Category Archives: WoW

MMO Dragons through the Ages – Fantastic Creatures, Formidable Foes

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D&D cover by L. Elmore

Dragons. Formidable beasts of fantasy and wonder. The stuff of nightmare in many a heroic story of folklore, mythology and children’s tales. Most beloved foe of the high fantasy genre be it in movies, books or video games. Where would our MMOs be without dragons? Who doesn’t love dragons?

From an early age I was fascinated with draco, also known as dragon, drake, sometimes wyvern or lindworm. I was a child of fairy tales and the big bad wolf aside, which mostly just scared me, dragons were the most fascinating and exotic creatures that would inspire my wild dreams like none other. I remember a particular story in my vast audio&textbook collection about a green dragon and a knight; the pictures of the ferocious beast gave me such nightmares that my mother glued a blank opaque paper over the pages so I could follow the story without seeing the dragon. Bless our early beginnings.

Remember with your heart. Go back, go back and go back. The skies of this world were always meant to have dragons. When they are not here, humans miss them. Some never think of them, of course. But some children, from the time they are small, they look up at the blue summer sky and watch for something that never comes. Because they know. Something that was supposed to be there faded and vanished. Something that we must bring back, you and I. (Robin Hobb, Golden Fool)

White Dragon Sleet(Elm)

Dragons of Winter Night by L. Elmore

Later I discovered the dragons of D&D and in particular, the Dragonlance; that’s when I irrevocably fell for this genre, absorbed in pages full of colorful illustrations by Elmore, Parkinson, Caldwell and Easley. My first artbook was a Larry Elmore limited edition which me and my best friend ordered on that novelty called the internet. I remember sending Larry a short thank-you email for the exclusive sketch he had done in each of our books, adding this well-wish: “may there always be dragons soaring across your sky”. I imagine he can see them whenever he closes his eyes or how could he possibly illustrate them in such stunning detail?

…the Dragon is the Patron Saint of all storytellers and artists and his likeness has adorned canvases and stone and has been forged in every precious metal. (Guillermo del Toro)

The Dragonlance Chronicles also opened a new, more modern perspective on dragons for me: dragons that are more than mere alien beasts and forces of nature. Dragons that have a face, that are scheming and cunning creatures of magic (sometimes shapeshifters like Silvara whose name I’ve adopted). Dragons that can choose different allegiances – good or neutral as much as evil. I love when dragons get to be real characters in stories and not just the ultimate yet dumb antagonist for the glorious dragon slayer. When a dragon ends up being little more than a T-Rex, that’s what I like to call narrative mistreatment, a lost opportunity. As far as morphology goes, it is interesting to note that historically there’s a distinction between European and Asian dragon tradition, with European dragon imagery being the predominant representation still in our western culture (with legs, wings or the ability to breathe fire) as opposed to the more snake-like Asian dragon (also naga).

MMO Dragons through the Ages

With the amount of dragon imagery and tradition out there, it’s no surprise that fantasy MMORPGs too capitalize frequently on our fascination with the winged, fire-breathing reptiles. I’ll come forth and say that I never ever tire of dragon encounters in MMOs; give me Blackwing Lair, Onyxia and the Dragon Aspects any day of the week! My favorite boss encounter of all time will probably always be Lord Victor Nefarius aka Nefarian which in my humble opinion, was a way more fascinating figure than Deathwing.

WoW is a game that loves to flaunt its dragons and “dragonkin” as foes but also mounts or pets. GW2 features the most breathtaking dragons for me as far as sheer size and dramatic entries go, so while ANet failed to make Zhaitan and Co. a particularly interesting bunch, the Shatterer or Claw of Jormag encounters will always hold a special place in my heart. Who would not feel awe and terror facing this? –

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Descent of the Shatterer (guildwars2guru.com)

