• Aktualisierte Forenregeln

    Keine Angst, niemand kauft eine Waschmaschine! Und im Grunde sind keine großen Neuerungen dazu gekommen, sondern nur Sachen ergänzt worden, an die sich die Moderation sowieso laut internen Absprachen hält. Die Forenregeln sind an den betreffenden Punkten nur etwas klarer formuliert. Änderung gab es unter dem Punkt 1.2 Meinungsfreiheit und 4.6 Spam und neu dazu gekommen ist 1.3 Verhaltensregeln, wo es im Grunde nur darum geht, höflich zu bleiben.


    Das bezieht sich nach wie vor nicht auf Neckereien und soll vor allem verhindern, dass Diskussionen zum Schauplatz von Streitigkeiten werden.
    Vielen Dank

Project Eternity Sammelthread


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Project Eternity Interview (PC)

After putting on my trusty leather jacket and tempting him with some delicious iguana-on-a-stick, I was able to persuade Obsidian Entertainment’s Co-founder and Creative Director Chris Avellone to join my party. We had a chat in the rain-streaked post-apocalyptic wasteland of Birmingham regarding the Kickstarted games he was working on, namely Project Eternity, Torment: Tides of Numenera and Wasteland 2, as well as some of Obsidian’s past projects. After upping my Charisma of course.


Strategy Informer: Okay, straight out of the gate, how does it feel to be ten years old? [Note: Obsidian Entertainment turned a decade old on June 12th 2013.]

Chris Avellone: Fantastic! We’ve done a lot with the studio over the years, but the ten-year anniversary kind of creeped up on us and once we realised we’d been going for ten years we were kind of surprised, and really, really, happy. The party’s all organised, we’re sending out cards to our employees saying “guys, thanks for making this all happen,” and they’re all really stoked too. I’m really proud of that. Some start-ups, they go through some difficult changes and don’t always make that ten-year mark so to be at that point is really gratifying.

Strategy Informer: Another ten more years?

Chris Avellone: I hope so!

Strategy Informer: On to Project Eternity, how does it feel to have to do all this without publisher or PR support?

Chris Avellone: Liberating, because we get to choose what to share, you can share everything and talk about what you want, get feedback, ask the players what they’d like to see in the game. We can discuss the entire project very frankly, everything from its positive qualities to its mistakes, and even discuss design or development options with the community and get their feedback before two years down the road where it’s much harder to change something that people care about. I feel it allows us to be better entertainers.

Strategy Informer: Why is it so difficult for publishers to let things out?

Chris Avellone: I actually don’t know the philosophies of the publishers and how that situation evolved. I was never trained in marketing so there could be a whole bunch of metric studies about it. I don’t really care, my thing is that I’d much rather talk with the players about the writing side of things. I want to do post-mortems, I want to talk about the game. I feel that if players understand the process that you go through to reach the end result, they’re much more accepting of missteps along the way as well as the reasons for why you made the cool stuff that they enjoyed. It ends up better for everybody.

Strategy Informer: Is there anything about the Kickstarter or the Project Eternity experience so far that has surprised you?

Chris Avellone: Just the fact that we can share so much that I was trained never to share. Things like when we did the Wasteland 2 Vision Document [provided to backers of the game], when we put that out there I was terrified about that. Screenshots, early gameplay, terrified about them. You’re trained over time to not share those things and make them perfect before the public ever sees them otherwise there’s a huge amount of uproar, damage will be done somehow, but I haven’t got any of that. Players are excited about that, they like seeing the framework. Like I said before, it’s just liberating.

Strategy Informer: I’m very excited about Wasteland 2.

Chris Avellone:
It’s looking very cool. It’s got a lot of cool situations in it, and a lot of great cults! [laughs]

Strategy Informer: As soon as I saw that gameplay video I thought “this is exactly what I want”.

Chris Avellone: It is pretty f***ing cool! They did a really nice job.

Strategy Informer: How involved were you with Wasteland 2?

Chris Avellone: I was one of the early designers involved with the first third of the project, in terms of getting the areas and the characters set up. A lot of my role was doing area design. I covered about four areas in total, although some of those areas could change in extreme ways and it felt more like designing six areas! But that was really fun since I hadn’t had chance to do area design since Knights of the Old Republic II. I felt Wasteland 2 was a good project to do that again, it felt like I was back doing Fallout 2 area design, which was absolutely wonderful.

Strategy Informer: Why do you feel like the isometric RPG kind of fell out of popularity?

Chris Avellone: I’m not sure that it did. I think that at some point people realised that the controller schemes for consoles don’t lend themselves to controlling a party of multiple people. They have to either be two people flanking you or an AI set, but you can’t have a party of six people all going on an adventure with the controller setups that they had. I think that was enough of an obstacle to knock the idea of “well, if we can’t do isometric RPGs on these particular systems then we shouldn’t do those types of RPGs”. I think things became more consolized after that.

Strategy Informer: It’s a bit sad really.

Chris Avellone: Yeah, and I think it was also much harder to sell PC-only products when it seemed like there was much more money to be made doing console ports and SKUs.

Strategy Informer: On a more positive note, consequently why do you think there has been a resurge in their popularity recently?

Chris Avellone: The interesting thing is that there has been a lot of discussion about isometric RPGs. New ones are being developed but I still think the percentage of gamers that support those titles isn’t actually a huge part of the gaming community, they’re just really passionate and they’re going to show how passionate they are about those games. For example between Wasteland 2, Project Eternity and Torment [Tides of Numenera] the backers consisted of around eighty thousand people, which to a much larger publisher those numbers are insignificant, they wouldn’t even get out of bed for numbers like that. But because the fanbase is so passionate, they’ll pay much more beyond the core price of a product, they’re willing to talk about it much more, they’re a stronger and much more vocal community, and there’s much more information being given about these games too, so I think all that creates a much higher level of attention.

Strategy Informer: And there’s always going to be an audience who will simply wait for the game to go on sale rather than back it.

Chris Avellone: Which is fine too! And I think we’ll probably see the acid test of how well this model’s doing when Wasteland 2 goes into distribution, then Eternity then Torment. We’ll get a sense of how many numbers are out there beyond just the backers, which is important to figure out but we’re just planning on the backers right now, they’re our target audience.

Strategy Informer: Have you thought up a title yet for Project Eternity?

Chris Avellone: No! I believe that is in Adam [Brennecke] and Josh [Sawyer]’s court, but currently it is just Project Eternity.

Strategy Informer: Will we ever get to an “original Xbox” type scenario where everyone knows it so well by the codename you just say “screw it, let’s just call it that”.

Chris Avellone: I don’t know about that! I don’t know if we want to decide on a title until or after pre-production and we have a good sense of the game, have written a whole bunch of dialogues, and we’ve got even more fleshed out with the themes. Sometimes as you’re doing game development the perfect title will just come to you as you’re scripting out an area or a quest, or you just start noticing a certain phrase or question that keeps popping up and you realise “hey, that’s the hook that’s being evolved here, why don’t we try to turn that into the title?”. I think that it’s important to have that larger context before we choose the title. Having the title first, it’s kind of like putting the cart before the horse!

Strategy Informer: You’re not alone of course, Double Fine only named their game [Broken Age] a month or so ago.

Chris Avellone: Yep!

Strategy Informer: Did you consider using a 3D top-down perspective like Wasteland 2 rather than the isometric style?

Chris Avellone: No, we just wanted to create more painterly dungeons, we felt that was much more the Infinity Engine experience. Also we felt there were certain freedoms we could do with the art style if we didn’t have to change the camera angle on the landscape. Of course that’s counterbalanced by the fact that Wasteland 2 is able to move more freer in the environment with the camera as a result of that, but we still wanted to create more of an Infinity Engine feel in terms of the perspective we have, wanting to do more concept art of more playful and organic environments, that was important to us.

Strategy Informer: Is Torment going for the isometric style too? That of course like Wasteland 2 is being made by InXile.

Chris Avellone: Isometric, definitely.

Strategy Informer: For me personally, even though I’m an old-school gamer I never really got into the Infinity Engine RPGs at the time for numerous reasons, such as not getting on with the interface or the frankly unforgiving level of difficulty.

Chris Avellone: Yeah, they can be pretty brutal, especially with some of the boss and mage battles that occur in Baldur’s Gate. I think one issue that still bothers me about Planescape: Torment was that although it’s a text-heavy game I found that there’s so much text at the outset it actually makes it harder to get into the game. Even though it’s giving you an example of what to expect I think the transition into the game could’ve been a little bit easier.

Strategy Informer: You’re done with Wasteland 2 now, how are you dividing your time between Eternity and Torment?

Chris Avellone: Eternity is full-time during core work hours, and then when I get home and at the weekends I deal with review and design documents for Torment, as well as talking with Kevin [Saunders] and Colin [McComb] and going back and forth with them.

Strategy Informer: Was it flattering to be a Kickstarter stretch goal for Torment?

Chris Avellone: Yes it was! I was flattered and then I was really happy, because I just wanted to work on it. Colin sent out this video once he heard that I was coming aboard and I got excited and into a cycle of enthusiasm.

Strategy Informer: Must be double flattering for George Ziets [creative lead on the respected Neverwinter Nights 2: Mask of the Betrayer expansion, who was a stretch goal for both Eternity and Torment]!

Chris Avellone: Yeah, I don’t think he minds! Also I think that George deserves much more attention than he normally gets, he’s just a quiet, reserved guy and his writing is excellent. He’s one of the best writers in this industry, when I read his stuff I don’t have any comments on it and I walk away from the dialogue that I just read thinking about it, going “oh that’s interesting”, and George’s dialogue is just awesome. When he was working on Mask of the Betrayer it was the same sort of thing, the dialogue was just cool and he had his themes down, he had a compelling hook for the player, and I was like “George gets it”.

Strategy Informer: How free-roaming is the world in Project Eternity? Is it like Baldur’s Gate with large box-areas where you go off the side?

Chris Avellone: Yeah, it’s going to be set up like that, and then you can hop to locations like you could in Icewind Dale, where dungeons and communities would open up.

Strategy Informer: How accommodating is the game going to be for those new to isometric RPGs?

Chris Avellone: I think pretty good, we’ve been really good about how to stage the opening areas of the game in our products. The goal of any opening area in an RPG is not to be punishing it’s to give the player the sense of “here’s the rules of the world, here’s how the character behaves in it” and allow the player to get a sense of how the mechanics play out. I think we did a really good job with the tutorial area in Fallout: New Vegas while still allowing the player the freedom to go through it as quickly as possible. It was much faster to get going in New Vegas than in some of the previous games we’ve done. I think we’ve got that tutorial and training stuff down, even though we don’t want to throw too much tutorial types at the player. We want to introduce areas gradually that I think we have a really good sense for, so I’m not terribly worried about it.

Strategy Informer: I can say I did prefer Fallout: New Vegas to Fallout 3, just because companions felt a lot more fleshed out and the world felt more like a real place.

Chris Avellone: Yeah I can understand that, because New Vegas ended up having a lot more people, and that set it apart from Fallout 3 where I felt like the intention was to create a very wasteland survival-like feel , and I thought they did that really well. In New Vegas because we had factions and reputation mechanics it was important to establish all these cultures in the environment, figure out how they interact with each other and create more community-based areas. Also I think in a lot of the towns in Fallout 3 there were only a few people present in each area but in New Vegas we were able to squeeze a bit more out of the locations. We’d think “hey, we want this area to feel a bit more lived in” and have more people walking around to add ambience.

Strategy Informer: It was great having the conflict between the New California Republic and Caesar’s Legion, it’s surprising how few RPGs have a full-on war going on in the background.

Chris Avellone: Yeah, seeing some of the frontlines for that conflict is pretty brutal. The designers should be really commended for that, they did a really great job.

Strategy Informer: My personal favourite though is Old World Blues [the third DLC for Fallout: New Vegas], which I came very close to giving 10/10 to – the only reason I didn’t was because I felt that Fallout fans who don’t like the weird stuff wouldn’t like it.

Chris Avellone: I think that’s fair. We had to decide at what point we drew the fourth wall and I think we came really close to it! Ultimately we just wanted the level designers to have fun, and we wanted to have fun. We had to figure out how to re-use a lot of assets and still strike a markedly different tone from the other DLC which are very serious. We wanted to break things up, get a new tone for this DLC, and go for that 1950s science feel. Then we just had a blast with it! I’d read this series called Transmetropolitan many years ago by Warren Ellis, he had this whole thing with an apartment filled with talking appliances and I was like “hey wouldn’t it be cool to have a place like that?” and so I asked one of our designers Travis Stout (who I think is working on Assassin’s Creed now) about that he was like “don’t you worry about that” and he went crazy with it.

Strategy Informer: Yeah, like the lightswitch that flirted with you!

Chris Avellone: He did a really good job on that!

Strategy Informer: Okay, final question: would you go with Kickstarter again?

Chris Avellone: Yes!

Strategy Informer: [laughs] So it was a good experience then?

Chris Avellone: Yes, absolutely. It was morale-boosting, it’s been very energetic for the whole team being able to share ideas, it ends up being more efficient in the long run, and delivers a better game.

Strategy Informer: Okay, we’ll stop it there as I am late for my train. [I really was, you know] Thanks for talking with me!

Chris Avellone: No problem!

Our chat concluded, the wayward adventurers parted company in search of nourishment, transport, and the promise of more RPG goodness to come. While there will always be big-budget 3D RPGs coming to PC and consoles (usually with a ‘3’ in title if the next year’s anything to go by) the classic party-and-story-driven RPG lives on with PCs alone. Chris Avellone will work on them, and I will play them. Will you join us? Thanks again to Chris for the chat and for all the guys at Rezzed for setting up such a swell shindig. See you in the Dyrwood.

Quelle: Project Eternity: Interview -- Strategy Informer
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Chris Avellone's Präsentation zu Project Eternity auf der Rezzed 2013 in England letztes Wochenende:

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Kreaturen: Animat

Animats werden von den Seelen uralter Krieger belebt, die extrahiert, gereinigt und in den Panzer gebunden wurden. Kupfer ist ein außergewöhnlich starker Binder, weshalb Bronze für den Animat genutzt wird. Kupfer findet man auch häufig in der Architektur der Engwythan (die antiken Bewohnern von Eir Glanfath) und in magischen Objekten, einschließlich "Strangstahl", eine fantastische Legierung, die durch finstere Seelenmagie hergestellt wird

Konzeptionsprozess für eine Kreatur in Project Eternity , den bronze-gepanzerten Animat

Farbkonzept und Wiederauferstehungssequenz des Animats


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Paladins in Project Eternity

Today, we'd like to talk to you about one of our more recently-implemented classes in Project Eternity: the paladin. The paladin has been a staple of fantasy RPGs for decades and it was one of our most quickly-funded stretch goals during the Kickstarter campaign. As one of several melee-oriented classes on our roster, paladins presented some unique challenges for us and we'd like to share their development process with you.

Paladins have a strong tradition in FRPGs. While the class represents different things to different players, it often conjures images of legendary European figures like the Twelve Peers of Charlemagne, El Cid, and the Knights of the Round Table. Players who like playing paladins often think of them as devoted, principled, brave, and unrelenting. They stand out because of their single-mindedness and unwavering dedication to their cause.

