Cultural identities of the settings in adventure-RPGs

Not finding any Glory in this whole Quest for Glory bit? Need a hint? Or just want to discuss Quest for Glory - this is the place to do it!
adeyke
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Re: Cultural identities of the settings in adventure-RPGs

Post by adeyke »

There's one screen of field/orchard, but it's implied to be much bigger than just that. And just to be really clear, I'm not criticizing the game for that sort of symbolic representation. Walking through an actual-size valley in real time would get really dull. And showing many streets full of residential buildings you can't enter wouldn't have much effect beyond annoying thieves (all of them would happen to have the door barred from the inside).

It's just something interesting to think about: even if you see every building/room/street/whatever in the game, that doesn't mean that those are only ones present in the location that the game is portraying.

As for Daventry, that's at the extreme end of player-centric design. Especially in the original KQ1, I'd say there's zero attempt at worldbuilding (i.e. making a believable setting which could plausibly have come to its current state and which could continue to "work" outside the story being told). It's all just puzzles and puzzle solutions. The entire visible human population there consists of Edward, Graham, the woodcutter and his wife, and the random sorceror. If you want to guess at what Daventry "really" looks like, the game doesn't even give you a starting point.

I do think Heroine's Quest should get credit for how it deals with NPCs. Instead of just standing around in one place, they move around and do their own thing. I think it's still just following a fixed schedule each day (aside from the special events), but it's a huge difference over how it works in the QfG games and does a lot for making the characters and the world feel alive.
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Rath Darkblade
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Re: Cultural identities of the settings in adventure-RPGs

Post by Rath Darkblade »

notbobsmith wrote:Rhyming was the wrong word, but both make use of alliteration:

Wikipedia:
Anglo-Saxon poets typically used alliterative verse, a form of verse in which the first half of the line (the a-verse) is linked to the second half (the b-verse) through similarity in initial sound. In addition, the two halves are divided by a caesura (a break in a verse where one phrase ends and the following phrase begins): "Oft Scyld Scefing \\ sceaþena þreatum"

From William Langland's Piers Plowman:
A fair field full of folk || found I there between,
Of all manner of men || the mean and the rich,
Working and wandering || as the world asketh.

From Brauggi (I added the caesura):

"Find me some fruit || for to mellow my mead horn
Gift I will give || of a gem that now glows--
Jewel from Jotunheim || flare of the frost flame
Fetch to me fruit || that will fill up my fists!"

To me this just seems to me that the Coles were trying to imitate this form of poetry for a character that is from this type of folklore. Brauggi also uses the term "frost fields" which could be an example of kenning.
Thanks, notbobsmith. :) When I was reading Beowulf, I wasn't sure what it reminded me of.

Incidentally, I tried reading about kenning and writing some examples for a story that I set in the late Viking era. The result was a dismal failure - but that's because I just didn't understand the rules. I'll go back and fix it! Thank you. :)
adeyke wrote:I do think Heroine's Quest should get credit for how it deals with NPCs. Instead of just standing around in one place, they move around and do their own thing. I think it's still just following a fixed schedule each day (aside from the special events), but it's a huge difference over how it works in the QfG games and does a lot for making the characters and the world feel alive.
Agreed 100%. Not too many NPCs stand around all day in Heroine's Quest (except the guards outside Jarl Ylfric's castle, and even they move inside at night time). ;) While waiting for Volund to open up shop in the early game, for instance, my heroine was always either practicing her skills or resting. It was made clear that Volund - and the rest of the 'shop-keepers' - were not simply there for the heroine's benefit. They had lives of their own; and although I'm not sure what Volund does before opening his shop, I'm not sure that my heroine rogue can find out (or wants to)! ;)

BTW, is it possible to break into Volund's house? Just wondeing. :)
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