Musing on dragon history and my favorite encounters in MMOs, lead me to a full-scale investigation of MMORPG dragons of the past, present and future. As far as popular mainstream titles go, there’s not a single game that didn’t feature draconic foes at some point or other – or is there? Anyway, let’s look at my quick and selective chronology of MMO dragons (you can find the full-size wallpaper of the image here):

mmodragons

While we’ve come such a long way graphically since the dragons of UO and Everquest, today’s MMO dragons have the same effect on players and still follow the same narrow design template. AION probably holds the trophy for the most beautiful and lavish dragon design. If I had to try and tackle the beast, put into words what still makes dragons so appealing to lovers of the genre, I’d call it a mixture – the fear of the unknown and supernatural as much as a fascination with the majesty, power and wisdom of a sentient being that shares traits with familiar animals. More than any other fantastic creature, dragons embody the virtues of a magical world beyond our wardrobe and maybe our longing thereof. Or as this article concludes beautifully, quoting a Tolkien essay:

Fairy-stories were plainly not primarily concerned with possibility, but with desirability. If they awakened desire, satisfying it while often whetting it unbearably, they succeeded… The dragon had the trade-mark of Faerie written plain upon him. In whatever world he had his being it was an Other-world. Fantasy, the making or glimpsing of Other-worlds, was the heart of the desire of Faërie. I desired dragons with a profound desire… the world that contained even the imagination of Fafnir was richer and more beautiful, at whatever cost of peril. [JRR Tolkien, On Fairy Stories]

That is the gift of dragon-sight; the purpose of the dragon quest. Dragons embody the beauty and the peril of an “other world” that is “richer and more beautiful” and full of strange and marvelous things.

I look forward to meeting more MMO dragons in the future. I’m not sure about Wildstar but it’s probably safe to say we’ll see more of them in Everquest Next, Elder Scrolls Online and certainly WoW. What are your favorite dragons in MMOs? And is there anyone who’s tired of all the dragons? I can’t imagine my virtual worlds without them.

You know Nothing, Jon Snow

At the verge of 2014, my MMO plans for the upcoming year looked vaguely like this:

1. TESO
2. EQN /EQNL
3. Archage / Skyforge huh?
4. probably not Warlords of Draenor
5. certainly not Wildstar

Here’s proof.
One month, a couple of first-hand experiences and developer updates later, the list goes as follows:

1. Wildstar
2. EQN /EQNL
3. maybe Warlords of Draenor (oh my god)
4. TESO when it goes free to play
5. whatever

…So, what am I playing this year?
Ask me again in six months!

wsss

Why do we raid?

While rounding up last weeks numerous posts on multi-classing and writing an article on my private immersion (yeah that’s still gonna happen), I came across Jeromai’s recent post on GW2 and the latest Origins of Madness patch. It made me chuckle.

Jeromai displays a particularly fascinating case of raiding malaise in the sense that he dislikes almost everything about MMO raiding, including its basic nature – many of the inherent challenges and social dynamics that make raiding such an exciting activity for others –

Nor am I terribly keen on the idea of separating oneself from players that are playing poorly on average because it’s easier and more rewarding to be elitist and isolate oneselves, than to lead, coordinate and teach. (Though I recognize that it is a reality of life, and periodically tempting, especially when you can’t take repeating yourself any longer.)[…]My other pet peeve about raid bosses is regarding the clarity of mechanics and gimmicks of whatever it is one is to do.

[…]There’s the waiting.[…]There’s the suffering involved with matching schedules and timezones.[…]And there’s that old bugaboo of needing to rely on other people to perform well while not being able to help them much at all.

Now to be clear, I have suffered from all of the administrative side-effects mentioned by Jeromai for most years of my raiding in WoW. A good while ago, I published an article called “Vanilla Raiding – A Trip Down Memory Lane” reminiscing on all aspects of the insane raiding prep, downtimes and aggravation that was part of vanilla WoW’s competitive endgame. Players joining WoW later are unaware of how much more convenient things have become since. I can sing a hundred songs about the woes of 40man raid coordination that include the most trivial and silly of things – yet, we lost sleep over them at one time or another.

Yet, I love raids. I love the cooperative idea of raids. In answer to Clockwork’s more recent Wildstar 40man worries, yes I still love 40mans too. Since we really don’t know much yet about Wildstar, I’ll focus on WoW which seems to be the general reference anyway: 40mans had a lot of bad in vanilla WoW but if you compare my nostalgia post with today’s situation, the way class and gameplay mechanics have changed drastically over time, much of the old raiding downtimes have been removed completely. That starts with things like having guild agendas and guild banks, diverse and instant raid buffs and boons, dual specs….and ends with the removal of progression hoops such as atunements or resistance gear. Oh and flex raids, thank you.

