ways–and then you move. You don’t have the luxury of time to get to know the places in the second half of the game–your quarry is on the move and you’ve got to follow them. It’s a much different mood, and it’s effective at giving that mood–but at the same time, Sigil and Athkatla are what people remember those games for. I don’t think anybody has much nostalgia for that Sahaugin city. I said that Baldur’s Gate 2 was, in some ways, a trial run for Dragon Age 2, and again, while I had my problems with DA2, setting the entirety of the game in Kirkwall makes the game about that city in a way Baldur’s Gate 2 isn’t quite about Athkatla or Planescape Torment isn’t quite about Sigil. I know I’m going to be going back to Athkatla soon, but there isn’t a lot left to do. Maybe I am feeling the beginnings of the end–while I’ve got a while to go, the majority of my journey through Baldur’s Gate 2 is behind me. Nitpicking is the most criticism I can give–it’s a hell of a game.

Off to Chapter 5 and the Underdark, the section that defeated me the first time through. I’ve got a few more levels under my belt, a lot more magic items, and a better handle on the spell system this time through. I won’t let those Mind Flayers get me down.

95 – Baldur’s Gate 2: Irenicus’s Dungeon

Screen Shot 2017-11-08 at 8.06.16 AM.pngOf the Infinity Engine games, Baldur’s Gate 2 has the finest introduction. Baldur’s Gate 1 begins with Candlekeep, which is, as I’ve said, comfortable and friendly but not exactly exciting–it’s a tutorial-focused quest where nothing much happens until the end, at which point you’re thrust into a gigantic world with only vague direction. Siege of Dragonspear’s first dungeon has nothing to do with anything. Icewind Dale sets you up in a town where you can either Talk To All These Assholes until you find a couple goblins to fight. Planescape Torment wakes you up in the Morgue, and you’re given all of these cryptic suggestions at the larger story, but there isn’t exactly a time pressure and it did lose me the first time or two I played. Icewind Dale 2 acquits itself well–you land in a city under siege–but it’s a long, extended sequence with many parts. (I’m fond of games that essentially have no intro–that start off and you’re simply playing, and ID2 does that well!)

Baldur’s Gate 2 starts off with you captured and held in the dungeon of Big Bad Jon Irenicus. He appears, says some cryptic things, tortures you a bit, and then leaves to deal with an assault on his dungeon. Imoen appears (he-ya, it’s her!), sets you free, and now the two of you plus any companions you can get have the opportunity to wander around and escape. It’s the best starter dungeon in the franchise, and, frankly, should be taught in schools because it’s actually one of RPGdom’s best starter dungeons. It:

Is not a tutorial: There’s pretty no “how to play this” information given in the section. If you’re here for the second installment, the game assumes, you know what you’re doing, and if not, you’ll read the manual. This frees the dungeon up to be pretty cool–while combats are certainly simpler than they’re going to get, you’re facing bunches of goblins and some new foes and you’re doing some actual puzzle challenges. None of Baldur’s Gate 1’s “Go into the thing behind me and get a thing and then talk to me again.”

Tells you what to expect for characters: Baldur’s Gate 1 has about 500 potential playable characters; 2 trims down the cast while giving those left expanded roles. Khalid and Dynahier are slaughtered between installments. While I could give a tinker’s damn about Khalid, it gives his wife Jaheira a lot of fun emotions to work with and some clear motivation. Dynahier is a loss–one of my favorite characters both mechanically and personality-wise. It’s fridging, but at least it’s equal-opportunity. (Hey, Siege of Dragonspear, when you were busy telling your story about nothing at all interesting, why didn’t you, you know, include these moments? This is something I actually was interested in!) We also get an introduction to Yoshimo, who is going to have a big role in the plot to come, and in addition, he’s of the Bounty Hunter class–a “class kit” (alternate build) for the Thief, so even that’s new!

Shows off the expanded dialogue: Character dialogue was largely reduced to barks in the original Baldur’s Gate–characters don’t really comment on the particular situation you’re in, they only slightly interact with each other, and they’re mostly just people you have along for the ride: There’s little difference between the pregenerated characters in Baldur’s Gate and the people you create in Icewind Dale. In BG2, which is the start of Bioware becoming Bioware, your party members will initiate conversations with you and with each other, ones where you can choose between multiple bits of dialogue. Many of them have personal quests, if I’m remembering correctly. The reduced cast gives everyone left more opportunity to get their personalities fleshed out.

