There are different themes, as well, within each of those things. I’ll just do as much damage as I can with the core gameplay.” Or you can say, “Hey, I want to do all these abilities and cool things.” Or a hybrid of those two. You can decide, “Hey, I just want to play a powered-up version of a fighting game. We have passive skills, what we call traits, and active skills, what we call abilities. There’s very strong skill trees that allow you to customize the play of each of the characters to how you want to engage with it. It totally fits with our vision for how the two halves-the minute to minute and the RPG-fit together. That’s something that I’ve embraced for ChronoBlade. Hedlund: The big difference between Diablo and Diablo II was character customization. What’s something that Diablo taught you about game design? But we need to do it in a way that feels natural and doesn’t feel bolted on and forced on the player, but that actually makes sense to them. You have to think about how you… We’re still a business. That’s the world that we live in, too, particularly in free-to-play games. So I can definitely see that point of view, where they say, “Hey, we should be rewarded for what we’re giving the audience,” and then think about ways to do that. The fact that Diablo II was still on shelves and still being played, in Korea particularly, 10 years after the fact of its release was something that I think Blizzard was kind of like… “Hey, we got the price of the box and not much else out of that.” That doesn’t respect the amount of gameplay that people were clearly getting from it.
Game developers, we work hard, and we want to be rewarded for what we do. But at the same time, I get… I don’t think it’s a matter of being greedy. They did want to reserve a certain tier of loot for the auction house, and therefore it wasn’t dropping in the game with the kind of frequency that people were looking for it. Hedlund: I think it had detrimental effects on gameplay throughout. Did you have similar feelings about the auction house? The auction house was a huge point of contention, to the extent that eventually Jay Wilson said, “I think we would turn it off if we could.” They saw it as a liability or something.
0 kommentar(er)