That doesn’t necessarily make 40mans easier but it sure as hell reduces the more aggravating and redundant aspects all around setting up, recruiting and raiding effectively. Because underneath all the organizational hassle, coordinated large scale raiding is an absolute blast and unlike smaller raid units, allows for a more lenient roster in which it is possible to make up for that weaker player or three. It’s nonsensical that MMOs with few to no mechanisms of social control or pre-selective hoops before endgame, should toss players right into some of the hard-ass, unforgivable encounters that are 10-25mans, the way we know them in WoW.

However, returning to Jeromai’s well argued points on raiding, he also dislikes core characteristics such as the clarity of mechanics (and associated learning tactics) or the need to rely on other people’s performance. Now, if you raised a poll on a given MMO’s raid forum, you would probably find these listed among the primary reasons why many people currently love to raid. It’s a huge challenge to coordinate big raids and yes, it involves time often spent on someone else than yourself. But equally, the reward of beating such high-req encounters is unforgettable – a feeling many raiders live for. As an ex-healing coordinator, I would also add that I’ve always loved the “extra work” that comes with guiding others, improving team work and progressing together.

PUGs and mass zergs have their appeal because they’re all too often the only alternative to setup/balance restrictions and recruitment headaches in MMOs. However for myself, nothing truly beats your own guild’s smooth raid machine that you yourself have oiled together with your mates over months and years. That sense of group progression. I do miss that. A lot.

I got the first twilight draaaaake!! That’s pre-nerf!

There is also a rewarding aspect in learning raid tactics and then getting them to be performed perfectly. I am not a fan of “synchronized swimming” or static combat but it’s worth pointing out how that’s a different type of challenge; not primarily a challenge of finding all new solutions (as most guilds don’t do blind raids) or spontaneous action maybe but one of coordination, balance, communication and perfection. Let’s put it this way: any long-term successful raid guild in WoW is also an achievement in different social skills.

I realize how some of my views presented here appear to clash with more recent preachings on active combat or more playstyle freedom – but at the very core of encounter and combat design, I don’t think these things need be mutually exclusive.  In a world of more flexible raids, with less unproductive downtimes and more dynamic combat, I am all game for large scale guild raiding! The only thing that worries me is time. It still takes time to raid in a dedicated, competitive fashion, that won’t just change completely. And I realize given my current circumstances, I might simply not be eligible for that type of focused play in MMOs anymore and well, that’s okay. That’s on me. We’ll see what future games will do about the casual hardcore.

The Music of Death Knight Lovestory (A Guest Post by Hugh Hancock)

It’s been a good while since we’ve had any news from Hugh over at MMO Melting Pot. In recent months the pot has quieted down rather noticeably and many bloggers, myself included, have been wondering about what happened or what secret projects may be afoot there. Well, a secret no longer.

I am very happy to feature a new guest post on MMO Gypsy. Having always considered this place a space not just for my own writing but also for my commenters thoughts, for blogosphere interaction and for supporting fellow bloggers’ creative ventures, I was excited to hear about Death Knight Love Story – an ambitious WoW machinima project only revealed today. Due to my interest in videogame soundtrack, Hugh has decided to focus on the creative process of creating the music, the challenges involved and his different MMO and movie influences. From here, all words are his own. (Syl)

The Music of Death Knight Lovestory by Hugh Hancock

What’s the only thing scarier than trying to create something great? Trying to follow something great. That was the problem I bit off with Death Knight Love Story.

If you haven’t heard about it yet, Death Knight Love Story is my crazily ambitious Machinima fan-film, the first part of which was released about 8 hours ago. It’s voiced by Hollywood actors Anna Chancellor, Joanna Lumley, Jack Davenport and Brian Blessed. It’s not Machinima animated in the standard way, instead being fully motion captured and rendered using the same software WETA were using at the time I picked it up. And it tells a pretty ambitious story: the story of two Death Knights who fall in love whilst under the Lich King’s sway – but only one of them escapes his power, and they end up on opposite sides of the battle…

Obviously, even more than a game, a film needs music. And with Death Knight Love Story, I had not just one but three great touchstones to follow. My cinematography had been heavily inspired by Lord of the Rings, and Howard Shore’s shadow falls long over the entire fantasy genre. Meanwhile, the purity of the romance was inspired by Baz Luhrmann’s Moulin Rouge – not a low bar for music there. And finally, of course, there was the music of World of Warcraft, which I personally think is almost the equal of Shore’s work in places.