–Characterizes the main villain: Irenicus has very little screen time so far: A minute at the beginning of the dungeon and another minute at the end. During that time, he tortures you, makes cryptic portents about your potential, brutally kills a few fantasy cops, and figures out a way to legally abscond with your friend Imoen–in just a few short strokes, he’s already a more effective villain than Sarevok. If that isn’t enough, his dungeon is spent giving you a lot of clues to who this fellow is: His dungeon has a bunch of denizens, all of whom talk about his cruelty, his lack of emotion. Other characters allude to his past and great changes in the man’s character. There’s a soft bedroom filled with pretty things–a shrine to a lost love that several characters insist is an emotion Irenicus cannot feel–and the moment you enter, a klaxon bursts out and a pair of golems attack. Irenicus is a violent, terrifying figure with a very large plan and a complicated personality and he’s the fellow you’ll be chasing after for the next 50-10- hours.

–Alludes to larger plot developments: The assault on Irenicus’s dungeon has nothing to do with you–it’s the result of a “guild war”, which is something we’ll learn about in the next chapter or two. I love RPGs where your character isn’t the focus of every plot, and that’s the case here–the couple of assassins you talk to don’t even give a shit who you are, they’re just trying to kill everyone in the dungeon. It’s nothing personal. But you are important, too–all of Irenicus’s portents add up to you being even more special than you know. Baldur’s Gate’s closing hours reveal that you’re the child of Bhaal, God of Murder; BG2 promises to go into what, exactly, that means.

Features the weirder shit: Sure, there’s goblins living in the dungeon, but there’s also Dryads, mephits, and a portal to the Elemental Plane of Air and a djinn inside. There’s arcane magic and horrific experiments. We’re going to see a lot of the more outre elements of the Forgotten Realms setting before this game is done. But what I particularly like–especially in contrast to Dragonspear’s random “Well, let’s have Demons! Here’s a Lemure! Isn’t that cool!” in the zero hour, BG2 ties them in. Not only is all of this weird shit living in the dungeon, but it’s under Irenicus’s control. He’s captured that. That’s another characterization of him: He’s playing with some very dangerous things, and he’s contained them very well.

I am expecting to have some fun with this.

91 – Icewind Dale: Heart of Winter and Trials of the Luremaster

I said last time I was starting to get burnt out on Icewind Dale because of the DLC. I finished it this morning with a sense of relief. ID’s main campaign is great–about the best “wave after wave of monsters in the Infinity Engine” as you can get before its sequel. Baldur’s Gate’s dungeons are kind of terrible–it’s obvious this is a team that hasn’t figured out the limitations of its pathfinding and so you get a lot of areas with winding paths that your pikmin refuse to go through, tiny rooms that you can’t do combat in, etc. Baldur’s Gate II and Planescape Torment are better in that regard, but I dislike both of their structures–they both start off as sprawling explorations of a single city and some environs, dense with quests and plot, only to branch off into a series of combat-heavy maps that aren’t as strong as the first bit. By being simpler, Icewind Dale is a lot stronger structurally. It’s a shame about its final boss, but there you go.

Its DLC is a mixed bag, The DLC is split into two parts–Heart of Winter, which came first; and Trials of the Luremaster, which is an expansion-to-the-expansion which was added after, I’m told, people complained that HoW wasn’t long enough. There are a lot of theories about the best way to play the DLC. It’s possible to access Heart of Winter within ID itself–a fellow in the main town will be happy to whisk you away to the extra content as long as you’re a certain level or higher, or you’re welcome to export your endgame characters to the DLC after you’ve completed the main campaign. The latter is my preference–the initial level you’re able to access it is fairly low-level for the HoW content; a happy medium is also often recommended–ID asks you to find six macguffins to access the endgame, and once you’ve collected them, a lot of people suggest doing HoW at that point. It’s up to you. (Plotwise, if you’re the kind of asshole geek who insists on canon and continuity, HoW seems to take place after ID is complete; and notably, there’s a sword you can get in ID’s endgame which has some plot relevance to HoW.)

