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Everything posted by MooseGoneMad

  1. Literally just realized this is posted in the Minecraft club. *Facepalm*
  2. Can this be the official minecraft thread for now? (I swear I do more than be sketchy!)
  3. It's no-holds-barred in this showdown of absurdity. I enjoy making characters more that I enjoy playing games across all sorts of mediums. In Fallout, Skyrim, DnD, Smite, or any other game that lets you shape a character's ability, I'm there to stretch it to absurdity. This got me thinking: what are some of the wackiest, most gimmicky, or most memorable character builds you've done in a game? Was it successful? Did it get stale quickly? Did you have an epiphany when making it? It doesn't matter if it's in abilities, spell combos, items bought, or anything else: I wanna hear about it! I'll start with Smite, because though I've given up on this game years ago, it once held one of the greatest character builds I've ever gotten to experience. Now, Smite is a MOBA, so these character builds revolved entirely around what items you buy. I was a Mercury main (among other gods) and I was less than pleased when I found out that the base movement speed for Mercury was not the highest in the game. So I did what anyone playing an ADC (Attack Damage Carry) would do: build 100% movement speed. Actives, Passives, Consumables: all was bought to make me the fastest person on the battlefield. Paired with Mercury's late game speed bonus, I eventually became a terror too fast to hit. You see, at a certain point, Mercury can move fast enough to outrun not only literally every other god in the game, but spells, dashes, and even teleports with a head start. Sitting happily at the max movement speed the game would allow, I could literally run circles around enemies while hitting them with my basic attack. I could run past a tower before it would hit me twice. Now, the damage output was miserable, sure, but when you're running too fast for them to land a hit does it really matter? The answer is no. Movement Speed Mercury will forever be the most surprising success I've had in a gimmick build. There has yet to be any contest. So what are some memorable builds of yours? How did you get your character to play the game in ways that are borderline-unintentional if not outright stupid?
  4. Truly a sight to behold when what seems like a whacky, out-there, or otherwise limiting build turns out to be the standard. Of course, this is a different discussion entirely, but it's not like Skyrim has much going for it character-build-wise besides simple combos like this. Now a play through where you use illusion to *technically* not kill anyone? That's a sight to behold. That's also more challenge territory than it is a goofy build.
  5. Link, because even if he fails he comes back again. On the other hand, as Setanta said he shouldn't need to come back at all... But seriously, the dude can go all Fierce Deity and stuff. Link.
  6. MooseGoneMad

    Neat Spells/Abilities in Games?

    Depending on how Magic works, a spell that swaps health and mana for a short duration could be cool. Or a spell that lets you detach your arm and have it crawl through spaces too small for you to fit.
  7. MooseGoneMad

    What was your first step in developing a game?

    /thread But actually, every single decision you make in a game's mechanics and how it plays is determined, in part, by the medium. Even some of the pre-established ideas which came first can find themselves changing fundamentally based on the medium. For instance, a PvP airship-battles game I have been working on is in the tabletop format. Even in this format, choices about how the players interact with the board matter. My original plan was for a mechanic of view range to allow for players to go "invisible" and engage in sneaky tricks such as bomb planting, trapping supply crates, and launching stealth attacks. Now, on a board game, this isn't impossible, but this idea either alters the medium, or the medium alters the idea. I could have done a battleship-esque style board divider, but the issue then becomes that you can't see the ships of the enemy at all. And, if the divider is removable, any secondary ships the player controls would be revealed. So that idea wouldn't work. My next idea was to have each player have a smaller card that represented the board. Here, players could move their ships before actually placing them on the board (which would signify the ships "popping" into view range). I quickly realized that this would mean players would be keeping track of movement on two different spaces if one ship was visible and one wasn't, and the additional hassle of remembering to move ships that aren't visible to the player in a game where keeping track of various attacks, effects, and injuries is already a lot for a player to handle, so I scrapped that idea entirely. My eventual compromise was to keep the concept of "view range" mechanically the same by implementing attack range. This solution was not the ideal, where players can go completely invisible from the enemy and use radars and scout ships tactically, but it was the adaptation of the idea that best fit the medium. Now, instead of having limited view range and unlimited attack range, players have unlimited view range and limited attack range. Radars and scout ships still have a use, but they instead increase attack range. This solution is the same mechanically (limiting the attack range of players) but not the same in gameplay, thus where the creative concept had to be partially sacrificed to fit the medium. The key difference between view range and attack range is stealth. Always seeing your opponents ships allows a player to plan for their movements. A view range feature would disrupt a players ability to plan for ship movements and change how the is game played. Numerous other features (such as fighters sent out by airships, sky-mines planted by airships, tracking bombs, smokescreens, etc.) have either not been implemented or have been changed to fit this change in the idea caused by the selection of the medium. So yes, I would say picking the medium comes first besides the idea stage, and even then the idea stage is subject to change based on the selection of the medium.
  8. I'm not a big MMO player, so this is difficult for me. But I will gladly speak from ignorance. I honestly think that there is no reason to play WoW classic unless you want to experience what WoW was like before or want to go on a nostalgia trip. What makes WoW classic charming (i.e. everything being clunky and ugly) is not a selling point to people who have a general interest in MMOs. If I was looking to get started in an MMO, I'd be looking for something that's free and refined; not an outdated reboot of a game that matters only to past players and "videogame historians". Someone please correct me if any of my assumptions are grossly incorrect, though.
  9. MooseGoneMad