If it had just been me and Garageband, I cannot stress how very screwed I would have been. Fortunately, I made the best – and scariest – call I could…

So here’s the tale of how we ended up composing an alternate musical take on the World of Warcraft and the fresh new takes on fantasy we found as a result, which I hope might make their way into other games’ scores in future! But first, here’s a quick trailer for you:

A New Fantastic Influence

The music for Death Knight Love Story was composed by Ross Campbell, one of Scotland’s best-known composers for screen, TV, opera, and even house music. I took the same approach to finding a composer that I took to finding a casting director, and subsequently actors: I pulled up a list of Scottish TV composers and started with the person who sounded the most dramatically overqualified to work on my movie. I was expecting nothing more than a rather curt “no” – but was astonished when Ross agreed to work on Death Knight Love Story!

On our first meeting, Ross immediately and dramatically changed the way I was thinking about the film’s score for the better. I’d had Shore and the WoW music in my mind – classic Western orchestral soundtracks. Frankly, rather cliche. But Ross’s first thought on watching the film was much more interesting. He felt it was an obvious reference, but it had never occurred to me as a lifelong cinephile and fantasy fan: Akira Kurosawa’s Ran.

Kurosawa was one of the most influential film directors of all time, a recipient of the Academy Award for Lifetime Achievement and the director of films like Seven Samurai – yes, the original. Ran was one of his later works – based on King Lear, it’s an incredibly dark film, focused on themes of chaos, nihilism, and death.

It’s also set in medieval Japan, and in many ways feels a lot like a mid-eighties, Japanese Game of Thrones. And its music, composed by Toru Takemitsu, fit astonishingly well with the themes of Death Knight Love Story and the Death Knights of WoW in general. The chaos, darkness and violence of a Death Knight’s life is almost eerily similar to the themes explored in Ran’s tale of the collapse of a kingdom led by a ruthless warlord.

(Interesting trivia fact: Brian Blessed, who plays Arthas, the Lich King, is also well known for his portrayal of King Lear – and Ran’s story, and its ruthless king, is based on Lear.)

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The Problem Of Orchestral Sound

I did consider hiring an orchestra to record the score for Death Knight Love Story. It’s actually cheaper than you might think, semi-affordable for an indie film, if you work with an Eastern European orchestra. But in the end, I concluded we couldn’t afford it.

That left us with a problem: how did we avoid the problem of tinny-sounding fake orchestration?

Indie games, indie films, and essentially anyone without a big budget hit this problem over and over again. Whilst modern electronic composition can do pretty remarkable things, one of the things it still can’t do is accurately recreate the sound of an orchestra. Usually, game or film composers will try to create an orchestra as best they can anyway, leading to the soundtrack sounding, well, cheap.

Ross, however, had a different solution. Drawing on the work of another Scottish composer, Paul Leonard-Morgan, he suggested that if we didn’t have an orchestra, we shouldn’t apologise for that. We should go for the “sweep” of an orchestral soundtrack, and the feel of orchestration, but without attempting to use orchestral instruments – instead, proudly using the electronic music and sounds that we had. In essence, he would create a new set of instruments for our orchestra.

It worked phenomenally well. Death Knight Love Story’s music sounds epic, appropriately dark or heroic, but it never has the false note of cheap string or brass samples pretending to be what they’re not. Even in Wintergarde, where we’re closest to the major-key majesty and triumphalism of the WoW alliance theme, we’re still proudly digital.

Given how successful it was for us, and how tremendously well a similar approach worked the soundtrack for “Dredd” (the work of Paul Leonard-Morgan), this is a style of composing that I hope we’ll see a lot more of.

We’ve got amazing musical tools these days, but so much effort is devoted toward making them sound like analogue, offline instruments. I think there’s real potential for soundtrack designers, particularly indie game and film composers, to break genuinely new ground.