In Project Eternity, we wanted paladins to maintain their sense of selfless passion and zeal without being bound to concepts like "alignment" or a universal moral code. We also wanted their mechanics to be distinctive from the other classes while reinforcing their role in the world. Area designer Bobby Null has always liked the marshal class from D&D 3.5, which is conceptually similar to the warlord in 4E: combat leaders who are at their best when they are augmenting their teammates. This is the approach that I took when developing Project Eternity's paladins. They have persistent modal auras, strong single-target healing and buff abilities (contrasting the broad AoE effects of clerics), and can passively grant bonuses to teammates in close proximity.

In the game's lore, paladins are zealous champions of a cause that may be religious, philosophical, or cultural in nature. The "foundational" paladins in this part of the world were the legendary elite guards of Darcozzi Palace in the Grand Empire of Vailia (now Old Vailia). They set standards for selfless dedication, unwavering loyalty, and inspiring leadership that have become the pillars for similar orders that have sprung up in the two millennia since they were founded. Even among orders where the chosen cause is perceived as bleak or malevolent, paladins always place the cause ahead of their own personal interests.

In Defiance Bay, recent experiments performed by animancers and ciphers suggest that paladins' souls are continuously "burning" wellsprings of spiritual energy that are overflowing their physical vessels due to the paladins' fanaticism. When ciphers have tried to directly perceive paladins' souls, they have described the experience as uncomfortable or painful, not unlike gazing at the sun.

All paladins currently begin with the following abilities:

  • Reviving Exhortation (Active) - Paladins can command an unconscious ally to awaken and get back up with an immediate spike in Stamina, though the target will lose half of the regained Stamina after a short duration.
  • Zealous Barrage (Modal) - The paladin and all allies standing within 3m have their attack and ability speed increased. Cannot be used with Zealous March (below).
  • Faith and Conviction - Paladins have an inherent bonus to all defenses (Deflection, Fortitude, Reflexes, and Psyche).
As they advance, they gain additional abilities in the same spirit, such as:

  • Coordinated Attacks - The ally closest to the paladin attacking the same target as the paladin has a bonus to Accuracy.
  • Shake It Off (Active) - The paladin can command an ally to temporarily ignore existing Hostile effects for a short duration. The effects are suspended; they do not lose any of their duration and will resume as soon as Shake It Off expires.
  • Inspiring Triumph - Allies within 4m gain a temporary bonus to all defenses when the paladin downs an enemy.
  • Zealous March (Modal) - The paladin and all allies within 3m have their movement speed increased. Cannot be used with Zealous Barrage.
In playtesting so far, our test paladin has been very useful in combat, with the melee group often centering around her to gain the benefits of her Zealous auras and Coordinated Attacks. While several other classes have Stamina healing abilities, the paladin's Reviving Exhortation can turn the tide if party members start dropping late in a battle. However, using it too early can spell disaster for the revived character if the granted Stamina boost runs out in a long fight.

Optional Talents for the paladin will focus on shaping the passive or active bias of the character: widening the effects of Zealous auras; granting additional uses or increased potency for targeted commands; or giving paladins more direct offensive and defensive capabilities if players want to boost their paladins' personal viability.

Persönliche Anmerkung: Paladins for the win! http://www.dailymotion.com/video/k7CroGGmkGmQIN3qPmb&start=4


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Hey Lord, danke für deinen Betrag ... allerdings hatte ich insgeheim gehofft, dass du mit Torment anfängst! :X :-D

Allerdings liest sich die Zusammenfassung für Project Eterniy auch sehr interessant! :top:


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Hey Lord, danke für deinen Betrag ... allerdings hatte ich insgeheim gehofft, dass du mit Torment anfängst! :X :-D

Allerdings liest sich die Zusammenfassung für Project Eterniy auch sehr interessant! :top:

Alles zu seiner Zeit... :)


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Das bissle Englisch ... :B

Aber davon ab, wird es eine Lokalisierung von Eternity zeitnah zum Release geben? Wurde hier ggf. schon was offizielles gesagt? Gibts ggf. Pläne bei einem finanziellen Erfolg das Spiel in andere Sprachen zu übersetzen? :O

Das ist für mich so ein wenig der Nachteil von Kickstarter, es gibt sehr wenig deutsche Übersetzer und ohne Publisher im Hintergrund sind mehrsprachige Spiele echt selten! :|


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Bild vom Interface:

kleines .gif aus der obigen Szene, allerdings ohne HUD:

Sieht gut aus ... :top:

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Das ist die erste bewegte Szene aus Project Eternity (gleiche Szene wie in Rabowkes gif Bild), beginnt ab 1:50

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Ja, es wird eine lokalisierte deutsche Version von Project Eternity geben. Das war das Stretch-Goal bei 2.2 Millionen Dollar. :)

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Freue mich schon wie verrückt darauf... ich habe nix gegen ein gepflegtes Rollenspiel im Stile von Skyrim oder Mass Effect, aber Project Eternity bringt vieles wieder, was ich früher an einem Rollenspiel geschätzt habe und heute hoffentlich immer noch tue.


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Update by Chris Avellone


This week? Companions. I have been designing companions.

I lucked out, because I got to do companion design work for BOTH Eternity and Torment, so two birds, one stone. Or three companions, one lodestone? I don’t know.

Eternal Companion Facts

Some facts from our Eternity design documents that I wanted to say up front before going any further: thanks to backer support, Eternity supports 8, yes 8, pre-made companions and 8 hired adventurers (16 total). You can have up to 5 in the party at any point in time (the 6th/1st role is your player character, who, well, sort of has to be there, you know, because it’s your game). It’s a lot of writing.

We want to allow you to encounter all companions before the mid-point of the story. One issue we’ve found with introducing companions too late is that it doesn’t give players enough time to bond with them, and/or the player may have already formed a strong attachment to their other allies so much so there’s no physical or emotional room for more party members in their lives.

Each companion also has their own mini-arc and quest woven into the game as well, so be prepared - they have agendas of their own. You know, like real people.

Lastly in the fact train, we don’t force you to take anyone in your party. If you want them, take them. If you want to go to the Adventurer’s Hall and make your own, do it. Go solo. We don’t own you. We’re not trying to control you. Play how you want.

Narrative Update...

So a narrative update related to companions... Eric Fenstermaker (designer, Fallout: New Vegas, also responsible for Boone and Veronica and worked on NWN2: Mask of the Betrayer and... and... oh, just Google him) has been hard at work on the narrative, and it’s reached the point with the arc and themes that now seemed like a good time to introduce the companion supporting pillars to the process to take the story higher (...not necessarily in a “Can you Take Me Higher” Creed sort of way, since it’s not really a question, it’s more like, “yes, we will take you higher.”)

Over the past few months, I’ve been scrutinizing the systems and story documents for Eternity (and Torment), the themes, and also checking out the other companion briefs from the other designers. Aside from the companion designs I wrote, feedback has been wildly traded in the interests of making companions even better than their core concepts. It was my goal to read EVERYTHING about the narrative I could, even brainstorming - and in Torment’s case, novellas as well. Now it was time to work on the structure of the individual companions.

...and now on to Companion Design

We discussed companion design (Project: Eternity and Characterization - Obsidian Forum Community) way back at the start of Eternity, so some points in this update will callback to this. There shouldn’t be a need for a refresher read unless you want to. The process for Eternity (and Torment) has followed these bulletpoints, and we’re holding true to our goals as well as expanding the design methodology as we go ahead.

The first and best place to start with companion design is the game systems. For companions, this means considering race, class, and their role in the conflict mechanics of the game. Knowing what class of character you’re making is key to building their history and personality. For example, in the case of Gann in NX1: Mask of the Betrayer, knowing his class before writing was a big help, and I can use that class’s list of abilities, class focus, and the abilities the class specializes in and weave it in with the backstory. The Eternity designers have been good about indicating the spread of classes and races for the companions and rationing those out during the process.

For Eternity, since combat is the primary challenge mechanic, one major goal is to make sure the companion is combat effective. Why would you take them in your party? How are they useful? In other instances of conflict mechanics (for example, dialogue or Tide reactivity in Torment), we also examine how the character is useful in terms of these challenges as well.

A Note About Challenge Mechanics

Really quick, I want to clarify what I meant about “challenge mechanics.” That doesn’t always mean combat – it’s whatever the primary challenge in the game is. If we were doing a Thief-style RPG, then stealth and avoiding detection becomes the primary challenge mechanic, not combat. Depending on the RPG and its range of challenges, a character can still be fairly weak in combat, but if that’s the case, we try to think of how they’re helpful with regards to the game’s other challenges (giving an edge in dialogue, healing, fast travel). For all the characters I’ve seen or designed for games that don’t cater to at least one of the game’s primary challenge mechanics, those guys are often unpopular or unused because they’re not helping out with the systematic gameplay, regardless of how cool they might seem. And the more actively these characters can participate in the mechanics (vs. passive), the stronger their appeal.

Also at the same time, I try to be careful that the companion's skill set doesn’t overlap with the challenge roles of the other characters. We try to indicate in the companion briefs how each companion's challenge role is intended – one thing I learned as a pen-and-paper Gamemaster is you want to be careful about two players sharing the same role (Tank, Mage, Priest, etc.) – if one is clearly stronger than another, then the second one needs something else to make them stand out and be “special” in the party and fulfill an equally cool role in the party dynamic, otherwise one ends up getting upstaged by the other. And feelings get hurt. Which isn’t something you want in a game designed to entertain.


For Eternity, we’re setting it up so even if players choose the same classes as some companions, the companions are designed to assist those character types and make them more special (ciphers, for example, can chain, and even priests with the same religion can discuss theology and combo attacks).

In addition, we wanted to be careful about personality overlaps as well. I wanted to make sure any companion design didn't overlap with ideas or “concepts" of the other characters (or across projects – so for example, while I’m doing a Glaive for Torment, I’m not doing any fighters for Eternity) ...and that extends to personalities as well. As an example, I told Colin for Torment it might be a good idea if I didn't do a female rogue with a ruthless hidden agenda who can shape-shift according to your personality and have her/it be redundant with the Toy or the Cold, Calculating Jack in Torment.

So knowing the general class-focus, role, and personality for each, as well as ones that would be useful, we try to include in the character briefs and get that info to people as quickly as possible so everyone can get a sense for what direction to take their characters.
As for me, after much begging for the class itself and begging for the specific companion, I asked for the cipher. The cipher is near and dear to my heart, it felt like the first brand new class we were introducing that was tied into the soul mechanics of the Eternity world, and the freedom to explore it is a great opportunity.

Character Freedom

Both the Eternity and Torment leads have been strong advocates about letting designers channel their characters. If you are excited about an idea, they are willing to work with you to help realize that idea and help it fit into the world, without giving barriers to entry. In my opinion, the best GMs do this – rather than give you character sheets, they help you make a character you care about. In essence, companion design is a designer’s chance to design their very own player character that fits in with the world and the theme.

On Eternity, Eric has a strong theme for the story already. While not the original theme, Josh was accommodating and we all recognized that if another theme came to the forefront naturally through the writing process, it’s fine to alter it to make a stronger design. Having this theme clearly identified and supported in the narrative is good, but we’re taking care to make sure the companions can provide direct examples of the theme at work (or present counters or alternate viewpoints to it) - and the more, the better.


The companions cover a good range of culture and religion and factions in the game, which we hope to showcase more of in the future... the machinations of the world and the politics are prominent in the story (along with the magic system), and the characters showcase these elements very well.

Companion Iteration

There’s still plenty of work to do – like all design, iteration is key, and we have been doing passes of the characters to make them stronger. While the companions exist as individual entities, we also feel it’s important to do a pass of the companions to show how they relate to each other, which we feel is an important part of making the game Infinity Engine-esque, and it was a big part of the dynamics in Baldur’s Gate and Torment – describing how companions relate, fight, argue, or even act as sounding boards for both your character and each other’s viewpoints is an important part of creating a living world – and your party is very much the living world that follows you around.


The work doesn’t stop there. A pass of the companions asking “why the players should care” is also something we like to make sure we have an answer to for each companion. While the answer of “good fighter” is an answer (and one that’s worked well for a number of companions in the past), we prefer to add more layers showcasing how they’re specifically adding to the player experience.


Companion Nuts and Bolts

There are other finishing touches we like to add.

The companions have unique signature items (very Torment and Baldur’s Gate) in addition to their personalities and strong visual signatures as well. One comment we’ve always tried to include in these visual hooks is that because of the camera angles in the game, we want to make sure these visual hooks are easy for the players to see in the environment as well.


Also we’re doing what we can to get the area designers involved with not just the story, but companions as well. A good chunk of the game is dungeon exploration, and we felt that what the designers had done in NX1: Mask of the Betrayer in making sure that each companion had a significant interaction in a specific area was important for the story – and having areas that revolved around companions as well gave them and the dungeon design more strength. Right now, the companions already have strong internal conflicts (and religious and faction, if not inter-party), now tying those more to NPCs and dungeon explorations is one of our next targets.

With the companion design, we also tried to include narrative samples of analogies to that character that we’ve seen in other media or fiction that we feel help capture the character’s essence. Also, as we’re designing the characters, we include sample lines of dialogue when we can as another layer in the process so audio and other designers can get a sense of how the character sounds (both spoken and text-wise).

That’s all I can share about companions for the moment, and we’re looking forward to elaborating further as the game progresses.

If you have any thoughts or ideas on companion design, specific or general, feel free to post in our forums, we look forward to hearing from you!

Quelle: Project Eternity by Obsidian Entertainment
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Leider war es mir nicht vergönnt, mehr als fünf Bilder in den Post einzufügen..... Ich wäre glücklich, falls ein Moderator das sechste Bild auch noch so einfügen könnte, dass es direkt im Forum zu sehen ist..... ;) :)


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Project Eternity Social Round-up

Posted by WorstUsernameEver at 1:54 am on 08.5.2013

Given our latest round-up was published more than a month ago, and that last week there was no Project Eternity Kickstarter update, we thought it opportune to do a new one to fill our reader's wait with something to read.

Project director J.E. Sawyer answers some minor questions on lore on Formspring:
Are wild orlans' hairstyles cultural or is that just how it grows?

That's just how it grows naturally on them. Similarly, the elven ethnic group commonly found around the Dyrwood can't grow facial hair, but the ethnicity from the southern polar region has no trouble doing so.


Are the elves of PE going to be throwing anything surprising our way, like a very alien culture or visual aesthetic? They seem to be that most vanilla of the PE races so far, including humans.

The main elven ethnicity is designed to be very traditional, with the "pale elves" (Glamfellen) from the polar region having a more unusual appearance and a very different culture.

Are Glamfellen a playable race?

We are planning for them to be playable, yes.


Are the relationships between the Emperor of the Dyrwood and the Elven Concubine arranged/political or lustful ?

It's the human Aedyr emperor (technically the ferscönyng/first king) and the elven Kulkin queen (mecwyn, short for héamecwyn/illustrious queen). It's entirely political, but as with many political unions, that doesn't preclude affection, attraction, or anything that follows. Both the ferscönyng and mecwyn have same-race spouses and offspring; their "union" represents the ongoing alliance between the nations.