    Best story ever told in video games

    While Fallout: New Vegas and Half Life 1 (and Opposing Force) come to mind, I think an inherent problem with many such stories is the grand scale removes you from some of the impact of it. While impressive, these stories often read more like histories. I find that the best stories often impact the player more than just the choices they make in game. For me, of games I've played, A Story About My Uncle has to be the best story I've experienced. The game does a masterful job in telling a story without simply saying it. By the time you reach the end, the entire story line snaps together in a sudden clarity that has not been paralleled by any game I've played since. The entire time you swing around floating islands you don't expect the game to have much meaning to it, but when you reach the very end it all becomes much more clear. It is a success on so many fronts. Firstly, the story isn't good because of the gameplay. I think many people will give shoddy story a pass when the gameplay is good enough because it acts like a kind of cushion. "Yeah, the reason you're shooting bad guys in the arctic might be surface-level, but the act of shooting bad guys is fun, so it all levels out." A Story About My Uncle doesn't have that kind of cushion to sell the story. It works entirely unaided. Secondly, the story is hidden from you the entire game, but is still present the entire game. The amount of genius it takes to achieve a story that is told from the beginning but only perceived at the end is absolutely astounding (especially when coming from the people who made Goat Simulator, for goodness sake). Finally, the story completely transcended the game. In Fallout, the stories and quests often affect my actions in game. I think back to quests like "Cold, Cold Heart" where Caesar's Legion just burned Nipton to the ground and recall how I didn't let a single Legion soldier escape. That story was brief, high quality, and impacted my actions: all around a good story, then. But A Story About My Uncle made me step away from my computer in shock. I didn't do anything but stare blankly for a few minutes after completing it. A story that touching told so delicately and completely unreliant on gameplay (yet still experienced and understood in part through the gameplay) has got to be the best I've experienced and one of the greatest ever told. I would add a spoiler flair and tell what the story is really about, but the game itself is so good giving a synopsis is seriously insulting to the masterful story telling on the part of the devs. A Story About My Uncle. Final answer. Locking it in.
  10. MooseGoneMad

    Best weapons/tools in video games

    1. The Minish Cap from The Legend of Zelda: The Minish Cap. Turn tiny with an awesome bird hat. I love it. 2. The Junk Jet from Fallout 4. Ammo is expensive, unless it's junk! Slap some upgrades on it and you have a weapon that is both devastating and cheap to fire. Also, you can pick up whatever you shot, so infinite ammo! 3. A master ball. I'd catch something cool and order it to do cool things. Imagine not being able to ride a tiger into battle.
  11. MooseGoneMad

    Heavyshelf Snap!

    Hello please rate this fishy fellow I found in Hunt: Showdown. He is not in distress he's doing OK so don't worry.
  12. MooseGoneMad

    When is a game too old and not worth playing?