The point is, HoW is a separate map from the original areas. Unlike Baldur’s Gate’s Tales of the Sword Coast, which adds several points of interest to the main map, HoW does not let you go back to the main campaign to grind if you find yourself too low-level for it. For the most part, that’s okay–Heart of Winter is some good waves-of-enemies content, and while you might struggle if you go into it at the very moment you’re able, it should be all right to muddle through. And since the content can take place after the endgame, it’s all right that you can’t go back. You’ve done everything there is to do.

The problem is Trials of the Luremaster, which is a matriyoshka doll–a fellow in Heart of Winter’s town will offer to whisk you away to his portion of content, and once you’re there, you can’t leave until it’s finished. And the problem with Trials of the Luremaster is its encounters are poorly designed, its puzzles irritating, and it’s content totally separated from everything else that’s gone before. Where Icewind Dale loves its waves of enemies, TotL is relentless with them. My level 20-23 party kept getting slaughtered by a series of guards; eventually I put the entire thing on Story Mode and just whapped my way through because, you know, it had gone beyond the point of sanity or fun. There is a thoughtfulness to many of the most difficult areas of Icewind Dale–a careful placement of enemies designed to challenge. TotL overwhelms. Two dozen olive slimes! Spiders upon spiders! A pile of harpies next to a pile of wyverns! Half of a cavern which has rooms in which six umber hulks pop out, then six minotaurs, then six wyverns, then six of those overpowered guards–and then you get to do the same exact set of encounters in the other half! Beholders after beholders after beholders! The whole thing is relentless; the whole thing feels like busywork.

TotL is similar to Durlag’s Tower, part of Baldur’s Gate’s expansion, in that it’s a puzzley, difficult dungeon which involves solving riddles. But you can leave Durlag’s Tower–if you get bored with it, you’re able to leave and do other stuff, level up a bit, hang around Baldur’s Gate itself and do some sidequests. TotL’s castle forces you into it, forces you to solve its puzzles, and they’re generally poor. The final area involves two interconnected maps, only one of which allows you to rest. (If I ever design an RPG like this, I’ll have to resist the temptation of including a map which features the message, “You’re unable to rest in this area because fuck you.”) These winding caves feature five chests, each of which is next to an altar. Inside each chest is a flawed gem. Putting the gems in a sixth chest transports them to the altar, this time shining and able to be used as a macguffin in a portal area. In practice, you end up fighting a bunch of tough/annoying encounters, having to go to each chest and pick up its gem, then to the magical chest, placing the gems inside, then traipsing back to the altars near each chest, picking up the restored gems, and then finally to the portal area.

In short, Trials of the Luremaster is exactly the kind of content designed to placate the kinds of people who complain that a DLC isn’t long enough. (And frankly, Heart of Winter is, in my opinion, exactly long enough.)

Icewind Dale is named for its region, a snowy area to the far north of the Forgotten Realms setting of Faerun. Heart of Winter also takes place there, dealing with some more of the land’s history and steeped in the setting. Trials of the Luremaster takes place in a desert castle that could have just as easily been a snowed-in castle. I can appreciate that maybe they wanted to go to another region, but it feels very out of place. And while its story is fine, it’s what the kids on the internet would call a Big Lipped Alligator Moment–it’s just kind of this weird side venture that your party goes through and that no one ever refers to anymore.

The entire experience is padding.

Which is a shame, because interrupting Heart of Winter as it does weakens it. It would be fine if the option to access Luremaster would come afterwards–Heart of Winter distracts from what’s going on in Icewind Dale, true, but you can take it after your business there is done. This doesn’t give you that option.