Haemnegs in ordinary Aedyran society are "supposed" to be for purely practical/political/financial reasons as well but they are often driven by emotions and desire. Haemnegs cannot be performed unless both parties are already married. If someone who is in a haemneg becomes a widow or widower, they are often pressured to re-marry (a "real" marriage) unless they are past typical parenting ages.


Im constantly surprised by how well developed PE's lore, history and mythology is already. Have you worked out all of the stuff from scratch since the project started or does it go back further than the actual kickstarter?

I'm glad you like it. None of it is earlier than the Kickstarter campaign.


On the new world map revealed at Rezzed, is the area marked Vailian Republics the republics proper, or is it just their colony in the Glanfathan region? And do all the major areas of the map appear in the game?

The Vailian Republics were originally colonies of the now-defunct Grand Empire of Vailia, just as Dyrwood and Readceras were once colonies of the Aedyr Empire. When the Grand Empire of Vailia (now called Old Vailia) started to collapse, the Vailian colonies conspired to establish financial and military resources that were separate from the empire's. When it was impossible for the Grand Empire to do anything about it, the colonies declared their independence. Though there were limited loyalist uprisings within the republics, there was nothing widespread and there was no formal military campaign from the empire against them.

The map doesn't really focus on the playable areas of the game, which will be in the Dyrwood and Eír Glanfath.


What kind of government does the Free Palatinate of Dyrwood have? Are they a monarchy, republic or something else, because it was mentioned that they weren't a duchy anymore.

It's an elective monarchy. The ruler of the area was a gréf of the Aedyr Empire appointed by the fercönyng (emperor). During the rebellion, the gréf followed the example of the Vailian Republics and declared himself the duc of the "free" palatinate. After his ***** during the closing of the revolution, the remaining erls of the Dyrwood elected his son to be the next duc.

Not all ducs of the Dyrwood have been from the Hadret family (and not all have been male), but they are all elected by the seven erls. The erls themselves hold hereditary positions.


Can you describe the main societies in the Project Eternity setting, socio-politically? Are they feudal? Absolute monarchies? Etc. What do the commonfolk do for a living? Is there civic awareness and broad nationalism, or are most people tribal/clannish?

The Aedyr Empire is a hereditary monarchy. The Dyrwood is an elective monarchy. Readceras was a theocratic dictatorship and is now an ecclesiastic dictatorship. The Vailian Republics are a confederation of sovereign republics with ducs who are elected by powerful (usually wealthy) city councils called the consuagli asegia ("councils of the siege"). Eír Glanfath is a confederation of tribes, each run by an anamfath ("soul prince") and advised by a council of raoithe ("wise ones").

Most common folk live in rural areas and survive through subsistence agriculture and related activities (e.g. wool production). Dyrwoodans have a strong sense of nationalism due to the revolution but highly value personal independence. Glanfathans have an extremely strong sense of community between their tribes and think of the entire forest of Eír Glanfath as being their responsibility to protect.

What do you mean by "subsistence agriculture"? Yeomen? Tenant farmers? Serfs working on large feudal plantations?

It varies from territory to territory and erl to erl, but most people are tenant farmers. Erls still nominally hold most lands for the duc, but yeomen exist in significant numbers.


Since there are no half races are interracial children born to the mother's race? like in TES.

Sexual pairings by different races (in the PE sense, e.g. elves and humans, orlans and elves) never result in conception.


What's the deal with dwarves in the Dyrwood? Were the dwarves at Durgan's Battery immigrants from Aedyr/Vailia or are there native dwarves in the area?

The dwarves at Durgan's Battery (and several of the other ruined places around White March) were colonists from the Grand Empire of Vailia but were not founding colonies *for* the empire. Dwarves have a cultural predilection (some go so far as to say it's an instinct) to explore. They've actually been some of the earliest colonists in many parts of their world, though their colonies don't have a particularly good rate of survival.


So, in Project: Eternity, the Vailian Republics seem to be rather morally grey, what with the slave trade and impressment. But does the Aedyr Empire and its former colony, Dyrwood, have flaws as well? They seem pretty utopian from all the info so far.

The Aedyr Empire continues to allow slavery in most areas, practices serfdom, and believes in/enforces a divine right monarchy (through Woedica). They're also pretty closed-minded about animancy, ciphers, and a lot of the new breakthroughs in understanding mortal souls that have been discovered in the Dyrwood and Vailian Republics. Some Aedyre nobles also believe that they have a divine right to portions/all of Eír Glanfath.

The Dyrwood allowed slavery (at least slave purchasing) until relatively recently and, despite currently having a treaty with the Glanfathans, did fight two wars with them previously over destruction/theft of Engwythan artifacts that the Glanfathans swore to protect. Though the palatinate was taking a lot of intrusive actions on behalf of the empire and arguably many of the people involved didn't want to participate (one of the major causes of rebellion), plenty of Dyrwoodans had no problem with it and, even generations later, still have racist attitudes towards Glanfathans (especially orlan Glanfathans). Dyrwoodans also applaud vigilantism and rebellion as a culture, often to their detriment.

And though slavery is no longer legal in the Dyrwood, many Glanfathan orlans and a few elves still work/serve in a state that is little better than slavery. Because Dyrwoodans sneer at appeals to authority, locals who dislike the state of affairs often feel that they have to take care of it themselves or do nothing at all (usually the latter).​
Some more lore, from the official forums, also courtesy of J.E. Sawyer. This time, it's all about conlangs (constructed languages):
For PE, I am developing a number of constructed languages (conlangs) to a limited extent to help establish the flavor of the world and the distinct cultures within it. With each conlang, there is (or are) a number of real-world languages used as a starting point. Eld Aedyran is based on Old English with elements of Danish and Icelandic. Vailian is based on a mixture of Italian, French, and Occitan. The ancient Engwythan language (used by the previous residents of Eír Glanfath) is based on Cornish. Glanfathan (used by the current Glanfathan tribes) is based on Old Irish and contemporary Irish.

The orthography of most of these languages is relatively straightforward. A moderately-informed reader will likely mentally read the words and names with 80% accuracy, pronunciation-wise. Players may read the Eld Aedyran name Durnisc as "DUR-nisk" instead of "DUR-nish", but most of the time, they're going to be in the ballpark. If players read about the Vailian consuagli asegia (siege councils), they may not get the stress "right" or hit every consonant cluster correctly in their heads, but they probably won't stumble over the words.

The exception to this is Glanfathan, based on Irish. The foundations of Irish orthography in the Latin alphabet go back over a millennium and had to adapt to using Latin orthography for sounds that probably didn't exist in Latin, like /v/. Irish orthography also uses a set of rules for consonant pronunciation that are based on the surrounding vowels (slender or broad). Irish cased grammar can also mutate words in a way that forces the insertion of additional vowels to maintain their "slender to slender, broad to broad" vowel rules, which means the consonants in between can wind up changing pronunciation as well.

The result is Irish's distinctive "boatload of letters" appearance and unintuitive (to most English-speakers) pronunciation. In contrast, Cornish (another Celtic, but not Goedelic, language) did not develop standard Latin orthography for many more centuries. Its pronunciation is much more intuitive to the uninitiated. Despite the fact that Cornish exists in a different branch of the Celtic language tree, it shares some etymological roots with Irish, but the pronunciation is almost always more intuitive. However, written Cornish is much less distinctive from written Irish.

When you see something written in Irish, there's little doubt what language you're looking at, but the pronunciation will quite often not be "right" in your head. As it applies to the languages, names, etc. in Project Eternity, how much do you care about the intuitive pronunciation of our conlangs?

E.g. in the various Icewind Dale/Dark Elf books, Drizzt's panther is named Guenhwyvar. Most people don't know that the Welsh pronunciation of that name is close to "Guinevere". Does that matter? If you see a name like Dair Bhriste, how important is it to you that the way you pronounce it in your head is the way it is "supposed" to be pronounced?


I have been trying to keep things in the realm of the comprehensible/not ridiculous, e.g. Cean Gúla is inspired by the banshee or, in Irish, Bean Sí (woman of the Sidhe). In Irish "woman of blood" would be Bean Fuil (the genitive of "fola", blood). No matter how we set up pronunciation expectations, 90% of readers will read "bean" as what they eat in a burrito, so I just shifted the initial letter for woman over to "Cean" and made the Glanfathan genitive "of blood" the creepier-looking "Gúla" which isn't too wacky, all things considered.


fair enough, but on a larger scale, isn't that a battle that you can't really win? you make something sound right for english readers => now the french (or whoever else) start to read funny things because now it has some meaning in their language :-D

of course, i'm aware you are making this game for english speakers primarly, so it's not a big deal i guess

True. Vailian probably runs the biggest risk of this, especially since it's a cased language (most contemporary Romance languages are not). I already had a native Italian speaker call me out on the Darcozzi Paladini (an ancient order of palace guards from the Grand Empire of Vailia). "Hey buddy, who named that, some backwater farmer?!"


Oh, and as in the Italian example, it certainly is a good idea to have a native speaker / reader of the base languages have a look at the outcome to avoid silly sounding words or such with unintended meaning ;)

In the case of the Darcozzi Paladini, that would never make sense in any of the source romance languages because it's exhibiting characteristics of a cased language. Vailian, unlike Italian, French, or Occitan, is cased. If we used prepositions and articles to represent those relationships (especially to the extent that Italian does), it actually comes across as too Earth-like, IMO. Consuagli asegia seems "Romance-y", but consiglio dell'assedio looks unmistakably Italian.

So did it occur to you to change these propositions and articles to fictional ones?

It did, but most Romance articles and prepositions tend to be short (and often abbreviated/contracted as in consiglio dell'assedio), so don't know if they would wind up actually feeling that much different if I switched a few consonants and vowels around. Vailian is the only language we have that's based on widespread Earth languages, so I thought it was more important to more significantly shift it away from their Earth counterparts.

Changing the articles and prepositions to fictional ones doesn't really solve the "problem" of fictional grammar because neither approach is attempting to actually be correct Italian/French/Occitan, just to have the flavor of those languages. Consiglio frezz'assedio is arguably as "wrong" as Darcozzi Paladini.


I'd just like to say that it would be very interesting if there were established variations in pronunciation between cultures. You know, like the English "MISS-eyel" versus the American "MISS-uhl."

There is a bit of this already. The "Bael" in Bael River is pronounced differently by Dyrwoodans and Glanfathans -- "bæl" vs. "BAY-ul". It's most common when one culture appropriates the term of another (in this case, "Bael" is the Glanfathan name).


Okay, here's my problem with this: How much sense does it make for each conlang within the world of Eternity to have its own orthography conventions? Different real-world languages use different spellings for the same phonemes because of sound change and having adopted the latin alphabet at different points in their development. I assume that, in-world, the latin alphabet doesn't actually exist and the latin orthographies we see are a transcription of the native writing systems for the benefit of the reader. But a good transcription system is as historically-agnostic as possible to reflect current pronunciations.

It doesn't make sense, but we're viewing everything with Latin orthography and we're going to hear very little of it actually pronounced, so the "cultural feels" of it (IMO) have to come through orthography rather than pronunciation. If I were to write everything with English orthography (still problematic in many ways due to huge inconsistencies), there would likely be little apparent inspiration for the language/culture. In the original example I gave, Cornish is much more intuitive to read and pronounce than Irish, but is much less obviously Celtic in origin/flavor.

In something like the Game of Thrones TV show, the pronounced sound of Dothraki and High Valyrian are much more important than the orthography because we're hearing everything rather than reading it.


At the extreme end of the spectrum, ideally I could write everything in IPA and every player (also well-versed in IPA) would read the words perfectly without the need for anachronistic orthographies. Since our game will be primarily read instead of listened to, I'm currently leaning toward using anachronistic orthographies to convey the feeling of the inspirational source languages. That's not necessarily "the right" way to do things, which is why I started this thread.


1. How much are you focusing on making the history of the languages apparent in their design? e.g. semantic shift from cognates and re-borrowings? Will the ancient sources of languages we come across (say in ruins) be obviously different (yet related) to their modern counterparts?

2. Are there going to be any conlangs based on languages outside of the indo-european family? (I'd particularly expect this for the Orlans and the Dwarves, given their fluff thus far.)

1. Not tremendously, but a little. Due to the number of cultures and languages, I'm not going to delve deep into each language. Engwythan and Glanfathan are from the same part of the world and are loosely related (as Cornish and Irish are). Eld Aedyran and Hylspeak (similar to Scots) are essentially older versions of the "common" contemporary Aedyran which is, for all practical purposes, English. Vailian doesn't have any branched or ancestral languages represented in the game, but Dyrwoodans have appropriated some of their words (e.g. "duc").

2. The languages spoken in Ixamitl, Naasitaq (boreal dwarf-dominated), and Rauatai (northern aumaua-dominated) are all non-Indo-Euro in inspiration. They will be developed with less depth because they aren't as commonly spoken in this part of the world and frankly, I'm much more familiar with Indo-Euro languages.


To be clear, our conlangs won't dramatically veer away from their inspiration languages, but sometimes deviating from the source can actually avoid some stumbling blocks/issues (e.g. "bean" as the Irish word for woman).


I like the attention to detail. I trust, since this will be read, that spelling among the different areas inhabitants will be the same? For example, I cant say I would have noticed that "bæl" vs. "BAY-ul" are both describing Bael River.

Yeah. You probably wouldn't notice that unless you heard a Dyrwoodan (or Aedyran) pronounce it and then a Glanfathan pronounce it. Individual personal names may be spelled differently, especially among Dyrwoodans, who may borrow the sound of Glanfathan names transcribed into their own orthography -- or vice-versa. This is very common in Earth languages.

Durnisc used for a Glanfathan name may be spelled Dúirnis, with the "i' after "ú" being a silent glide vowel added to satisfy the "slender to slender, broad to broad" vowel rule and to maintain the "r" and "sh" sounds from the source name.​
Some additional lore snippets, also from the forums, also from J.E. Sawyer:
Paladins and monks are not tied to the foundation orders.


The dominant human ethnicity among Vailians is Calbandra (Ocean Folk). They are originally from the "warm ring" (equator) but migrated thousands of years ago. Old Vailia is actually even farther south than the Vailian Republics. The Dyrwood is warm compared to Old Valia and cool compared to Aedyr.


Enchantments take a number of different forms, but steel is by far the most common metal used for making armor and weapons. Skein steel doesn't actually bind the soul to the metal, but uses copper as a temporary element of the forging process to slowly draw a burning soul over the weapon. By the time the process is complete, there's very little copper left in the weapon, but there are trace amounts that can reveal the macabre process used to create it.


I like the look of the animats. Is it me, or is Eternity going to play around with the FORGOTTEN ADVANCED CIVILIZATION trope as well? The inclusion of copper armour and designs that look and feel dated is a pretty awesome turn away from the usual LOOK AT HOW ADVANCED THESE ELVES WERE approach most fantasy games have.

Yeah, the Engwythans were good at three things: soul manipulation, mathematics, and growing big crazy structures. Their metallurgy was generally garbage and they weren't particularly advanced in any other fields. Glanfathans have surpassed them in mathematical discoveries and astronomy. The other "big" cultures have also discovered an enormous amount of knowledge about souls that the Engwythans never did -- though there are still aspects of Engwythan technology that contemporary animancers don't fully understand.