    For me "too old" is really completely visual. There's a point where games were past pixel art but not yet very good at 3d art (Morrowind, for example). In these cases, the game just looks... ugly. Besides that, though, pixel art that is basically abstract shapes is a bit too out-there for me (so a lot of games in the 80s).
  13. MooseGoneMad

    Retro Video Games

    I agree. I find that true "retro" games are just difficult for me to immerse myself in compared to "classic" games. The only 100%-retro title I have played is the 1980 game "Rogue" and it was pretty difficult for me to get into.
  14. MooseGoneMad

    Tera & PUBG Crossover Event

    This is just... Wow. I'm speechless. Who thought this was a good idea?! All the screenshots look like someone's Gmod abomination đŸ˜‚
  15. MooseGoneMad

    Retro Video Games

    Anything pre-1995 is a pretty good contender for "retro" games. I'd probably call 1995-2005 "classic" games. My favorite retro game is probably Secret of Mana. I don't play many retro games, so it's not like i have a very broad list to pick a favorite from.
  16. MooseGoneMad

    Battle Royales, which one will be the best?

    I think Apex has found the balance between finding loot, navigating the map, and skill in both tactics and gunplay to come out on top. To be honest, though, I'm not sure how much more juice the Battle Royale trend has in it...
  17. MooseGoneMad

    Apex vs Fortnite

    If Fortnite does not take advantage of its creative mode, it will die. If it does, it'll be so different from Apex (and with so many non-shooting gameplay options) that it'll survive on its own just fine. As a battle royal game, Apex will beat out Fortnite. As a game over all: I think that it is whether or not Fortnite goes all in on creative mode.
  18. MooseGoneMad


    Thread revival time, featuring my all-time-favorite copypasta about hats:
  19. I want to play that game just for the character creator. It seems so fun to mess with.
  20. MooseGoneMad

    Does anyone actually use light mode?

    Oh my gosh. I never knew there was a dark mode. Wow. This is epic B)
  21. MooseGoneMad

    Favourite screencaps?