A Nod To Lord of the Rings: Leitmotifs

I’d indicated to Ross that I’d been heavily inspired by the Lord of the Rings film adaptions, and one technique that we used very clearly is shared with Shore’s inspiration in Wagner: our use of leitmotifs.

A leitmotif is a short, repeated musical phrase associated with a person, a place, or an idea. It was brought to prominence by Wagner in Der Ring des Nibelungen, which hugely influenced Howard Shore’s score for Lord of the Rings.

In the Death Knight Love Story score, leitmotifs proved invaluable, particularly in introducing and linking the appearances of our heroes. Thanks to DKLS’s rather complex structure, starting with a flashback and then going back into a series of historical events, we found that it was easy to get confused as to exactly where in the story we were, and whom we were following. The various leitmotifs Ross put into the score, notably the phrases which could be considered “Miria and Zelieck’s theme” really draw the entire film together. I was amazed at how much of a difference it made to not just the emotions behind the film, but even the simple ability to follow the story!

I’m surprised that we haven’t seen more use of leitmotif techniques in games. Whilst most games have the idea of a musical theme for an area, there’s never any attempt to mix in music representing principle characters, let alone the ideas behind the fiction of the world. The only exception I can think of is the Dhovakin theme in Skyrim.

Having now seen first-hand just how powerful leitmotifs can be, I can’t help but think that games composers are really missing out on an opportunity to deepen their worlds here.

(Note: this last section of the article includes spoilers for the film! Definitely watch DKLS before reading this bit!)

dkls01

The Hidden Message of Games?

We struggled with one section of the score above all: the battle between Miria and Zelieck.

Ross’s initial inclination was to score this as an extremely dark, twisted moment. Whilst I didn’t disagree about the darkness – after all, this is two people falling in love through the expression of lethal, unbridled violence – I really wanted to get across something that I felt was key, both to the roots of much of WoW’s joy.

World of Warcraft, like almost all computer games, is significantly about violence, and the joy of destruction. And that’s what Death Knight Love Story is expressing in part – the idea that a meeting of minds might come through battle, and anger, skill, and archetype of the Warrior. And that is still as true an expression of love as any other. (If we’re going to get really Jungian about it, Death Knight Love Story is a story about two Warriors who become Lovers, trapped under the rule of a twisted King.)

I’d penciled in music like the Dropkick Murphys here – Shipping Up To Boston, most notable from the soundtrack of “The Departed” – and possibly the quintessential expression of rage and the joy of conflict in cinema, “After The Flesh” from the soundtrack of The Crow. But for some reason, Ross and I weren’t quite able to meet in the middle on this one.

Until one day I remembered a particularly impressive show I’d seen at the Edinburgh Festival some years back: a performance by Tao, the Japanese drumming ensemble who mix traditional Japanese drumming with martial arts to produce one of the most electrifying musical performances I’ve ever heard. It’s like angry, uproarious thunder.

I suggested Taiko drumming to Ross, and he immediately got where I was going – and that’s the reason the fight sequence ended up with such a unique soundtrack.

Hugh Hancock

Artistic Director, Strange Company

http://www.strangecompany.org
http://www.deathknightlovestory.com

Instant Class Switches – The Last Bastion of Character Restriction

Some time ago Tesh voiced his support of Allods’ class change coupons in a minipost. While he called it the small and simple things, it is remarkable how this one feature among convenience features is still essentially taboo in most of today’s MMOs. And why is that?

When World of Warcraft started off in 2004, the answer to most player wishes concerning character freedom was NO. Over the years slowly but surely, the strict regiment of a character of one name, one race, one faction, with one same look and tedious respecs, changed completely. Today, there are hardly any final parameters left for an already created character. For a fee, you can not only change your server or your character’s looks but significant allegiances such as faction or race. With WotLK, Blizzard also introduced death knights, offering players not just a new class but instant level 55 character. For the Warlords of Draenor expansion, one instant level 90 per account has already been announced, in an attempt to draw parts of that retired audience back in.

wodwp02

These guys could all be one character

In the light of such overwhelming flexibility, the question of instant class switches remains unanswered. You would think that in this day and age, where players are not only used to extensive alting and multi-classing in other games (Final Fantasy XI already featured this for the same character in 2002) but adjusting quickly to race -, spec- or faction-related switches, there were no genuine reasons left to prohibit such freedom in WoW or elsewhere.