And I guess my final thoughts on the subject is that Beamdog has probably done a lot of great things with their enhanced editions, but honestly, I wish they’d done more. The Infinity Engine has a lot of quirks–its pathfinding, its traps, its nonsense with sustained area of effect spells–and while I can appreciate from an archival perspective the need to include the original stuff, I wish they’d have enhanced the engine a bit more. Story Mode is, for example, a nice edition, and there’s some class kit stuff and some extra items and content that are across the franchise, but man, it’s 2017 and we’re really feeling some of the limitations of a late-90s engine. Look, the Infinity Engine is one of the finest RPG engines that’s been made, but in a world with the Pillars of Eternity engine and the improvements on the formula that’s made, it really feels like we should have some of the kinks worked out. Those asshole geeks I keep talking about, they flipped the fuck out on Beamdog on the extra content in Baldur’s Gate–apparently there’s some SJW crap which, you know, fuck you asshole geeks, get out of my fucking blog–but, I mean, I guess I can’t blame Beamdog for being conservative. Asshole geeks are such conservative, boring, picky eaters. I’m just always surprised, I guess, to find that “Baldur’s Gate, exactly as it was in 1997 with nothing added” is, you know, the equivalent of Kraft Macaroni and Cheese made exactly the way their mommy made it.

I mean, don’t get me wrong, I love Baldur’s Gate and I love mac and cheese. But for fuck’s sake, it’s 2017 and I’m 35. We can get fancy. It’s okay. We’re adults.

71 – Planescape Torment

And from the frustration file: So I spent the majority of the day just firehosing Torment, cause I had the day off, and why not? And close to my normal bedtime, I notice that I’m actually about to enter the endgame. Okay, fine, I’ll stay up late, beat this sucker, and go to bed accomplished(?). I finished up my last few sidequests, including retrieving a certain item that, according to Ben Chandler, unlocks a really really cool segment in the endgame.

Now, the last half of the game is *extremely* combat heavy–to its detriment, I might say, but I’ll save that for another post–but the final dungeon is ridiculous. Your party members are taken away from you and you have to make your way through a large room pulling switches and avoiding enemies that, while no particular challenge with a party, can really easily surround your single character. Fortunately, you’re immortal, remember: If these things catch and kill you, the worst thing that happens is you appear in the next screen with full health ready to try again.

And for the first three of four switches, that’s exactly what I did–maybe I died a few more times than necessary, but whatever. Right before the fourth switch, however, the stars aligned and a group of enemies surrounded the entrance to the room; since you basically portal in, there’s no way of retreat or escape. The enemies beat me up, and then a nice little message letting me know that I’m incapacitated pops up, and an actual game over screen appears. My last non autosave was about an hour and a half previous; while I could probably run through that bit fairly quickly, I don’t necessarily want to have to.

Fortunately, I have all of those editors from the crowbar incident the other day. I’ll spare the details–suffice it to say it involved directory switching and renaming files and just all this bullshit–but the easiest solution turned out to be maxing out all my stats, letting my character easily defeat the enemies blocking the way. Okay, so far so good. Go through some more story bits, meet a character who says, hey, remember that item Ben told you to hang onto, well take it out now because here’s what it does–and I look in my pockets and son of a bitch, I gave the fucking thing to one of the other characters who is now God knows where.

My last save file is now about two hours before that point, and I don’t fucking care. The thing that the item turned out to be, it is pretty cool, and I do want to see it, and I guess I’m just gonna have to bite the bullet and redo the endgame. Looks like I won’t be beating the game till the morning or maybe even tomorrow night. But hey, that’s still pretty fuckin’ quick, right? I rule.

70 – Planescape Torment

One faction, the Sensates, believe that the only “real” things in the universe are those that can be directly experienced with the senses. Their goal is, essentially, experiencing as much as possible so one can understand the truth of the Multiverse.

One old Sensate laments this to you: He wishes to still continue to experience new things, but his age is so advanced that he can’t physically travel to the more exotic locations. He tasks you with finding a way for him to lose his memory–that way very basic, every day sensations will be new to him.

So you do, and what follows is the text of a note he wrote to himself to get his bearings: “Congratulations…you’ve begun again,” it says, and he goes off, amiably, to figure out what’s going on and follow the instructions he wrote.

What strikes me about this quest is that the guy now finds himself in the same situation as our protagonist–an amnesiac trying to learn as much as possible about the world. And yet, where your journey is one of angst and melancholy and horror, his appears to be a joyous second chance.