As a side note, while Glanfathans are dominantly elves and orlans, Engwythans apparently had a strong representation of every race in their society.


Do the Glanfathan elves not have the same prejudices against wild orlans as the other main civilizations? Also, are aumaua a majority or sizable minority of any main civilization, and if so how advanced is it?

Glanfathan elves have none of the biases against orlans that other cultures do. Orlans are well-regarded in Glanfathan tribes. Aumaua are a minority in all of the "core" nations/cultures around the Dyrwood. The aumaua-dominated cultures to the (far) north and (slightly closer) south are about as technologically-advanced as the Aedyr Empire. I.e., generally pretty advanced but exceeded in some ways by the Vailians (generally the tech "leaders").​
Some talk about attributes, courtesy of Formspring (with a side discussion on Project Eternity's ruleset inspirations):
The main issue I have with the attribute system in P:E (I admit we don't know much about it) is that it limits a player's ability to "role-play" a certain type of character (i.e the dumb brute). Any plans on expanding RP opportunities outside of LARPing

It doesn't at all -- conceptually or the specific example you gave. You can very easily make a dumb brute fighter character in PE and role-play him or her as such. You can also make a brilliant weakling fighter character and role-play him or her as such. The difference between doing this in PE and, for example, D&D, is that in PE this is a fully viable character concept who emphasizes different elements in combat.

I have to say I think it's an odd complaint considering that to even arguably have ability score-based role-playing opportunities against type with A/D&D, you are required to build a character that is bad at his or her class. It's better in later editions of D&D because they put more effort into providing some universal values for ability scores, but there are still fundamentally horrible builds. A decent number of feats allow for viable Int-based fighters (for example), but a Cha-based fighter is flat-out bad at being a fighter.

You can find ways to work around it, but they're almost all splat book-based prestige classes and feats that try to put a band-aid over the fundamental problem, which is an imbalance of class-specific and universal benefits provided by the ability score array.

Thank for your response. I’m actually not concerned about the combat implications of your attribute system (no dump stats? Great!), but rather what the proposed implementation implies for PE as an RPG: attributes are nothing more than modifiers for combat. It takes away what little cRPGs COULD have in terms of mechanically interesting chars to RP, e.g. low int chars in Arcanum had worthwhile dumb convo options (yes, it was gimmicky, but it has potential). Do P:E's stats also help "define" our chars?

Yes, of course they do. All attributes are used in both scripted interactions and standard conversations to unlock options -- as in PS:T, but with a heavier emphasis on equal use of the attributes.

One of the reasons we don't have a dialogue/speech skill is so a character's attributes can be used as dialogue prerequisites with greater frequency.


Separate from the actual mechanics of the PE attribute system, will you make sure that the advantages of the system are communicated in the final game and dressed up in enough "fluff" justification? IE don't make the messaging mistakes of D&D 4th ed.

Yes. It's always been hard for me to determine what in A/D&D is intentional obfuscation vs. unintentional oversight. I am a firm believer that players should be able to easily deduce the intended, practical effects of a design through simple observation.

Talking about attributes, what in your opinion is obfuscated and/or incoherent about D&D's dexterity or strength, for instance, compared to an attribute that increases your damage from all sources (both magical and physical) and improves healing?

Strength in A/D&D is consistently treated differently than other ability scores. Even in 3E/3.5, it's given double weighting when calculating racial bonuses. E.g., half-orcs gain +2 Str for -2 Int and -2 Cha because the latter two are both easy dumps.

This same weighting is not consistent when you look at ability score bonuses provided by a) leveling b) spells (e.g. bull's strength isn't 3rd or 4th level) c) items. So, is Strength twice as powerful as other stats or equal value to other stats?

And why does Str affect physical damage but (with rare exceptions) no other stats have any direct effect on magical damage? Even Int has avenues to affect WEAPON damage (e.g. the swashbuckler). So A/D&D's abilities come off as quasi-simulationist, but not consistently, and the internal rules don't paint a clear picture if even they consider the ability scores to be balanced or imbalanced with each other.

Do you think that the point of using different mechanics for physical and magical combat in the older editions was to make magic 'feel special' or something like that? even if the implementation wasn't perfect I always liked the distinction

Which is why my heart sort of slumped when I saw bonus damage came from one stat only in the current P:E attribute design

I'd say it's almost impossible to ascertain intent from the first edition of AD&D since it was one of the first of its kind. The ones that followed have largely just carried on what the original did.


How do you respond to this: "A few playtesters built a party that couldn't survive BG2 13 years ago? Everything was wrong with that game. People more or less universally detest 4th Edition? Well, I don't care about people's opinions when they're wrong."

That's a lot of different stuff to respond to. The main thing I would say is that PE's Attribute system isn't based off of 4E. A lot of stuff in PE is not based off of 4E because I don't think it would work well for the game. As an example, PE fighters are WAY lower-maintenance than 4E fighters (though a little higher than they are in 3E and certainly more than they are in 2nd Ed.). PE wizards are much closer to 3.5 sorcerer/wizards than they are to 4E wizards (though their power curve doesn't match 3.5's).

I *generally* like the mechanics of 4E (e.g. the unified defense system), but I think the classes lost a lot of their unique feel between 3E/3.5 and 4E and it still has a lot of flaws that are shared by other RPGs and editions of A/D&D.

I played 4E for about 2.5 years and I'm still playing 3.5 (and DMing a Pathfinder game). None of the rules in any edition of A/D&D are perfect and I'm not using a specific edition as a "goal". I want to use A/D&D-like mechanics when I can because I believe that's the sort of experience that our backers are going to enjoy.

No blend of rules is going to make everyone happy, but I do try to keep this idea in mind: a player saying, "I want to make this type of character and play through the game with it." I know that's not important to all players, but I do think it's important to many of them -- and it is important to me.

"I think the classes lost a lot of their unique feel between 3E/3.5 and 4E". So I take it you've changed your mind? Hey Ropekid, not to bring up a **** systems argument but did you enjoy 4e? | Formspring

"I also don't think the classes feel that similar -- outside of each class possessing the same number of abilities/powers/etc. Even at low levels, my warden and my bard felt very different from each other and very different from the other PCs."

The classes definitely *play* differently from each other, but in terms of the number of powers and how they are acquired, they are almost identical. A 4E wizard has (barring rituals) about as many powers/abilities as any other class.

Tactically, the feel very different. When you look at them on paper, they advance in a very similar fashion.

And a 4E wizard (and fighter) certainly do not feel like they did in any previous editions of A/D&D, regardless of how differently they play from each other within the context of 4E.


What's more important: a system being intuitive, or a system being balanced?

Ideally, both, but I prioritize balance between a player's options -- whatever they may be.

Intuition varies a lot from person to person, especially when it comes to RPG mechanics. If you've played enough RPGs, you find commonality between systems, but also a huge amount of divergence. Pendragon is not like D&D, GURPS is not like FUDGE, and Burning Wheel is not like Cyberpunk. Someone coming to one of these systems from another may find the rules unintuitive simply based off of their past RPG experiences rather than from any sense of verisimilitude.

If a mechanic sacrifices intuitiveness for balance, even if the player makes a choice from the basis of an incorrect assumption, their "wrong" choice may very well wind up being a viable one. If a mechanic sacrifices balance for intuitiveness, it may point the player toward the viable solutions, but it's implicit in the sacrifice that we're knowingly including sub-par (or worse, trash) options in the game's content.

I don't think the player gains much from the inclusion of options that are designed to be bad. It means the designer is including things that take resources to make and display in the game, but really aren't ever made to be taken.

In the long run (and most RPGs have a fairly long run), the internal logic of the game's rules become the lens through which the player looks at choices. You can fit your playstyle to rules as you learn them. And on subsequent playthroughs, if the player's options are well-balanced, you can genuinely play with a completely different character. If the options are intuitive but not balanced, your long-term potential for different playthroughs is diminished because only a subset of options are viable -- or rather, many options inherently come with a difficulty penalty that you may or may not want to experience.


I have a friend who is concerned that all you do is make remarks about how the Infinity Engine games were flawed, and that you don't seem to even like them. Can what describe what you liked about the IE games and how they will inspire PE, to reassure him?

Most of what I dislike in the IE games has to do with specific elements of content or rules, not the games overall. This probably won't be surprising to anyone, but I even think my three favorite RPGs of all time (Fallout, Darklands, Pool of Radiance) have a ton of problems and I would want to significantly revise aspects of their mechanics or interface if I were handling a game made in their respective spirits.

What I like about the IE games (not content-specific):

* Allow for a lot of large, beautiful areas that promote and reward exploration. There's plenty of 3D art that I like, but I love using 2D art when we can because we can make some amazing environments. Laying those areas out and thinking about how the player will move through the environment to uncover rooms, encounters, etc. is a lot of fun as a designer. As a player, it's always fun. The feeling is not the same in first-person or close first-person game, and it's also not quite the same in 3D. We didn't always use this well (e.g. some areas in IWD and HoW were very linear) and I think those areas suffered because of it.

* Responsiveness. I've always felt that the IE was very responsive to player input and AI state changes. Selection, movement, and execution of commands were all very "crisp" in the IE games, probably owing to its roots as Battleground Infinity (an RTS). Other than pathfinding, controlling characters felt good in the IE (IMO, anyway) -- better than it does in a lot of other RPGs.

* Tactical combat. I disliked some of the specific rules or rule implementations, but I always enjoyed the tactical combat in the BG and IWD games. I loved designing it and I loved playing it. In particular, "symmetrical" battles with parties or other class/level characters were a lot of fun. I like the more scripted feeling of those fights even if I didn't like the rock/paper/scissors nature of some of the hard counters. I enjoy turn-based combat a lot, but I had already been introduced to RTwP 6 years before BG, so I also enjoyed/had no problem with BG's fundamental style of RPG combat.

* General party control. You can access and arrange (almost) everything about your characters, shift them around relative to each other, use formations (though I like ToEE's better), advance and equip everyone individually, etc. Even when I didn't always like all of the companions' personalities, I liked that they *had* personalities and would interact with you/each other. And in the IWD games, we liked that we could make all of our own characters.

* The huge variety of characters/parties you could make. Overall, just lots of options that created great variability in strategic and tactical options -- and different role-playing opportunities.

For content-specific things:

* I loved the scope and variety of areas in all of the IE games, but especially BG1 and BG2. As a former BIS guy, I'm always going to prefer the *style* of areas we developed for IWD (and, just before my time, for PST), but the BG games had a ton of huge areas to explore and an enormous amount of content. I still think BG2's early-game content could have been paced better. Even though BG had a lot of dead space, I still loved exploring the Sword Coast.

* The tactical combat in BG2, IWD, and IWD2. My main complaint with BG2 combat is the hard-counter wizard fights. I don't think hard-counters belong in a game where you can easily, unintentionally, build a party that lacks the hard-counter. I also don't think save or die effects belong in a game with save/reload, but that's a larger issue with 2nd and some elements of 3rd Edition A/D&D. Notably, it's mostly absent from 4E and I think that aspect of the game is better for it.

* How PST handled dialogue from the perspective of making it more than literally just saying words to another character. PST's dialogue allowed you to do much more in conversations and helped the player feel like they were *doing* things. Of course, PST's level of player agency in the story and with companions is fantastic.

* The overall volume and varied responses/plotlines of companions in BG2 and PST.

* The music of all of the games. They were all great.

* The style of interfaces. They' were weighty and solid and the sound effects that accompanied them made them feel even weightier. Do I prefer the "across the bottom" UIs of IWD2 and PST to the wrap-arounds of BG and BG2? Yep. There you go.

I think that covers most of it. I worked on four of the IE titles (IWD, HoW, TotL, IWD2). I hope people understand that I didn't come out of that experience thinking that either the engine or games were anything close to flawless. I watched dozens and eventually hundreds of designers and players interact with these games for years. When I'm critical of them, it's because I think they can be even better, not because I don't think they were good in the first place.​
Some minor mechanics talk on Formspring and the official forums:
Are there any thoughts to have subclasses like in BG2, or it isn't needed and would complicate matters too much?

No subclasses. 11 classes with more than 10 levels each are a lot of work, especially compared to the relative simplicity of many 2nd Edition AD&D classes in the early IE games. We'd rather use Talents as a way for players to mechanically differentiate their characters within a class.


A friend asks about the recently leaked screenshots with PE characters: "Those weapons on characters backs, they're actual representatives of the quick slot/secondary weapon your character have?"

We would like to represent the characters weapon sets on the character even when they aren't being wielded. In those shots, the weapons are attached to the character models for testing purposes. We still need to do more experiments to see if it works with all weapon combinations. We also need to make sure that if we have cloaks (and we very much would like to) that we can minimize interference between cloaks and the weapons.


I've always felt that that Ranger classes get no love in a lot of CRPGS. They always feel like a cross between fighters and rogues, with none of the advantages of each. What's the PE design philosophy for Rangers? How will they "work"? Thanks!

Rangers have the second highest single-target damage output capability (behind rogues) but have the advantage of range. While many rogue abilities allow the use of ranged attacks, the rogue needs to be relatively close to the target to use them. Rangers do not have this restriction. Rangers also all have animal companions. They are an integral part of the class and animal companions gain additional abilities as the ranger advances. Because rangers and their animal companions are soul-bonded, they share a common pool of Stamina and Health. Mechanically, this means that rangers cannot use their animal companion as a "meat shield", but they can gain good synergistic benefits from working together.


You've mentioned that fighters in Project Eternity auto-regenerate stamina. Is this a limited active ability, or a passive/modal ability?

It's a passive Ability. They also have a limited-use active Ability called Surge that restores a large chunk of Stamina.

How fast does it regenerate?

The passive ability is not fast enough to save them from a really brutal assault, but it's enough to make a difference in a longer engagement.

Are barbarians still the class with the highest stamina/health pool ?

Barbarians don't necessarily have the highest Stamina pool, but they have the highest *effective* Health because they convert Stamina to Health damage at a different ratio from other classes.

Is fighter the only class that has in-combat automatic regeneration as a class ability? Are there talents that offer the same?

Currently, the fighter is the only class that has passive regeneration. There are not currently any Talents that offer similar functionality.


You have said that barbarians have a different formula for converting Stamina damage into Health damage. Will they take more or less health damage?

They take significantly less Health damage. We'll be tweaking the exact ratio as time goes on, but it's a lot less than other classes.

Wouldn't it make more sense for them to take MORE health damage compared to other classes? "A powerful barbarian, very effective in a single battle, but after it's over fatigue sets in." You know, like traditional Barbarian Rage.

You'd think the "screaming berzerker" archetype would be less durable over time than the "disciplined soldier" archetype that is the Fighter. Are you sure you're not confused?

No, I'm not confused.

OK, so what's your rationale for making the barbarian the more "strategic" class? Seems like the Fighter's stamina regen and the Barbarian's health/stamina damage ratio could have been swapped, for instance.

Both the fighter and barbarian have good long-term Health potential. The fighter's comes from high Deflection and his/her Defender mode. The barbarian has poor Deflection but Thick-Skinned (better Health conversion) and his/her Frenzy can bump Stamina.