What does it matter if I choose to go shaman with my priest? Will I not put in my own time to adjust to all the new abilities and have quests and dungeon runs as my harsh teachers? If I ever went back for WoD, boosting my old priest to level 90, I would essentially have to relearn the entire class after all this time. How is that so different? And who doesn’t already have several high-level alts anyway (except for me…), so why not make different classes available on the same character for those who like?

It makes no sense any more. I wonder when they’ll notice.

Battle Bards – Episodes #15 and #16: Tearjerkers and AION

Adventure isn’t always about the heroic and cheerful moments. There is a time and place in games and MMOs too where we should be challenged with complex feelings and choices. And so it was my turn to come up with the next Battle Bards topic for episode 15, scaring off my co-hosts in the process; Tearjerkers, or rather sad melodies, proved to be a tough nut to crack for the bards. What constitutes emotional music? Does it make you feel misty eyed or gloomy, melancholic or wistful? Once we started asking these questions, episode 15 opened the door to a wide variety of thoughts and ideas and personally, I think everyone did just fine coming up with interesting picks for this show!

Episode #15 – Tearjerkers OR Direct Download

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Episode 15 show notes

  • “Intro Cinematic” from Blade & Soul
  • “Forgotten Sorrow (in-game piano version)” from Aion
  • “Sorrowful Lamentations of a Rusty Heart” from Rusty Hearts
  • “Ul’dah Town Theme at Night” from Final Fantasy XIV
  • “The Sea of Sorrows” from Guild Wars 2
  • “Shadow Kingdom” from Asheron’s Call 2
  • “Arthas, My Son” from World of Warcraft: Wrath of the Lich King

Two weeks later we returned to the more sunny and nostalgic side of things with episode 16, talking all things AION with much support from Steff, the only Battle Bard with actual AION experience. This soundtrack features a lot of surprises, epic scale and dramatic choirs – almost a bit too much in places (for me anyway), but we still managed to cover a variety of different themes (we hope!). The tower of eternity is definitely a soundtrack worth exploring at length!

Episode #16 – AION OR Direct Download

Episode 16 show notes

  • “Utopia 3.0 main theme”
  • “Tower of Eternity”
  • “Song of Katalam / 4.0 login”
  • “Fortress of Gods”
  • “Death Waltz”
  • “Steel Rake”
  • “Canyon”

Battle Bards – Episode #14: World of Warcraft

Do you remember the sound of Elwynn Forest? Can you smell the scent of beewax candles and lumber? Do you recall the way a murloc dies?

World-Of-Warcraft-Logo

It was high time the Bards took up the immeasurable soundtrack that is World of Warcraft. Needless to say, this last episode 14 is full of dear memories, nostalgia and merriment. I never miss WoW more than I miss it through its music. And for once, all the Battle Bards agree.

Episode 14 show notes

  • “A Call to Arms” from World of Warcraft
  • “Elwynn Forest” from World of Warcraft
  • “The Shaping of the World” from World of Warcraft
  • “The Sin’dorei” from The Burning Crusade
  • “Castaways” from Cataclysm
  • “Mountains of Thunder” from Wrath of the Lich King
  • “Stormstout Brew” from Mists of Pandaria
  • Mailbag: Ian

Tanks, Healers, DPS and Time

Rowan over at I Have Touched the Sky is musing on WoW a lot lately and recently went to explain why you can compare apples and oranges and that all MMO boss fights are essentially the same. Sure, Ragnaros had the fiery adds where Nefarian had randomized trash and class calls (add any epic boss fight here) but at the end of the day a lot of what makes the so-called complex encounters in WoW is added fluff around the tank-healer-DPS equation. Iteration, iteration.