There’s that Nietzche thing–I apologize for referencing Nietzsche!–which talks about a shadowy figure at the foot of your bed telling you that you’re going to relive all of the events of your life, that they’re going to repeat again and again for ever and ever, and an ambiguity over whether this is a blessing from an angel or a curse from a devil. For our sensate, the opportunity to live life over is a consummation devoutly to be wished. For you, every step of your journey is fairly horrific. Everything you find out about your past shows you to be one of the biggest assholes on the Planes. Reliving your past through your rediscovery of it is turning out to be a fairly terrible curse indeed.

61 – Planescape Torment club?, Zest update, Gothic II

So I’ve never played Planescape Torment because I’m obviously a terrible person. I didn’t play a lot of CRPGs growing up–missed Ultima entirely, played and hated Might and Magic II, didn’t play Fallout till college, have never gotten past chapter 1 in Baldur’s Gate. Weird, because I can tell you pretty much everything about every JRPG released in the states till about two years ago. Torment is one of those big holes in my gaming life: I’ve played through a chunk of it, but it’s such a big Thing in some ways that I’m nervous to approach it.

Well, I’ve reinstalled the game and I’m going to be playing it in the next couple of months, and based on some preliminary talk on Twitter, it seems like there’s a lot of people who’d be interested in some kind of Book Club thing. Now, I don’t know quite what form this should take. I don’t want to do the “okay let’s all play this much of the game this week and all discuss it”, particularly because it seems like one of those sprawling RPGs that isn’t conducive to that sort of thing. Maybe it would be enough to just encourage a ton of people to play and write about this game on their own blogs and we can link each other. Perhaps Joel Goodwin of Electron Dance could be convinced to give up some real estate in his forum for discussion.

Either way, if you’re interested–let’s say July-ish?–let me know, and if you’ve got an idea about how this thing could work, please, I’m all ears!

–In Zest news, the basic flow of the game has been outlined. The flow of the game is going to consist of  about a half dozen “time blocks”, each of which essentially has a different “deck” associated with it. The player’s stats influence a degree of randomness–we’ve actually been throwing out the tern “narrative roguelike” to describe the basic feel. My current goal is to come up with a couple dozen basic cards in all the separate categories; once that’s done, I’m handing it off to Lectronice and PaperBlurt who will respectively finish programming the card system and come up with some preliminary CSS. I’m shooting for a hundred cards int he final version–like TWEEZER, I want it to be a game that encourages many very short play sessions. We’re targeting an early July release–that’s part of the reason I’d like to do Planescape around them–so watch this space.

–Again, for a game with comparatively few verbs and stats, there’s a lot to learn in Gothic II. I keep learning new tricks for playing it–where I need to stand in order to pull certain enemies, the timing on how to chain certain attacks, what stats I need to increase to effectively kill things–and there’s plenty more. I still haven’t begun to figure out whether there’s a more efficient way to buy and sell things.

At this point I’ve done a broad survey of the bulk of the island–there’s a lot of stuff I certainly haven’t found, and I’ve only really seen the surface of most of it, but I’ve been, at some point, on every corner of the map, even if there’s only about a quarter of the game I’m able to navigate without trouble. What keeps striking me is I’m just on the first *chapter*.  There’s a lot to see and do in this game, and not all of it consists of doing quests–again, it’s the kind of game that’s rewarding just to poke around in.

–My save–which I’m going to get to as soon as I finish typing this post and will play until it’s time to go to work, I love this fucking game–has me in the middle of an area I have never been to in the middle of the night. Night is scary–or, rather, it’s more threatening than the rest of the game is, and the rest of the game is pretty threatening. While I wouldn’t say Gothic ever becomes a horror game, the sense of vulnerability never quite goes away. The game is like Dark Souls–I’m sorry, I’m sorry!–in that even beginning-of-game enemies can kill you at any point if you’re being too cocky. ANd while Dark Souls has much better creature design, there’s something hilarious about how my Gothic II character ran, panicked, from two chickens–who never fucking give up pursuing and who run fast–and accidentally pulled aggro from two boars, only to run headfirst into a lizard who killed him instantly. Props to the sound department, too: Each enemy has its own cry, and usually–there are a ton of trees–you end up hearing them long before you see them, and so it’s one of those games where the second you hear an animal howling at you, you either relax, though not completely, and maneuver into a position where you can be at the advantage, or you realize there’s two of them and you can’t take on two of them, or it’s something you’ve never heard before and you just run the fuck away.