The barbarian is designed, more or less, to burst/freak out in a single combat and potentially collapse without ruining his/her long-term viability. Fighters are designed to be slow and steady/low-maintenance.

So, what you're saying is that the Barbarian's "Thick-Skinned" trait is actually meant to *compensate* for his other strategic weaknesses?

Sort of. They're probably going to wind up taking and dishing out a boatload of damage. But they may be among the first party members to drop over, unconscious in a fight. That's a fine trade-off, but I don't want the party to rest 2x as much for it.


Can you tell us more about PE's combat skills? Will they be auxiliary like NWN's Tumble or Discipline? Minor bonuses like AD&D's proficiencies? Will they determine your combat performance entirely, like Fallout's weapon skills? Something in between?

PE's skills grant auxiliary combat bonuses. I'm designing them to have a minor but not insignificant effect on how individual battles and series of battles unfold. Combat capability is dominantly determined by your class (and class abilities), attributes, talents, and gear.

So, are you still planning to have two pools of skills, combat and non-combat, each upgraded by a separate pool of points, as suggested by Kickstarter Update #7? It was not clear from that update whether the game's "combat skills" ARE actually "skills".

There's only one set of skills. Skills can be used out of combat for a variety of purposes and they grant auxiliary combat bonuses.


Do you have a set target in mind for combat speed? I don't mean animation speed, but the speed in which high level events occur. The advantage of turn-based combat is that "events per time period" is predictable, while in real-time it can vary wildly.

Yeah, we're trying to target the mid-levels of the BG and IWD games for most full-party combat. It can sometimes get frantic, but with pause, auto-pause, and slow mode, I think it will feel good.


In Project Eternity, what happens to a character that runs out of health, when permadeath is disabled? I know he's supposed to be "wounded" in some manner, but what does that mean? Does he continue walking around with one health point that can't be lost?

If permadeath is disabled, a character who hits 0 Health becomes Maimed. They immediately fall unconscious and can't get back up until the end of combat. When combat ends, they stand up with 1 Health and will regain all of their Stamina as normal.

Until they next rest, they suffer very bad penalties to their accuracy and all defenses. If they get hit again and are reduced to 0 Health, they will be immediately knocked unconscious again.

Maimed characters can walk around like normal and can participate in combat, but they are weak and vulnerable combatants who are likely to drop in a single hit.


All Zealous auras apply to paladins as well as the people around them. That said, scattering the party is playing against the benefits of the paladin just as having a barbarian solo a singular powerful enemy is playing against the barbarian's benefits (specifically, Carnage AoE melee damage) and having a wizard try to dump low-damage AoEs on one or two targets is playing against the wizard's benefits.

Positioning is often an important element of IE combat and we believe it should be in PE as well. Fighters works well as islands. You can plant them in the middle of a hallway (even a wide one) and they can lock down melee combatants running through the area. They work less well (or rather, provide less benefit) in immediate proximity to their allies because they can't force anyone to engage them over someone else. They also have trouble when enemies are primarily ranged-based and spread out.

Paladins do not work well as islands. They work well with one or more allies around them. They don't have to be holding hands, but they can't be on opposite sites of a battlefield. Yes, a wizard, ranger, and rogue in the party could spread far out from the paladin (I don't really think most of them need to), but in many cases, a full party will likely have two more melee-oriented characters in the party (most IE parties have 2 or 3). A paladin standing 10' in front of a ranger and wizard can provide the same Zealous Barrage benefits to shooters and casters that he or she would if he or she ran up alongside a monk and a barbarian. Even if a ranger or wizard are on the other side of the battlefield, if they are the closest ally attacking the paladin's current target, they'll gain the benefit of Coordinated Attacks.

Paladin Talents will unlock more offensive capabilities for them, but the bog-standard paladins won't hit like wet noodles just because they don't have Abilities specifically dedicated to smashing in faces. It makes sense that in a tabletop game like D&D, a "buff beacon" character should be avoided because the player experience can be boring. That's why 4E buff abilities are often minor actions or they are side effects of attacks (e.g. Healing Strike). In a party-based CRPG where the player is controlling up to six characters, every class doesn't need to be a self-contained murder machine with the same number of active use (or even offensive) abilities.


Something just occurred to me: does Inspiring Triumph count assists, or does the paladin have to be the one actually delivering the killing blow? I'm not sure that last-hitting has a place outside of esports. If the paladin is engaging that particular enemy when they are killed, it should count IMHO or else things might get too fiddly and meta-gamey.

Last-hitting is also used in 4E for some abilities. Inspiring Triumph provides a passive bonus and is unlikely to be something you hang your hat on. There's no need to micro just for that benefit.


Could you make a ranged paladin that stands back a bit, generating auras and buffs, while plinking away with a crossbow?

You could. Their targeted commands have decent range, so it should be possible to "lead from behind" if you want to.


In "dungeon" (or equivalent) environments, stealth can be used to circumvent encounters or it can be used to set up good positions from which to start a fight. The specifics will depend heavily on the individual dungeons, encounters, and characters doing the sneaking. Conversations are less common in dungeon environments than in cities, but you will still have deep dialogues in dungeons when it makes sense.


Not all creatures drop good loot. Some creatures don't drop any loot. That can be a determining factor in what encounters you choose to engage or circumvent.


I've heard plenty of players (and DMs) deride other players for "abusing" clear rule loopholes. I don't think this is helpful for anyone and, unless you're in a tournament environment, I don't know why any DM/GM wouldn't simply talk to the players about adjusting the rules for the long-term health of the game. With PE, the rules we give to you are ours to write. If a player "abuses" any rule we put in, we are the people to blame, not the players. I.e, we, the designers, create degenerate gameplay opportunities. Players simply recognize the opportunity and take advantage of it to win the game, which is usually one of their major goals. But because those opportunities often become the de facto tactic or strategy for overcoming an obstacle, what could have been a dynamic element of gameplay becomes static -- generally undesirable.


Once you've detected a hidden object, the highlighting shortcut will reveal it like other objects.

On a related note, finding hidden objects can happen due to sheer proximity (very close), but will trigger at much greater range if you enter scouting mode, which is our combined stealth/search state.

BTW, another reason why we would like to retain a highlighting key in PE is because with an isometric perspective and occluded geometry, it's very easy for bodies/items to fall "behind" something relative to the camera.

Initially spotting a hidden object highlights it automatically for several seconds. The highlight key is only required to highlight it after that initial duration.


We have a 3rd level Haste-ish spell. It will not be as gnarly as it is in 3E/3.5.


I really like the concept of -- I'll just call them "modal abilities," as I think that's what they were called in one of the P:E updates. Like the P:E Fighter's "Defender" ability. I think in its case, the cost is a constant, passive tradeoff (decreased offensive output for increased engage-a-bility, if I'm not mistaken?). And in DA:O's case, it was a reduction in mana/stamina regeneration (both total and rate of regen).

Yeah, we call them modal abilities internally. The idea is that you're turning modes on and off rather than gaining a passive benefit or activating a single-use ability. If a class has more modal abilities, we're designing them to be more low-maintenance. Fighters fall into this category. That said, you can buy Talents that make fighters more active if you want to, but their core design leans more heavily toward passive and modal abilities.


Do you anticipate allowing several different types of modals?

Often modals are exclusive with some other type of modal, but not necessarily all of them. EG: You can't have "berserker stance" and "Defender stance" active at the same time, but while in one of those stances you could still have a different, unrelated modal active. Just curious what your plans are with this. It sounds like this, but I may be reading too much into it.

Yes. Modes all have an assigned "channel" and you can only have one mode active in a given channel at a time. E.g., the paladin's Zealous auras are all on one channel. In the UI, we would like to visually group all same-channel modal abilities together so it's very clear to the player.

I hope obsidian will avoid the trap of, "Oh, I have one modal ability and since I can't stack them all there's no reason to invest in the rest of them available to this class." I think it's fine if classes are designed around active abiltiies -------- BUT. BUT. These active abiltiies should not be something you SPAM like in WoW. are not your substitute for an autoattack. They don't exist to make you feel more engaged in the game. They exist as STRATEGIC ELEMENTS. Your choice to use ability X is a choice. Sometimes, it's better not to use them. I think this needs to be emphasized as a design goal.

A wizard can't cast more than one spell at a time and a monk can't perform more than one special attack at a time. The use of modal abilities, like active abilities, is typically a tactical decision based on the current circumstances of combat. Whether or not you want to buy multiple same-channel modal Abilities/Talents depends on your strategy for how that character will work in the long run.

Many/most of our abilities are already designed around limited use and a specific tactical application. The rogue's Finishing Blow does much, much more damage if the target is under 50% Stamina (and, in fact, increases proportionally the lower the target's Stamina is). The paladin's Reviving Exhortation can bring a single target out of a 0-Stamina state with a big Stamina bump, but if it's done too early in combat, the revived party member will have a Stamina crash before the end of combat. The ranger's Marked Prey ability grants a bonus against a single target once per combat, but it can't be switched once it's assigned.

I don't feel that the dilemma (if you want to call it that) is solved this way. It sounds like maintenance-heavy mode swapping. What made you decide against having only one mode active at any one time?

It's only maintenance-heavy if the circumstances require you to switch modes often. Unless you think circumstances will shift so rapidly that characters will change modes as frequently as a wizard casts spells (unlikely), it's at least going to be lower maintenance than triggering a sequence of active abilities.

We have different mode channels because not all modes have logical overlap. D&D's Rapid Shot and Power Attack don't really have any overlap because the former is for ranged attacks and the latter is for melee attacks. Shutting off one when the other is active isn't necessary.​
Finally, a little bit on armor design:
A lot of soldiers wore lighter armor for a variety of reasons, some having to do with practical matters like cost or maintenance, but sometimes arguably due to the circumstances of battle. Linen padded jacks were actually surprisingly effective against arrows (more than mail, in some cases).

We have most of our base armor types in the game now (still working on leather and brigandine). We may revise things a bit in the future, but I think most of you will really like where we're going with the designs. They are pretty firmly based in historical references (though they aren't derived from historical suits 1:1), they're distinctive from each other, they allow for the use of player-customized colors, and they are well-grounded. This last point is important to me because it allows us to "grow" the style of armor more over time. If armor starts out crazy or elaborate, things can get super-sized really quickly. Ours are practical but cool-looking (IMO) and it's very easy to tell the male and female characters from each other. Hopefully we can show you some more of it soon.

The character artists have also been developing the weapons more. Like weapons in the IE games and older AD&D artwork, the weapons are relatively realistic in their size and proportion (with slight exaggeration for things like warhammer heads that might not read well at the small character size). We just got in a pollaxe and two-handed morning star, both of which look like bad news (in a good way). As with the armor, I think you'll like the base options and where we can "escalate" into fancier weapons over the course of the game.

Quelle: Project Eternity Social Round-up


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Das ist wahr. Da kommt schon richtige Baldur's Gate Stimmung auf. :)


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Das ist wahr. Da kommt schon richtige Baldur's Gate Stimmung auf. :)

Durch die Existenz von Project Eternity muss ich mich wenigstens nicht so sehr über das bisher gezeigte (Action-)Kampfsystem in Dragon Age Inquisition aufregen.... ;) :P


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Update #62: Production 01 - State of the Project

By Brandon Adler, Producer


Hey, everyone. As you know, over the past six weeks we have been working on our first production milestone - the cleverly titled Production 01 milestone. Our first target has been Defiance Bay (our first BIG city) and the team has been busting their collective butts to get as much fantasy roleplaying goodness as possible into the city.

In George Ziets' own words, "Defiance Bay is the capital and largest city in the Dyrwood, gateway to the riches of Glanfath, teeming with adventurers and explorers from all over the region. Defiance Bay is a city of the common people, where the most prominent and respected citizens are self-made men. It stands at the forefront of experimentation in soul magic and exemplifies the age of discovery."

A ton has been accomplished in a pretty short amount of time and we would like to share some of it with you.

New Hires

April Giron
April is our new Art Intern. She has been doing an amazing job in creating the interiors that populate Defiance Bay.

Holly Prado
Holly is an Environment Artist that joined us about a week ago. She has already made a large contribution in filling out the existing areas with new props.

Matt Perez
Matt is a new Design Intern. Along with creating NPCs, quests, and blockouts, he also does maintenance work on areas (hooking up transitions, loot passes, encounters, etc.).

Ryan Torres
Like Matt, Ryan is one of our new Design Interns. He also creates dialogues, quests, and blockouts.

Brian Macintosh
Brian is Project Eternity's Programming Intern. While he has been implementing many features, he most closely works with the Concept Artists to get our UI to Alpha.


The Environment Artists have wasted no time in constructing an expansive Defiance Bay. For this first milestone our target was to get three of Defiance Bay's districts to Alpha level quality. It was a little ambitious, but the team did really well. The city feels full of life and character. I am pretty impressed with the speed that the team is able to get all of this together.

While the Environment Art team is busy filling out the visuals, the Area Design team is meticulously planning and executing quests, NPC dialogs, and other goodies throughout the city. They were able to get three of the city's districts completely blocked out in under a week. Considering the size of the city, it is a pretty good accomplishment.

Two of those districts are now at an Alpha level and even at an early stage, are a lot of fun to play. In addition to that, our two new Design Interns - Matt and Ryan - have been filling in the areas with smaller quests and NPCs. It is really starting to make the city feel alive.


The Concept Artists, Animators, and Character Artists have been burning through our creatures. We are taking a different approach in Project Eternity than we have on other projects. Instead of taking a creature from concept to a final, polished product, we have been taking creatures to a blockout stage before moving to the next.

This allows us to get creatures into the game much more quickly. It also lets us be more flexible with how we spend our polish time. Overall, we think it will lead to a better experience.

Even with this short amount of time, we have been able to get about eight different creatures into the game.

Since it would be pretty mean of me to talk about the creatures without showing one, here is a small taste of one of my "favorites" - the wicht.


I think Josh's description says it best: "Wichts are the bodies of children that were born without souls, grew to adolescence, and were then possessed by a malevolent lost soul or soul fragment that has been artificially inserted through animancy. This process arrests their physical development and transforms their outward appearance, leaving no doubt as to what they are."

In addition to the creatures, our Character Artists have been filling out the remaining armor sets that are left. We have all of our basic armors in place for all of our races. This is a pretty significant feat this early in the project. Now that we are done with the base item and armor sets, we can focus on making magic and unique variants.


We now have a fully functional quest journal in place that allows players to see their quest progress. The UI is currently being implemented, but it is looking great.

While we have been getting more and more Alpha UI into the game, I was particularly happy with how the conversation UI came out. Take a look for yourself, though. Even though this is still a work in progress, I think everyone did a great job. Let us know what you think of the conversation UI in our forums.


Tim went on a tear and got most of the backend systems for the player stronghold in place. There are a ton of really fun things you can do with your stronghold like sending companions on missions, buying rare loot off of merchants, building upgrades, and even purchasing hirelings to defend your keep from attack. Watching Tim's stronghold get robbed blind because he has low security and high prestige never gets old.

World Map
Eternity now has a fully functional world map. When the party enters a qualifying transition, the world map appears. Players can then select to travel to a location by selecting that icon on the map.