Not surprisingly, I’m with Rowan when it comes to appreciating MMOs for a lot more than boss fights or raiding. I wouldn’t go as far as to claim that WoW raids are the exact same as Rift or Allods raids, but there are only so many ways to design great trinity-based encounters across all games and only so many ways to make one of them truly memorable. If I think back on my very intense WoW raiding spree between vanilla and the end of WoTLK, there are maybe ten out of a 100+ different boss fights that I would call remarkable. (Coming to think of it…how many raid bosses did I experience in WoW? Now I am tempted to count them down! Scary.) The world on the other hand, the setting and lore, the cities and zones, the races and other creatures, the graphics and music – those things make MMOs for me. They give them their unique face and flavor.

wowworld

While boss design is one thing, I would like to differentiate between encounter design and combat here: combat style and basic mechanics are a huge part of MMOs no matter what you choose to do – in those games where no non-combat classes exist, anyway. Solid combat design, as in intuitive, responsive, tactical, you-name-it is essential.

It’s a DPS world

Rowan is right of course in that all encounters are essentially DPS races or “about DPS”. The easiest way of proving that is that you can design pure DPS fights (which includes all soloing) but you cannot design pure healing and/or tanking fights. Even the so-called “healer or tank fights” are DPS fights: famous Valithria Dreamwalker was nothing but a weak twist and other bosses relying heavily on taking are essentially about tanks bravely biding their time until DPS is back. How are you going to kill stuff without dealing damage?

In that context, I always liked to think about the three roles in relation to the element of time, when discussing trinity based combat:

– Tanks create time in MMOs. Without them, it’s usually an insta-wipe and no fight can take place. They’re the wall between life and death. From that point of view, for the raid tanks are the creators of time and opportunity.
– Healers, in analogy, keep time. They ensure tank survival and therefore maintain time so DPS can deal damage in peace. Healers are therefore the preservers and extenders of time. They let any crucial role in the raid die and time (to kill the boss) disappears.
– Last but far from least, DPS are those that progress time and only them. Their output decides whether it’s gonna be a long or short fight (which affects healing and from there, tanking) or a wipe. DPS are the great drivers of time and by the same virtue, masters of duration. They can shorten the required time just the way healers should extend it.

tesothree

Since time means life, you can pretty much substitute the terms in that analogy and it still works. Either way, it makes for an interesting picture if we imagine DPS as that driving force or the pendulum that swings between tanks and healers. You can add any other mechanic to an encounter – timing, phases, rotations, hybrids – it comes down to the same. Of course that goes for trinity combat as much as any other MMO combat and encounter design, in fact even more so.

And yet, ironically DPS have always been the undervalued, inflated currency of trinity MMOs. While good tanks or healers are important, the only reason DPS don’t receive equal love in WoW and elsewhere, is not necessity of role but numbers. In a game that would require as many healers and tanks as DPS to beat encounters, nobody would ever fail to thank his fellow DPSer. After all, what good is having all that time if you can’t spend it?

That EQNext Update and whether we should be excited

So EQNext is officially more than that green picture ever since the big Las Vegas SOE reveal this August 2nd. TAGN made a nice round-up of MMO blogosphere reactions in case you’re still catching up like I do. Wilhelm calls himself cautiously optimistic which is all I’ve ever been in regards to this title. Much is riding on the big name; very bold has been the sandbox boasting in the past. I’m not a fan of developers who talk more than they’re showing, so at least now we’ve finally got some facts and videos to add to that grand idea that is EQNext. So let’s have another brief look while I’m trying to reign in the MMO summer-malaise sarcasm.

The “sandbox”
As a Minecraft fan I am mildly excited by the Landmark feature, especially in regards to real world implementation. Player created goods and services are always healthy for virtual worlds, although I am not sure how much I care for the destructibility of the environment. It sounds like a gimmick given it’s restorative nature.

Classes and combat
As much as SOE try to be innovative, the combat and class system of EQNext sound like a perfect hybrid between Final Fantasy XI and Guild Wars 2 (which is not a bad thing). Tons of classes and cross-class combinations have existed in Vana’diel since 2002, while active combat with a very limited set of weapon- and class related active skills is one of the reasons why I like Guild Wars 2 as much as I do. Means, no complaints here from my end; I am all for class freedom and fast paced, minimal UI combat!

Levels and progression
Sadly the one big oversight in Guild Wars 2, I am happy to hear EQN will do away with leveled progression. As far as alternatives go, we have yet to hear how exactly player progression is to be paced in this game. Personally I’d like to know how grouping / group setup will be balanced and what type of spin SOE intend to put on traditional questing. Frankly, I don’t think anyone can do much better than ArenaNet in this department.