    I don't take many screencaps, so when I do they tend to be humorous.
  22. Tremor It was my displeasure to stay in Sawyerton one otherwise pleasant March evening as I traveled to Ohio. At first the compact mountain town seemed amicable, though in an uncanny, repulsive way. The clerk that led me to my room at the town's only inn smiled painfully. "Enjoy your stay," she said, opening the third and final door at the end of the empty hall. The room was spacious and simple, with a single window near the ceiling, a table and chair below, and a bed against the left wall. I bowed my head in acknowledgement and brought my bag in, setting it on the dusty table. I found the town obnoxious, but decided against my better judgement and committed to staying for the night. I had imagined that I would eventually forget the discomfort of the modest room. I wish now I could forget. Being naturally uncharismatic, I decided there would be no harm in staying inside for the rest of the day, though it was only two o'clock in the afternoon. But, as the hours slipped by, my hunger got to the better of me. I unlocked the door and walked out the front of the inn. It crossed my mind that the clerk, too, had a key. The saturated streets breathed coal and rotting wood into my nostrils, which I quickly covered with a handkerchief. I was relieved to find a bakery, and just as relieved to return to my small room soon after. The lock did not seem to have been tampered with. The window had no curtain. Standing on the table, I fashioned a covering for it with a shirt from my luggage. I went to sleep at eight o'clock, and I awoke to my tiny room at one in the morning-- according to the glow from my radium watch. A faded light danced on the door, twisting and spinning. Whether the light or something else awoke me, I was not sure, but I decided to conceal it either way. Standing on the table, I prepared to pull the shirt-curtain aside. My eyes, drunk with sleep, saw shifting orange glows some hundred yards out. They floated in a calming way-- in a rhythmic, haunting way. They echoed warmth, and called to me, drifting further. I donned my coat, put on my shoes, and pulled my pistol from under my pillow. I slowly opened the door, checking the halls as if anyone would be present. Nobody was watching, but I felt eyes in the floor stare into me, fear me, curse me. The cold outside air took the breath from my lungs and sobered me in a deep inhale. Coal, rotting wood. The crawling night had torn back the town's curtain with its passing, and I now saw the evil I had once only felt. Each building stared at me with their blank window-eyes; their smile an open door, asking me to be devoured. I moved to the back of the inn, my eyes on the forest beyond. The lights were barely visible now, and trickled down as a long stream into the pines. I followed with a sure grip on my pistol, mimicking the play of the lights in my footsteps. I had walked for twenty minutes before I had caught up with the lights, now torches. I saw nearly one hundred dancing flames in a circle, illuminating the faces of their owner. I spotted the clerk among them-- then the baker-- then the passerby from the street. Was it the entire town? I watched from behind a fallen log, too far away to hear their words-- too far away to be heard. One stepped forward, then another. They stepped back after some time. I started breathing faster and clutched my gun. A creeping fear rose from within me. The ground began to tremble, as did I. I now noticed the stone slab in-between them. I now noticed the blood on it. The ground trembled. I turned to the pitch black sky and breathed deeply: the pines seemed to drip from the darkness above and spill onto the darkness below. I heard a sound in the farthest corner of my mind-- a single tone, a distant blare of some primeval horn. It persisted, growing louder and louder with the ringing in my ears. I tried to stop its advance by plugging my ears, but it changed nothing. The earsplitting and ancient cry collapsed me. I dropped the pistol and brought my legs against my chest, with tears swelling in my eyes. I felt the ground tremor, and each tremor built upon the other rapidly, furiously. Rocks rolled from their resting place and old trees fell from their rotting bases. I opened my mouth to let out a scream-- to free the building pressure inside my head— I could not make a sound. Before the pain had allowed me to faint, an explosion knocked me down. I crept forward to the log and peered over. The torches had spread out, and a crater replaced the grassy patch between them. Then I saw it-- an apparition from the center of the crater-- long and slender, with short tendrils treading the air around it. It rose slowly with a shrill whine, fading in and out of my vision. Sections of it disappeared into the vast darkness beyond it, only to appear again as it rose. The abomination pained my sight and petrified me. It continued to rise into the air, its end not yet revealed. My head hurt, my eyes began to water, and my vision became blurry. I wanted to look away-- I wanted to run—but my eyes had been captured by its horror. Though I could not see clearly, I could make out the movement of the torches. The ring around the crater bowed before the terrible apparition, and stayed bowing as it rose ever upward; now nearly thirty feet high. The creature began to twist around itself, to which the torches stepped back. The shifting creature lurched forward and the torches began to scatter. I saw the torches fall, their owners disappearing before the plunge of the horrible beast. After each torch had fallen in the dark night, I saw its undulating body move to someplace far beyond the reality I know. My memory after that moment is uncertain-- my brain fractured and scarred. I trudged back to the inn and opened the door to my room, sweating profusely. I acted quickly, grabbing my bag and hat, forgetting the shirt over the window. I had gotten to my car and drove for some miles before I pulled to the side of the road and succumbed to my ringing ears and trembling hands. The cold bit me throughout the restless night, and my mind continued to conjure images of the scene I had observed in the early morning. When I woke no birds greeted me from the trees: I think they, too, knew what had occurred in the dark. I briefly considered returning to Sawyerton and seeing what-- or who-- remained. This thought lasted no longer than it took me turn back onto the road, and soon enough I was in Ohio. I had hoped I would leave the nightmare behind me, but it took many weeks before I stopped seeing the monster in my sleep. Months later I came to the haunting realization that within my mind, the creature appeared in a way I had never actually seen it: the creature appeared to face me directly, with spread fangs and an open mouth, but I had not once that dreadful night actually witnessed what face it bore. (Based on the works of H.P. Lovecraft, obviously.)
  23. MooseGoneMad

    Buggy Bethesda

    Thassa big rip. As a trans-dimensional Fallout purist, I have found Bethesda's use (misuse) of the Fallout series disheartening, to say the least. 3 was a clunky-but-necessary transition to 3D, but what it lacked in graphics it... also lacked in story. 4 is much the same- but this time with (fairly) good graphics. The prospect of a multiplayer Fallout game disgusted me and while I'm not happy that its a huge failure, I think it'll do great to humble the company. This, though? This is next level buggy.

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