Fog of War
One focus for this milestone was to get our Fog of War system in place. Beyond a few tweaks, Adam is pretty close to slaying that beast. It's a really robust system he created that takes some inspiration from rogue-like games. Using Adam's tool, designers can quickly create a fog map, edit it, and set locations that should only be revealed at specific times.

Steve, our AI Programmer, has been putting work into spellcasting AI this milestone and it is coming out nicely. Enemies are more crafty than they were now that they are casting spells intelligently. There's going to be even more AI work - roles for our enemy AIs, for example - put into our next milestone.

10k Backer
We had our first $10,000 backer, Timothy, come for a visit. We all had a blast and it was great to meet one of our fans and show him the game. We even have a picture of Timothy preparing for Josh Sawyer's inevitable betrayal.


Josh Sawyer on Game Design
Lastly, I will leave you with a video that Josh put together about the importance of real-world knowledge in game design. Take a look.

Extern eingebundener Inhalt - Youtube An dieser Stelle findest du externe Inhalte von Youtube. Zum Schutz deiner persönlichen Daten werden externe Einbindungen erst angezeigt, wenn du dies durch Klick auf "Alle externen Inhalte laden" bestätigst: Ich bin damit einverstanden, dass mir externe Inhalte angezeigt werden. Damit werden personenbezogene Daten an Drittplattformen übermittelt. Weitere Informationen gibt es auf der Datenschutzseite.

Well, that's it for now. See you guys again in a couple of weeks.

Quelle: Update #62: Production 01 - State of the Project - Project Eternity: Announcements and News - Obsidian Forum Community


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Update #63: Stronghold!

By Tim Cain, Senior Code Wizard and Systems Designer


Hello! I have spent much of my time for the last few weeks devoted to making the game’s stronghold system, which was one of our Kickstarter project’s biggest stretch goals, into one of the best systems in the game. Josh has created an amazing and detailed stronghold design, with lots of upgrades and activities and random events that really make owning a stronghold fun and exciting. I want to spend this update explaining what we have made in the game, but first, let’s talk about the stronghold itself.

First, a caveat: I am going to describe the stronghold as it is currently designed. This design is mostly programmed already too, but as with all development, it might change as we finish the art and audio, fix any bugs, and tune the game play. So please view this as a snapshot of the stronghold development as it exists today.

You will be offered the stronghold early in the game, before you finish Act 1. But the stronghold itself is old and dilapidated, and you will want to upgrade it as soon as you can. These upgrades will, in turn, open up new activities and events that can happen, which will make the stronghold a dynamic and fun place to own.

So let’s go through the many reasons why you will want to have a stronghold.

There are five bonuses you will receive for getting and upgrading your stronghold.

  1. Resting bonuses. Some of the upgrades to your stronghold will grant temporary bonuses to your attributes or non-combat skills when you rest there. As examples, you can build Training Grounds to improve your Strength or a Library to improve your Lore skill. Some of these upgrades are expensive, but you’re worth it.
  2. Adventures for idle companions. You will eventually have more companions than will fit in your party, so you will have leave some of them behind. While they are idling away at the stronghold, they can take part in their own adventures, earning additional experience for themselves and extra money, items and reputation bonuses for you!
  3. Ingredients. Many of the stronghold upgrades will generate ingredients used by non-combat skills. For example, Botanical Gardens create Survival ingredients over time, and a Curio Shop produces ingredients for use by both Lore and Mechanics.
  4. Special offers. Sometimes visitors to your stronghold will have rare items for sale, or perhaps they will offer you items in return for something else. Pay attention to these visitors. Some of these items may be nearly impossible to find any other way!
  5. Wealth. Don’t forget that by owning a stronghold, you also own all of the surrounding lands and impose a tax on all of the inhabitants. It will feel nice for a change to have someone recognize your high standing and give you the money that you so richly deserve.
These bonuses all sound great, right? Well, they are great, but they are just the passive benefits from owning and upgrading a stronghold. There are a lot of activities you can do too, once you take possession of your stronghold.

Tim in his typical Stronghold creation attire.

First and foremost, when you get your stronghold, you are going to want to upgrade it. Upgrades are improvements to various parts of the castle, usually to add to the security or prestige of the place. Security affects how much taxes you collect as well as helps reduce the number of “bad” random events, while prestige increases the number of “good” random events as well as increasing tax collections, too. Upgrades can also serve as prerequisites for other upgrades. For example, you cannot build your Training Grounds (and get your Strength bonus after resting at the stronghold) until you have repaired the inner bailey of the stronghold.

Every upgrade costs money and takes time to build, but as long as you have the prerequisites completed, you can have as many upgrades building simultaneously as you can afford. And you don’t have to wait at the stronghold while they are built, either. You can continue adventuring, and you will be notified when they are built.

You can begin collecting taxes from your populace as soon as you gain the stronghold. The amount of taxes you collect increases with your prestige (because people know of you and like you), but the amount also increases with higher security, since some taxes are lost to banditry. You will want to keep both of those values high.

You can also employ hirelings to stay at your stronghold. These people will provide bonuses to your prestige and security, but they cost money to employ. Some will leave your castle if you stop paying them, but others will wait around to get paid again (but not provide any bonuses until they are).

If you have cleared the dungeon and built a prison under your stronghold, then when you are fighting some of the named NPC’s in the game, you will be given an option to take them prisoner instead of killing them. Prisoners are kept in a cell in your prison, where you can visit them and talk to them, and occasionally use them as leverage later in the game. But you will need to keep your security level high, or you might suffer from a prison break!
Finally, several upgrades will produce ingredients used by non-combat skills. This feature, along with upgrades that can improve your skills, makes your stronghold a great place to craft and store items. You can stop by your castle occasionally and make food, potions, scrolls, armors and weapons, and any that you don’t need immediately can be stored in chests and other containers in a variety of places around the stronghold. You know, in case of an emergency.

Which brings us to random stronghold events.

Random Events
As you play the game after getting the stronghold, whether or not you are physically there, you will be told if a random event happens at the stronghold. Sometimes, you will need to deal with the event immediately, but usually you are given some time to decide what to do.

The most common event at your stronghold is having a visitor arrive. There are all kinds of visitors, but they all share one thing. They can adjust your prestige and/or security just by being at your stronghold. Some visitors are wonderful and give good bonuses, and you will want them to stay as long as possible. Some of these visitors can even be employed as hirelings and will stay on as long as you pay them. Others are not so great, and you will want to offer them one of your companions to act as an escort to their next location, or perhaps simply pay them to leave. Some visitors will offer rare items for sale, and some might even offer a very rare item in exchange for one of the prisoners in your dungeon. As you can see, visitors require some decision making on your part.

As mentioned above, your idle companions can take part in adventures as those events arise. You will be informed of what adventures are available, how long they will last, and what the rewards will be (in general terms). If you send a companion on an adventure, he or she is unavailable until they complete it and return with the rewards. You can recall any companions early, but then they earn nothing. Why would you ever want to recall them then? Because your stronghold can get attacked!

Attacks are the most potentially dangerous of all stronghold events. Occasionally troublemakers (of various sorts) will decide to attack your castle. You will be warned ahead of time of any such attack, so you can return to the stronghold and take part in it directly, if you want. Otherwise, the attack is simulated and you are told the results. A well-defended stronghold can repel any but the most concerted attacks, but there is always a chance of damage which can destroy upgrades, kill hirelings, and cost money. The threat of attacks is the most important reason to keep your security level as high as you can afford.

I hope you have enjoyed this sneak peek into the world of Project Eternity and the role your stronghold will play in the game. No matter how you play the game, your stronghold is certain to provide many benefits and also be a lot fun too!

Quelle: Update #63: Stronghold! - Project Eternity: Announcements and News - Obsidian Forum Community


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Neues Videointerview mit Chris Avellone zu Project Eternity, Torment ToN, Wasteland 2 und anderen Dingen....:)

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Update #64: Developer Q&A with Kaz

Update by Kazunori Aruga, Concept Artist, and Brandon Adler, you-know-what-I-do


Hello, backers. This week we are profiling another talented Concept Artist on Eternity, Kaz Aruga. While Kaz wears many artist hats his largest contributions are area and UI concepts. Enjoy.

Q: Hello, Kaz. What is your job on the Project Eternity team?
Before I start I want to quickly thank all you awesome peeps who backed our game. I wouldn't be here working on my dream project if it weren't for you all, so thank you for making this a reality!

I have two responsibilities on Project Eternity. The first is supplying the asset and environment teams with concept art. The second is producing art for the game's UI. I'm occasionally tasked with scripted interaction art and will start producing character portraits further down the road.

Q: What are you working on this week?
I've been tasked with inventory and character creation UI. *leaps away as a massive fireball of community UI rage engulfs the land*

But seriously, I appreciated the feedback you all gave us for the action bar and conversation UI. I've taken notes and been implementing ideas that are in alignment with our design goals. As a side note, being a fan of the IE games and having a lot of experience playing them has proven very useful as it helps me identify what worked and what didn’t. I'm sure we all have fond memories of shuffling piles of arrows between characters.

Q: What is your typical work day like on Project Eternity?
My day usually starts by fighting off Robs and Polinas to get to the Keurig coffee machine in our room. Consuming the glorious bean drink allows me access to all two neurons in my head, which I then rub together as hard as I can to start making artwork. My day varies a lot from this point based on the task I'm on. For character and environment work a good chunk of time will be devoted to gathering reference and inspiration, or doing homework on a specific subject. I'll then do a rough sketch pass which gets reviewed by the leads and other artists. When I'm on scripted interaction art I work closely with our designers Bobby and Jorge, and for UI I interface with our project lead Josh and Brian who is our programming intern.


Q: What are you most looking forward to on Project Eternity?
Just the fact that we can put an IE inspired game on the market is enough to get me excited. It's been long overdue. I'm looking forward to seeing all the hard work we are putting in coming together as one complete package, and seeing reactions of people playing the game!

Q: Which concept that you have done has been your favorite?
Artists are typically never happy with their own work. Next question!

I've enjoyed working on art for scripted interactions, and been pretty happy with the results. I've also been putting a lot of work into inventory UI recently and am happy with the results coming out of that.


Q: What other projects have you worked on?
Before this job I was up in San Francisco working as a texture artist on a television series called Star Wars: The Clone Wars. I've also done some matte painting work in the film industry.

Q: What do you like to do when you aren't chained to your desk by your producer?
My off time often includes episodes of Breaking Bad, Game of Thrones, a cold beer, and dual wielding our two resident cats Puddy Tat and Lil'Babs. They are the best. I also have an unhealthy and destructive relationship with Ramen. (No, not the vile instant noodles. How dare you call that Ramen!) Thankfully LA has an abundance of good shops to satisfying my craving.


Q: Do you have a favorite concept artist?
Here's a few that popped into my head. I'll link to their site and save you all a google search.

On the painting and illustration side..

And of course the greats from the past...

  • John Singer Sargent
  • Jean-Léon Gérôme
  • The Wyeths
  • Norman Rockwell
  • J. C. Leyendecker
  • Isaac Levitan

Q: And where do you draw your inspiration from?
Nature is a big one of course. I also think back on how blessed we are with powerful tools like Google image search. We don’t neglect traditional resources, but I honestly can't imagine working at our current pace without it.


Q: What's your favorite Infinity Engine game? Why?
BG1 for exploring the vast wilderness. I can still recall the music and hear the birds chirping in the distance. BG2 is a close 2nd for its story and companions. The only title I haven't finished is IWD2 which I am playing through currently, and I will say I'm enjoying the combat.

Q: Existential question of the day: Who are we and why are we?
We're just here, man. There's no why, everything just IS. You feel me?

Q: Anything else you would like to share?
Long live the glorious PC gaming master race. *lets out a nerdy war cry and bangs mouse and keyboard together*

That's it for this week. Hope you guys enjoyed getting closer look into what Kaz does for us. See you guys in a couple weeks.

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A date with Eternity: My interview with Obsidian


My fellow gamers; Earlier this week I had the distinct pleasure of talking with the fine people over at Obsidian Entertainment about some of their upcoming releases heading your way in the near future. Notably, I had the opportunity to speak with Obsidian co-founder and Narrative Designer Chris Avellone. In the interview we discuss the upcoming Project Eternity, which Doctor Who would make the perfect protagonist for their own game, and not only was the cake not a lie, it was delicious.

So sit back, relax, and enjoy the show.

Q: So, Kickstarter yeah? You guys set the gold standard by which all other games currently using this model should aspire to. How surprised was the Obsidian team when they saw how high and fast the funding was coming in for Project Eternity?

Chris Avellone: I don’t know if we hold the gold standard (inXile’s Torment: Tides of Numenera and Chris Roberts’ Star Citizen certainly have done better, and Roberts continues to crush the world with continued crowdfunding – it was over 19 million as of writing this), but as for Obsidian’s Project: Eternity - we were surprised by the success, yes. We certainly didn’t expect it to hit the funding goal as quickly as it did... well, most of us didn’t. Our Art Director, Rob Nesler, did. The day after launching he promptly went around and said “I told you so,” to all of us to remind us that he had been the prophet that had predicted our success. And possibly to taunt us. Because Rob likes to do that.

Q: Speaking of which, how's it coming along? Have you guys locked down a title yet?

Chris: It’s coming along great, we’re building cities and districts and dungeons for players to explore, and it’s all looking beautiful – we’re currently tackling the first major city in the game, Defiance Bay, and it’s shaping up great. It’s not often that people can come into work and say “well, today I’m building a city,” but that’s the kind of workplace we have here at Obsidian. And that’s just the start – it’s not just the city itself, but the locations throughout the Eternity world (above and below) are shaping up beautifully, and the designers are adding a lot of great quest lines and content to thread them all together.

As for the title of the project: We have not resolved the “lock down a title” quest line yet. So no XP for us.


Q: You guys have stated that Eternity will be a pretty mature and dark-themed game. Slavery, drug use, etc. Are you afraid that might turn off some potential fans, or cause some unintended controversy within the gaming media?

Chris: If it’s true to the story, we’re afraid of nothing. There are a lot of elements we’ve often wanted to explore in previous titles that we haven’t had an opportunity to do, and Eternity gives us free rein to deal with those subjects. We don’t include elements like these for shock value – if they fit in with the game’s themes and if they add weight to the player’s moral choices for the player, then they are absolutely worth adding to the world. Similar themes worked well in interesting ways in Fallout 2, for example, and seeing some of those same evils explored in Eternity from a different perspective is something we’re looking forward to - and that’s only a small part of what we have planned.

Q: Will Eternity allow players to explore companion storyline/quests like they might have experienced in Fallout: New Vegas?

Chris: Each companion is intended to have a storyline, background, and quest that either advances them, ties them to the game story, or ties them to the theme, and preferably, some combination thereof. It may not be exactly like the New Vegas quest structure (we go as far back as Torment internal quests and the KOTOR2 advancement arcs), but companions will have agendas and quests of their own. More on this will likely come out in the coming months (and it may change as the companions are fully fleshed out), although the specifics will likely wait until the players are actually playing the title.

Q: You've also stated that the current consoles are, well, pretty limited in what they allow insofar as content when compared to the PC. With the looming next gen consoles coming our way, is there maybe the chance that Eternity might see its way on them instead?

Chris: Haven’t given it much thought. Our focus is the platforms we promised the backers.