The look
Maybe the biggest disappointment for me personally was the overall look of EQNext, combined with the action scenes shown during Part 2 of the presentation. Nobody was more surprised than myself to see SOE go for the cartoony Disney aesthetic that comes dangerously close to the butterfly in my MMO venn diagram, rather than opting for a more traditional medieval / high fantasy style that so many Everquest veterans no doubt expected. While I’m no veteran myself, I had high hopes for EQNext to put a modern touch and polish on what I associate with the olde D&D vibe. Instead, SOE presented us with Belle and the Beast (who looks strangely like World of Warcraft’s alliance crest come alive) jumping, hovering and rolling their way through a dirt parcours in platformy fashion.

Oh God…whyyy?

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“…both a little scared, neither one prepared..”

I’m having a hard time recovering from this blow. While graphics aren’t everything in MMOs, the chosen style dictates a lot of the feel and atmosphere of the world. As far as cartoony graphics go, there is almost always a level of slapstick, popculture referencing and general lack of seriousness involved. That is one WoW legacy I could really do without – although SOE might have more reasons for this move than trying to follow World of Warcraft’s wide appeal and “longevity factor”. I think one can greatly over-credit WoW’s graphics style in this context. People still play WoW because it’s consistently managing to be a polished package that has a great deal to offer. That’s why players are willing to overlook its by now dated, cartoon graphics – not vice versa.

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Phooey!

In general, the emphasis on things like facial expressions and clothes movement seems strangely overstated in Georgeson’s speech. While it’s nice to have detailed character customization or flowing fabrics in MMOs, I found myself cringing at the above selection of comic faces. This level of detail supposedly adds to our characters “coming to life” – I guess that’s where the presenter lost me. I always treat my MMO characters like alter egos and I’d like to think that it’s me, my personality and way of playing them that adds life to them. Heck, players have breathed life into 8bit pixel avatars since the beginning of video gaming. So no, I don’t like these EQNext characters at all. As for how they move around terrain, I hope combat won’t be quite as platformy as it looks like. I am of course blown away by yet another mage with blink…

Emergent AI and NPCs
If there was any mention of AI and the role NPCs are to play in EQNext during this reveal, I missed it. Either way, this feature is still my biggest draw for the title (see this great article on US Gamer for some more recent info). I’ve been excited for Storybricks ever since Namaste went more public with the concept and I can’t wait to read all about questing and NPC relations in EQNext. That might be the one thing winning back some of my sympathies. Having greatly enjoyed Animal Crossing New Leaf for the last couple of weeks on my 3DS, I am once more amazed at the mightiness of complex AI in video games. If SOE are really looking to innovate, this is one of the great untapped goldmines in MMO gaming. Fingers crossed!

Battle Bards – Episodes #8 and #9: EQ2 and Tavern Music

It’s Battle Bards time and as usual I am looking back on the last two episodes which there were the elaborate soundtrack of Everquest 2 and a personal favorite: tavern music. The Prancing Pony is one of those oddities in the world of MMO taverns, so in case you never noticed why that is, it’s time to tune in to this latest show and hear what we’ve got to say about wandering bards, fire places and jam sessions in LOTRO, WoW and elsewhere.

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Never has a Battle Bards episode revolved around a more fitting topic or been recorded with such perfect timing (for it was Weatherstock that same night) – one might say the podcasting stars were aligned for this one!

Episode picks:

  • “Prancing Pony” from Lord of the Rings Online, composed by Chance Thomas
  • “Tavern Rock Volume 1” from Dungeons and Dragons Online, composed by Stephen DiGregorio
  • “Tavern” from World of Warcraft, composed by Jason Hayes
  • “Spelunken und Tavernen” from Drakensang Online, composed by Tilman Sillescu and Markus Schmidt
  • “Deepwater” from World of Warcraft, composed by David Arkenstone
  • “Pub” from Ultima Online, composed by ??
  • “Inn Music” from Final Fantasy XIV, composed by Nobuo Uematsu

 
A big thanks to those who have already left us a voice message lately, we’ll be getting back to you on our upcoming shows!