Bay 12 Games Forum

I'm getting there.
Well, it may be a good time to post the second part of the story. Warning! Not proofread.

I woke up with a gnawing emptiness in my chest – Dave had died. In my dream. It took me some time to remember that the situation was as true in reality. In the palms of my hands was a cold, rigid object, and I was afraid to find out what it was, but couldn't let go of it. Finally, I remembered. Restraining sobs, I asked, “Why have you left me, Dave?” He did. But it was in the dream. How could he leave me? He couldn't. Not my Dave. I dropped the cold hand. “Who are you? What are you?” I asked the corpse. But it wouldn't answer, of course. I had to find out. I clenched my fear, and started digging the rest of the body out of  the rubble...

Oh, yes!
These things are forever going to be pogs for me, and are going to be a symbol of pro roleplaying. However, green on a green background for goblins without a very distinct boundary is not so good. Also, even with very unique portraits it appears to me that it's not a big step ahead from the conventional ASCII, as it seems to rely mostly on colour and a few shapes. Maybe you could make the pogs more colourful, and have monsters have their distinct pattern instead of a single colour?

In hindsight, the colour of goblin pogs could reflect their natural protective colouration, and the difficulty in making out in a forest would be a sign of their stealthiness. However, then the PC's detection skills become kind of useless.

Quote from: Supermikhail on July 05, 2010, 01:27:38 pm

And making a bike out of sticks and rings all out of the blue would require some AI on the other end of the interface.

Well, with recipe-based crafting, everything is done with the magic of hard work. You can make a bicycle out of junk metal because you have specifically specified in the code what a bicycle is and what tools and materials you need to make one. The only problem is that you have to specifically specify in the code what every item is and what tools and materials you need to make one, as well as what it can be used as when crafting other items.

You know, I think Spore goes somewhere there. The functions of parts are predefined, but you can stick them anywhere you want around the body, and it'll work coherently (or almost). You can do this with sticks and rings, too. A stick can have several functions or applications: it can be a static part, or a lever, for example. A ring can be... a static part, or can be attached to an axle. The remaining part is to make them work together coherently (or almost).

But to figure it out, the program with have to do a 3d simulation in the background. And it's kind of a waste of 3d, if it turns the results into the roguelike format afterwards.

I don't know how well C# handles macros, but writing a macro for handling reactions might save you quite some work.

Could you elaborate, or illustrate? I'm not much of a programmer, of course, but from what I know about macros, they are used for rather short pieces of code... No? There you're going to be dealing with several variable objects.

Huh, chemistry? Oh...
Anyway, even with such ideas, I predict that it's going to take a separate AI-like (neural net-like) engine to fully implement inventive combining.
If support includes suggestions, I once again in this forum would like to advertise implementation of 3d6 instead of 1d20 to make extreme lucky shots rarer. This way you can spawn enemies less skillful in combat than the player on a statistical basis. You just put misses and simple swings into the middle, so that a weaker character could easily avoid/block them, and with levels, enemies would grow statistically more cunning, with RNG modifiers. Oh, and today I learned about pointers to functions, that could come in handy here.
Eh, if I could figure out how you start these drat roguelikes, I'd probably give all this rambling a chance myself.
Oh, and a lucky shot could be dealt with with a lucky improvised bandage.

A man playing trombone:

The beard kind of didn't fit. I went with the requested angle, and too late realized in what conflict the beard and the trombone got. So, I decided to reinforce the idea of beards giving them to almost everyone in the audience. However, the main beard is still visible.

With this I consider drawing requests out of the way.

The Guy and Mike Tyson:

...or rather my best impression of them.

Anyway, the exams are kind of over, and the story is coming kind of nicely, so I decided to look into drawing requests for a change.

Hey, guys are you going to call me names if I say that I'd like to one day program a game in Object Pascal? because it's the first language I've programmed in and actually achieved some result, partially due to the nature of the text book I used.

So, I guess I'll post it here. Edit: It's the beginning of the story requested by Acanthus117, about a female sniper in a city ravaged by war, somewhat modified , looking back at the original request /edit. Notice that the link goes to the Scribd document page, as I find reading stories in the forums format increasingly uncomfortable.

The war didn't start for me in September of '39. No shots were fired, no bombs fell around me. Patrons at the club where I was working as a dancer seldom let Germany into their talk, and even then it was only jokes about inferior German technology and how the Nazi lunatics were going to be crushed in a few weeks, or maybe months, by the forces of the British Empire. About as often someone would laud fascism as a world order of the future which would usually lead to a heated debate about politics, and consequently to the initiator getting kicked out of the club. They didn't favor politics there...

Things aren't going according to plan, but I recently had a bit of midnight inspiration, and so there's something to show as a proof concept. By that I mean, see if you're interested in the story to be finished in this style, if I ever get out of the tight place to do it. However, disregard any passages with weird or jarring style, because I'm aware of them, and don't intend to leave them this way in the finished work.