Q: Now that the team has delved into the publisher-free domain, will you ever go back to any of them in the future?

Chris: We continue to speak with publishers, and will most likely continue to work with publishers in the future. While Kickstarter has been good to us, we have continued to speak about a number of properties with a variety of publishers.


Q: You guys have a history of taking pre-existing titles and really giving them some very creative elements for players to try out. KotoR II, Fallout: New Vegas, Dungeon Siege III just to name a few. Have you guys been approached here recently about continuing to "pimp that ride" so to speak from other developers?

Chris: Not from developers, no, occasionally from publishers who have wanted to see a return to the some of the titles that have been lauded by the public and they believe that we can help their titles realize that vision.

Q: You're also very supportive of your modding community. KotoR II comes to mind first and foremost. Are you amazed at some of the creative content they seem to add to an already impressive list of features?

Chris: Yes, and to our joy, fans have added more than we’d have thought possible to our titles across the board: systems, weapons, quests, bases, and more - allowing for an editor and a modding tool in a game has clearly proven its worth. If we have the resources to implement it in a release or allow for fans the ability to make their own content, it’s always our desired course of action. It worked out well for NWN2, for KOTOR2, and especially for Fallout New Vegas. Some of the mods that came out for New Vegas were brilliant, and as far as KOTOR2 goes, seeing all the work the community put in to restore the content with the Total Restoration Mod was amazing. Those developers are to be congratulated, and I tip my hat to them.


Q: A lot--er--well actually pretty much everyone on the Obsidian team are former Black Isle Studio team members. How'd it feel to "come home" when you guys started working on Fallout: New Vegas?

Chris: It was a nice change of pace. We’d been working on Fallout 3 at Interplay for a number of years (codename Van Buren), so seeing a lot of the game design of that title achieve fruition in a new Fallout game was great. A good percentage of that design had been directly taken from pen-and-paper games and the design docs for Van Buren – the Hangdogs, Hoover Dam, Caesar’s Legion, the mental illness caused by the Stealth Boy technology, and more. Some of the Van Buren elements mutated over time and achieved new context and new life in New Vegas (as an example, the “Big Empty” in FNV DLC3: Old World Blues was originally an automated military boot camp run by Mr. Handys in Van Buren, and I think the mutation of the Big Empty in New Vegas allowed for a much richer realization of a cool adventure area).

Q: There are rumors Bethesda is currently hard at work on a Fallout 4. I know you guys can't confirm or deny that rumor. But let's just say, hypothetically speaking, they ask for Obsidian's input and creative touch to help out, would you?

Chris: Yes, without a doubt. Fallout’s always near and dear to our hearts, and I believe that Fallout: New Vegas did very well for Bethesda (we never saw the numbers, but they seemed pretty happy with the sales).

Q: Beyond what you're currently hard at work on, is there any other IPs out there that the team would absolutely love to get their hands on?

Chris: There’s a few: The Wire, Archer, Ultima, Chronotrigger, Deus Ex, Arcanum, Star Wars, Firefly, and Doctor Who, to name a few. I think Star Wars is pretty high on people’s lists here at the studio. Personally, I’d love to do an Eberron D&D game as well, I love that universe.


Q: The David Tennant Doctor or the Matt Smith Doctor?

Chris: Any doctor in the next generation (including Eccleston) and Tom Baker of the old generation would be my preference. But I wouldn’t be the only one working on it, so it’d be more of a discussion beyond that, I expect... I will say the idea of making a brand-new Doctor that has to face off against the older Doctors (next generation or old generation) I think would be an awesome “season arc” for a game title. After all, I think the toughest adversary a Doctor could face is himself.

Q: Would it be safe to say that ED-E is the official/unofficial mascot at Obsidian?

Chris: We have several mascots. It’s a little odd, it depends on the conference room being used. Right now, Nihilus, Atris, Thorton, and the NCR Ranger are effectively our mascots for the different rooms and lounges. It was awesome getting an ED-E cake when FNV shipped, though. Deeeee-licious.

I'd like to thank Mr. Avellone for sitting down and taking the time to speak with us, and I'd like to give a solid shout out to Maria Gigliotti, PR Manager for Obsidian, for helping to make this all possible.

Project Eternity, for all you fans out there wondering, will be on sale sometime Second Quarter 2014.

Quelle: Gaming - A Date With Eternity: My Interview with Obsidian | HTL


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Update #65: Ciphers

Update by Josh Sawyer, Project Director

An agent of Dunryd Row attempts to perceive a "housed" soul within a piece of evidence.

Hello and welcome to today's class update! We'll be discussing some newcomers to the Dyrwood's "magic" scene, the enigmatic and deadly soul-manipulators known as ciphers. Read on to learn how ciphers went from being an animancer's theoretical possibility, to the feared foes of Dyrwoodan settlers, to an integral part of Defiance Bay's secret police, Dunryd Row.

Cipher Mechanics

Contemporary ciphers are fighting casters, like the Glanfathan "mind hunters" who invented the discipline. When engaged in physical combat, they use an Ability called Soul Whip to contact and drain the psyches of their targets. Recognizable by the purple flames that engulf a cipher's weapons, Soul Whip generates a Focus resource that ciphers can use to power their abilities. Though ciphers begin combat with a modest amount of Focus, their more advanced techniques demand large expenditures of Focus. Additionally, repeated uses of even minor powers will quickly drain a cipher's Focus, requiring them to dive into physical combat to generate more.

Cipher powers are not limited to mental manipulation. They have abilities that allow them to use a target's soul energy to "leak" and burst into flame, to generate a physical shockwave of that knocks down everyone behind the target, or even to bend back toward the cipher, creating a field of protective energy around him or her.

With the exception of Soul Whip, all cipher powers require Focus and a nearby target other than themselves, one with a "housed" soul. In practical terms, this means that ciphers must always target a nearby ally or an enemy with their powers. It is impossible for them to target themselves, a distant target, or open ground.

Here is a sampling of some of the cipher's abilities:

  • Soul Whip (Modal) - At close range, the cipher's weapons generate fields of parasitic energy that lash out at a target's soul. The Soul Whip mode reduces the amount of damage caused, but each successful hit briefly lowers the target's Psyche defense and generates Focus for the cipher (attacks Psyche).
  • Mind Wave - The cipher violently intrudes into an enemy's mind, Stunning the target (attacks Psyche) and generating a cone of concussive force behind him or her that can knock down anyone in its path (attacks Fortitude).
  • Soul Shock - The cipher causes an ally's soul to "crack" and violently release energy into the physical world. The resulting explosion of electrical (Shock) energy damages everyone nearby except the target (attacks Reflexes).
  • Psychovampiric Shield - The cipher drains Intellect from enemies and uses it to temporarily increase his or her Deflection. The increase in the cipher's Deflection is dependent on how much Intellect he or she successfully drains from victims (attacks Psyche).
  • Mind Blades - The cipher uses the souls of nearby enemies to generate attacks against the subjects themselves. Each target is attacked once by a slashing "mind blade" which then moves on to the next nearest enemy up to a maximum of five targets (attacks Deflection).
  • Recall Agony - The cipher causes the target to re-experience the pain of a wound moments after the target originally suffered it. The damage is a percentage of the original value, but it ignores the armor of the target (attacks Psyche).
  • Ectopsychic Echo - The cipher and an ally generate a bolt of psychic energy that periodically rebounds between them, causing Crush damage to anyone caught in the area (attacks Reflexes).

Cipher Lore

Many classes have abilities that allow the user to channel the power of their own soul or ambient soul fragments to produce incredible effects. Paladins ignite their souls to produce auras, wizards draw soul fragments into grimoires to shape and cast spells, and monks use personal suffering to focus energy through their bodies. While these classes often develop abilities that allow them to affect the minds and souls of others, the power is always generated by the user.

Feared for their mental powers and extreme hostility, the vithrack were once eagerly pursued by animancers for research purposes.

In the field of animancy, which focuses on the study of souls, researchers wondered for centuries if they could develop a discipline or technology that would allow people to connect with the soul of another living thing -- not just reach or strike out toward it. Wizards and priests had developed abilities to overwhelm or inspire the mind, but not to connect with it. Animancers theorized that it could be possible for one soul to reach out and connect to another, but they had no proof. Animancers studied folk legends about figures called Watchers who reportedly were able to see lost souls and perceive an individual's ancestral lives, but claimants to that title were typically charlatans at best or mentally unstable and violent at worst. A few intrepid animancers attempted to communicate with the reclusive spider-like race known as the vithrack. The creatures, obviously of advanced intelligence and extraordinary capabilities, seemed to possess the ability to connect to an individual's soul -- albeit with horrifying consequences. The dangerous nature and rarity of the vithrack combined with their inhuman physiology have still proven to be insurmountable obstacles in understanding how their powers work. Still, the animancers had a few other leads to follow.

Over a century ago, during the Broken Stone War, soldiers in the Dyrwood reported wild tales of having their minds invaded, of seeing comrades lose control of themselves, of orlan and elven Glanfathan warriors wielding knives engulfed in purple flames that "cut away" the souls of their victims. The war was a new experience for everyone involved, so many Dyrwoodans dismissed many of the more outlandish tales over time. But over the decades that followed, more settlers reported similar violent encounters with Glanfathan guerilla fighters. In the War of Black Trees, Dyrwoodan animancers confirmed many of these experiences across a wide number of soldiers and settlers. However, with Dyrwoodan settlers in a state of war with the population of Eir Glanfath, the researchers couldn't find many Glanfathans who were willing to talk about it.

After the Dyrwoodan revolution for independence, the Dyrwood officially stopped the Aedyr Empire's practice of exploring and plundering Eir Glanfath's sacred ruins -- the practice that had ignited the earlier wars between Dyrwoodan settlers and Glanfathans. In the years that followed, the tribal princes of Eir Glanfath allowed Dyrwoodan animancers to speak with some of their brîshalgwin ("mind hunters"), the elite warriors that had terrorized Aedyrans and Dyrwoodans in past wars. From the brîshalgwin, the animancers learned that Glanfathans had developed mental abilities that allowed them to perceive and contact what animancers categorized as "housed" souls, i.e., souls held within a physical vessel. They initially developed these talents in an attempt to communicate with souls held in the Engwithan ruins they were sworn to protect. When the tribal princes outlawed this practice as disrespectful and dangerous, their councilors advised the princes to turn the efforts of the brîshalgwin towards protecting the ruins and developing new methods of warfare.

Standing stones of adra like these were carelessly knocked down by early Dyrwoodan colonists, starting a conflict with the local Glanfathans that erupted into what became known as the Broken Stone War.

Excited by these revelations, animancers in Defiance Bay began working with the brîshalgwin, whom the animancers had previously described as "ciphers" due to their mysterious nature. Given Dyrwoodans' general discomfort with the Glanfathan language, the cipher name stuck and continues to be used in everyday conversation. For decades now, the ciphers and animancers have worked together, each generating new ideas and expanding their collective understanding of soul manipulation. Today, Dyrwoodans and foreign visitors from Aedyr, the Vailian Republics -- even distant Rauatai -- have learned and expanded the ciphers' growing field of techniques. Recently, encouraged by the potential the ciphers have shown and dismissive of the superstitious concerns of locals, Lady Webb, a prominent noble and advisor to the duc, petitioned the Dyrwood's erls to create a spy service in Defiance Bay consisting primarily of ciphers. The erls approved, creating what would become known as Dunryd Row, a respected, if somewhat feared and mistrusted, organization that operates out of an old, vine-covered house in the city's Brackenbury District.

Though ciphers' powers are still being explored, unlocked, and debated across the civilized world, most people recognize that their abilities hold great potential -- for good or ill -- in the cultures that develop them.

Quelle: Update #65: Ciphers - Project Eternity: Announcements and News - Obsidian Forum Community


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Hey, everyone! This week we are doubling up on the Project Eternity backer update action. Darren Monahan will be giving a brief glimpse into the Backer Portal and Hector Espinoza will share his work (and some screenshots!) in a developer Q&A. Enjoy.

Update #66: It’s Finally Time… Soon :)
Update by Darren Monahan, Chief Intelligence Overlord

A year already...

Unbelievably, a year has passed by since we launched Project Eternity on Kickstarter, and a lot has happened. We’re almost to seventy project updates; we’ve made lots of levels, characters, classes, monsters, loot, and a whole lot more over the past year with more being made almost every day.

November’s right around the corner, and here in the States, we have an upcoming holiday called Thanksgiving near the end of the month. It’s supposed to be a time where we give thanks for the harvest and reflect on the past year.

It seemed rather appropriate to have a bigger than normal update coming before this holiday and we’re cooking a big one for you! This turkey dinner is going to be large and in charge... It’ll show a bunch of new stuff we haven’t shown anyone outside the studio yet and one of the side dishes coming with it is the new site.

Backer Website: Main and Media Pages

All of our previous updates are now easily available in one place, easy to browse through and include futuristic RSS technology! We’ve also got a one-stop shop for all of the screenshots, wallpapers, artwork, and videos that we’ve released and will release.

Backer Website: Pledge and Rewards Pages

On the left here, you can make sure all of the pledges you made are connected to your account. If you backed the game on Kickstarter and then later added money via PayPal, you can make sure that’s all been confirmed. If it doesn’t show up, you can link it in by providing the e-mail addresses you used if they don’t match.

…and then, confirm that your reward is correct, or maybe even upgrade if you like! Did you give maybe give us more money thinking you chose one reward tier but accidentally chose a lower one? No problem, you can fix that up. Oh, and slacker backers… you might have some upgrade opportunities… :) Onward is the addon screen where you can browse through the available addons and confirm those choices as well.

Backer Website: Add-on and Game Info Pages

Then finalize everything! Don’t worry, even though you’ll be confirming your pledge selections, if you picked up physical rewards, you’ll be able to change your shipping address up to the point where we need to lock them. You’ve got plenty of time, and we’ll keep that open as long as we possibly can in case you move or want to have your stuff shipped elsewhere.

On the right there is our “Game” section of the site, where over the coming months more information and art about the various races, classes, characters, critters, and locations of interest in the game can be found.

OK, we’ll be back in a few short weeks… For those of you who have designs as part of your rewards, get your thinking caps on!

Developer Q&A with Hector Espinoza
Update by Hector Espinoza, Lead Environment Artist

Hector in his natural habitat.

Hello, Hector. What is your job on the Project Eternity team?
I am the Lead Environment Artist on Project Eternity. Along with building assets and doing layouts of some the larger levels of the game, I help my team of artists create a visually exciting world for the players to explore.

What are you working on this week?
This week I'm working on polishing one of the states of the Stronghold and building a Keep that is contained within.

What is your typical work day like on Project Eternity?
I come in to work and read a little email. Sometimes I'll have a "breakfast snack" in the form of cheese and peanut butter crackers. This holds me over until lunch time. :) Upon my return from lunch, I'll continue to work on my current tasks. At times I help critique some of the work that is being created around me or from outsourcing. In the late afternoon I'll head out for a short walk to get my daily coffee, I'm really good about keeping this to one cup a day. :) Then in the evening as the sun sets I'll hook up the speakers and turn my office into a "discoteca" and work while listening to some of the baddest jams on the planet.

One of Hector's work in progress areas, the player's stronghold, in a ruined and restored state.

What are you most looking forward to on Project Eternity?
I'm looking forward to the day when people get to enjoy our finished product. We are putting in a lot of hard work and effort to deliver something special to our fans and backers, thank you all so much for making this possible! I also want to play it! Our playtests have been really fun.

What other projects have you worked on?
While at Obsidian I have worked on Dungeon Siege III and after that I have helped out on a number of "unannounced" titles.
Before Obsidian the list is pretty big. At Black Isle I worked on Icewind Dale (as QA), Icewind Dale: Heart of Winter (as an Artist, yay!) and Icewind Dale II. The short lived "Van Buren", it was going to be awesome! Oh, and BG III: The Black Hound. The last title I worked on while at Interplay was Baldur's Gate: Dark Alliance 2. Outside of Interplay and Black Isle I worked on Vampire: Bloodlines, Full Spectrum Warrior 2, and Lord of the Rings: Conquest. Of course in between a lot of these titles there are more projects that unfortunately never got to see a release.

Hector after 7:00 PM.

Which environment that you have done has been your favorite?
By far this has to be the first one, which is the original Kickstarter image. I learned a lot when creating that scene and the feeling of nostalgia was awesome.

What do you like to do when you aren't leading the environment art crew?
Outside of work I choose photography as another creative outlet. I like to go out hiking and shoot landscapes or if I'm lucky some wildlife. Animals can be tough to find and sometimes I don't have the patience. I also enjoy macro photography, this takes patience too but it's a much more controlled environment. I like that.

Do you have a favorite artist or game developer?
This is a super tough question. I'll start with outside the industry. Favorite artists are Mark Ryden, Audrey Kawasaki, James Jean, and Ashley Wood. Inside the industry it has to be Akihiko Yoshida, Yoji Shinkawa, Robh Ruppel, and Sparth.

And where do you draw your inspiration from?
I mainly draw inspiration from the places I visit when I go out hiking. There is so much to discover when you can capture nature at a grand scale and at the macro level. The music I discover on the weekend when I visit some of my favorite online music sites. And from the people that work around me every day.

What's your favorite Infinity Engine game? Why?
This has to be Icewind Dale. I feel so fortunate to have worked on that game. It helped me discover the world of D&D. It also gave me the chance to work with and meet some of the best people in the industry. I'm truly grateful for that. A super close second is Planescape: Torment, I mean, come on. HA!

In a Quake deathmatch between you and Adam Brennecke, what would be the final score?
I think the first round would be pretty close it could go either way really, haha, but once Adam finds his groove, oh man, this would be a no contest, he's a beast. Final score would be to embarrassing for me to write. HA!

Is there anything else we should know?
I got that purple, grape, I can bake a cake.

Quelle: Update #66: Double Whammy - Project Eternity: Announcements and News - Obsidian Forum Community
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Mitglied seit
Update #67 What's in a Game?

by Brandon Adler, Literal Task Master

Welcome to my world...

As a producer, one of my jobs is creating and understanding the game's master schedule. It's a never-ending task that requires constant refinement and adjustment. Anything that is added or changed can cause a cascade of unintended consequences which is why as game developers we have a responsibility to vet everything that goes into the game.

Today I'd like to give you a glimpse into how we approach game development from a scheduling perspective and what our typical thought processes are when figuring this stuff out. You will be able to see how each part of our area creation fits into the schedule and why changes and modifications can lead to difficult decisions for the team. Hopefully, it will give a bit more insight into the tough decisions that we make each day when crafting Project Eternity.

The Schedule

One thing to remember is that when we are in the middle of production the schedule has already been created for just about everything in the game. What I mean by this is that we have identified all of the major tasks that will need to be accomplished and allotted time and resources in our budgets to match those tasks.

Depending on the team's familiarity with the type of game we are creating, this can mean anywhere from a tiny bit of guesswork to larger amounts of... estimation. With Eternity we are very familiar with what it takes to make an isometric, Western RPG with branching dialogues and reactivity. It's Obsidian's bread and butter. Because of this our initial estimates are good approximations.

Since most of our features and assets are budgeted at the start of the project, any changes to those items have to be accounted for in the schedule. This can mean a few different things - anything from reducing time spent on other tasks, to changing previously scheduled items, to outright cuts - and when changes need to happen project leads consult with each other to try and figure out the best option. Keep this in mind when I start talking about changes to features and assets later on in this update.

One Small Interior Dungeon

Alright, let's stop talking in generalities and get into the meat of what it takes to create a first pass area in Eternity. I'll discuss a generic small interior dungeon area.

This area will have the following characteristics and constraints:

  • Uses an existing "tileset." We don't have tiles in Eternity, but we do have sets of areas that share similar assets.
  • Will have one unique visual feature in the area. This visual feature is something that will make the area stand out a bit. It doesn't have to be incorporated into the design, but we may want to do that to get the most bang for the buck.
  • An Average complexity quest uses this area. "Average" is a flavor of quest in Project Eternity. It refers to the overall complexity of the quest. Quest complexity is determined by the amount of dialogue, branching, and steps a quest has.
  • This is a 3x3 interior. A 3x3 interior is the equivalent of a 5760x3240 render. An easier way to think about it is that a 3x3 area is nine 1920x1080 screens worth of content. You can imagine that making an area even a tiny bit larger can actually lead to enormous amounts of work. As an example, a 3x3 is nine screens of work, where a 4x4 is 16 screens of work... almost double the number of screens.

To create our small interior dungeon area, the following has to occur:

  • An area designer (Bobby Null, for example) puts together a paper design for the area. This is usually part of a larger paper design, but for this purpose we can say that it is a separate element. For a small area like this, a paper design wouldn't take more than a quarter of a day.

Material concepts for a high wealth interior.

  • After the paper design is constructed, it is passed to the area design team for revisions and approval. For the most part, this goes fairly quickly and normally wouldn't take more than a quarter of a day for a small area.
  • A concept artist (Hi, Polina and Kaz) creates a concept for the unique visual element of this area. Let's say for our purposes the unique element is a cool adra pillar that is holding up a portion of the ceiling. This takes half a day to a day, depending on prop complexity. This may seem like a luxury, but making sure that the areas feel cohesive can save lots of revision time down the road.
  • After the concept work is completed, it is reviewed by the Art Director (Rob Nesler) and the Project Director (Josh Sawyer). Any necessary changes are then made before being approved. Overall, it probably takes about a quarter of a day for review and any revisions that need to be done.
An initial pass on a blockout before it has had a review.

  • After the paper design and concepts, an area designer creates a 3D blockout of the area in Unity. This allows the designer to walk through the area and make sure it flows well. This also helps to give the environment artist assigned to the area an idea of where the various elements should be laid out. A full blockout of a 3x3 area normally wouldn't take more than half a day. This is an extremely important part of the process. Sometimes an area seems great on paper, but in practice it is clunky or frustrating.
  • Once the blockout is finished it's passed along to the area strike team for review. The area strike team includes people from most disciplines. This is the point where revisions are performed and the layout becomes finalized. The changes can be as simple as moving some props around or as complicated as redesigning major portions of the layout. Again, for a small area of this size, we aren't looking at more than half a day for all of the feedback and revisions.
  • With the blockout in place, the area can move to environment art (For example, Hector "Discoteca" Espinoza) for the art pass. This includes putting together existing pieces and creating new assets to make the area. A large portion of time allotted to an area is spent in environment art. A 3x3 area that uses mostly existing assets would typically get three days of environment art work, but, because we want to have a cool, unique piece in the area we will add about a day of environment art time. This gives a total of four days for the initial art pass.
  • Like the blockout, the art pass is usually reviewed by the area strike team. Revisions can vary wildly depending on how everyone feels about the area, but it isn't uncommon for another quarter to half a day to be spent on review and revisions for this size of area.
The blockout above with revisions, 2D render, and initial design.

  • Now with the 2D render in place, the area is ready for the real design work to be done. An area designer will typically get about three days to do the first pass on the area. This includes things like a loot pass, encounters, trigger setup, temp dialogs, etc.. Because this area has a quest that is running through it, though, it will get an extra day to work out all of those kinks. That puts us at four days for an initial design pass on the area.
  • Remember the part about this area having a quest? Well, now is when a creative designer (Like Mr. Eric Fenstermaker, for example) comes through to write the dialogs. To be completely honest, this usually comes much later, but it works for our purposes. The narrative designer creates the NPC dialogs, quest dialogs, and companion interjections for the area. Usually an area designer will stub these conversations out and the narrative designer will come in and complete them. Depending on the amount of dialog this should take around a day or two for everything.
  • Finally, a concept artist will take a pass at painting over the final 2D render. This pass is used for "dirtying up" an area and adding in the little details that might be difficult for an environment artist to create. As an example, we can cover up texture seems, add in variation on repeating textures, paint in lighting highlights, and even add things like patina or moss on objects. Due to Photoshop magic from Kaz, we can even propagate those changes into our diffuse maps so they show properly in any dynamic lights. This is a fairly low cost procedure and Kaz can cover a small area like this in about half a day.
  • There are other considerations (Like animation, sound effects and visual effects, for example), but we will stop for now.

So, for those keeping count at home, to get a first pass area that is borderline Alpha (as in no bug fixing or polish work) it costs the project about 13 man days. This is little over one half of a man month of time for a small, simple area. Larger areas with more content take significantly longer to develop.

Our time estimations used for scheduling are determined in preproduction (prepro) phase. Our vertical slice (the end of prepro) is the culmination of the team identifying what it will take to make the game and then actually doing it. We get these numbers by seeing how long it takes the team to perform those tasks in our prepro, and then we can extrapolate those numbers over the course of the time we have budgeted to understand how much work can get done.

Tough Choices

A milestone will have 15 to 20 areas of varying complexity going at a time. A minor change in an area can cause a domino effect that starts schedule slippage. Remember that on a small team like Project Eternity we have a limited number of people that can work on any one part of the game so taking someone off of their current task to work on changes can gum up our pipelines and prevent others from completing their tasks. We can get around that by switching up the tasking, but it can quickly get out of hand and lead to inefficiencies.

That being said it's the team's responsibility to give our backers what they have paid for. If we are playing though part of the game and something feels off from what we promised to our fans, we need to seriously consider making changes - even if it pushes us off schedule. There have been times where an update leads to some serious discussion on the forums and within the team about a direction change. Ultimately all of that gets added into the equation as well.

Taking that into consideration, the team has to make difficult choices every day. Do we go through and do another prop pass on a level? What does that cost us in the long run? Will we lose an entire area in the game? These are questions that the leads struggle with everyday. We are always weighing the cost of assets and features against everything that still needs to get done.

Luckily, like I mentioned above, we have a bunch of smart, talented, experienced people working on Eternity. The pitfalls we have experienced in previous games give us a leg up when we are trying to navigate this project's development. I wanted to send out this update to give the fans a little insight into our daily processes and demystify what probably seem like arcane decisions. If you enjoy these types of updates, let me know in the forums and I will try to write more of them for you.

Quelle: http://forums.obsidian.net/topic/64611-update-67-whats-in-a-game/


Mitglied seit
Update #70: New Year Project Update


Hello, everyone. Like everyone here at Obsidian, I hope you had a great holiday season and were able to gorge on lots of treats and good food. This week I am going to go over a bit about the new Backer Portal (please log in if you haven't already), give a general update about where we are in our production, and show off some of the cool things that are happening in the game. In our next update we will be taking a more detailed look at some of the classes in Eternity.

Backer Info

Just a reminder to all of our backers, if you have not done so already, please head to the Backer Portal and complete your order. All backers need to go through the process so they can receive their rewards - even those that only have digital goods.

To start the process, click on "Manage My Pledge Now" and click on the "Select Reward" button on the pledge management screen. From here, you may select the tier you backed (or upgrade to a new tier), select additional add-ons, fill out any shipping information, and file your surveys.

Also, please make sure you fill out your surveys as soon as you can. If you have an NPC, item, inn, or portrait the sooner you get the information to us, the sooner we can make sure it gets into the game.

If you are having any issues, e-mail us at support@obsidian.net and we'll help you out quickly.


As most of you know, we finished up Od Nua (our mega-dungeon) in our last milestone. I have to say, I think it looks pretty amazing. Currently, the area team is working on our second big city, Twin Elms, and it is looking just as good. Here, take a look for yourself.

Ancient Engwithan ruins near Twin Elms.

Without getting into too much detail, the Area Designers are fleshing out the end of the game right now and everything is really coming together. The area in the screenshot above looks like the perfect place for a big fight, huh?


Our character team has been cranking out new creatures and equipment.

We are almost completely through all of our A priority creatures. Soon we will be working on our B priority creatures and lots of equipment variations.
One of the creatures that was just finished to Alpha quality is the Cean Gŵla. These banshee-like undead are the spirits of women who died under particularly tragic or traumatic circumstances.

Take a look at the comparison images below.

In-engine and concept comparison of the Cean Gŵla.


Most of our UI has either been implemented or mocked up to an Alpha level. The interface that we would like to show you today is the character sheet, which shows character and party information. You can find lots of useful info on the sheet including various party statistics, your reputations with Eternity factions, and character stats.

The character sheet has many useful player and party statistics.


Features have been going into the game pretty regularly.

We just recently moved to Unity 4.3 and, while this might not seem like a big deal, 4.3 has ushered in some long awaited features. Animation annotations, for example, were added to Unity. We can now call sound effects based on specific frames of animation. This makes things like footsteps possible.

A majority of our spells and abilities are in-game and usable. Josh has started auditing them and requesting changes for gameplay balance purposes. Tim has been quite busy with all of the small edits.

Strangely, one of our more minor features has gotten me the most excited. Just recently we have gotten the ability to set custom party formations and I am having a blast testing it out.


Have you been wondering what some of the Pillars of Eternity gods look like? Wonder no more.

Representations of the gods Galawain and Woedica.

Above you will see the representations of Galawain and Woedica, gods in the Eternity pantheon.

Woedica is known by many names including "The Exiled Queen," "The Burned Queen," "Oathbinder," and "The Strangler." Her domains include law, justice, oaths and promises, (rightful) rulership, hierarchies, memory, and vengeance.

Priestesses of the Exiled Queen serve as lawyers and judges in towns and urban centers, and the most prominent among them are advisers to kings and lords. They are of particular importance in the Empire of Aedyr, where by tradition, business contracts always require their endorsement. Her devotees are typically found in the upper classes, but any conservative person who longs for a vanished past will find a place in her faith. “When Woedica takes back her throne” is a common saying amongst her followers, signifying a utopian future when society will be properly ordered once again, and she will take her rightful place as ruler of the gods.

Galawain is patron of the hunt in all its forms, and he is honored by those whose occupations are concerned with pursuit and discovery. His faithful include frontiersmen, constables, treasure-seekers, explorers, and even scholars, many of whom wear his carved symbol – a dog’s head – around their wrist or neck. He is also protector of wild places and untamed wilderness, where the hunt manifests in its purest form as a daily struggle for survival.

That's it for this update. Make sure you head over to our forums to let us know what you think of anything you see here.

Update #70: New Year Project Update - Pillars of Eternity: Announcements and News - Obsidian Forum Community
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