Concert Review: RePLAY - A Symphony of Heroes

Last night, Conklederp and I had the pleasure to attend the Oregon Symphony at Arlene Schnitzer Hall (locally referred to as the "Schnitz" I just found out) with what appeared to me to be a full house.  The music being performed was not that of Beethoven, Bach, Tchaikovsky, Hayden or Glass, but of Soule, Curry, Uematsu, Mitsuda and Yamane.  It was a symphony of music written for video games.  It was very nearly everything my 15 year old self was asking for regarding the recognition of video game music all the way back in 1995.

"RePLAY" is the followup to"Play!," a video game concert series that ran from 2006 through 2010.  For whatever reason, I was never able to attend any of the "Play!" performances, although I assume that if I were to go back and look through my Google calendar I might find that my schedule never coincided with a close-by performance.  This year, RePLAY currently has a very limited schedule with the only other listed performance being in Phoenix, AZ in June.  If you are within travelling distance of that Arizonian town, I highly recommend attending.

I will not list all of the songs that were performed during the concert as that information is available on RePLAY's website, but I will say that there were some surprises.  When I first heard that there was going to be narration between each piece, I was a little put off.  I wanted the night to be about the music, that someone could sit back and listen the music from a video game and enjoy it for the music's sake.  Well, whomever they hired to do the writing did a fantastic job and the narration, although canned, was done by Nigel Carrington, the narrator from Dear Esther.  For me that added quite a lot of credibility to what could have ended up being very cheesy in all the wrong ways.

Another surprise was that bookending every piece was music from Dear Esther composed by Jessica Curry.  This threw me a bit because here you have music from a game that was very well received by "critics," it is not what the larger video game audience would call a video game.  To receive this kind of recognition while featuring music from such franchises as Mass Effect, Halo, Castlevania, and The Elder Scrolls was huge, not only for Jessica Curry but for The Chinese Room, the makers of Dear Esther (as well as co-creators of Amnesia: A Machine for Pigs and the upcoming Everybody's Gone to the Rapture).

After the performance, both Conklederp and I commented about the selection of games that where chosen and the apparently lack of Nintendo.  While some of the selections from Castlevania, Chrono Trigger / Cross and Kingdom Hearts were released on Nintendo platforms, none have been exclusive titles such as Journey or Shadow of the Colossus.  I must admit that I was a little sad that there was nothing from The Legend of Zelda, Super Mario Bros. or Metroid, but someone with a different gaming background could say the same about there not being any music from Sonic the Hedgehog, Call of Duty, or World of Warcraft.  But selecting music from a catalogue of well over I don't know how many games ever made and being able to secure the rights from their respective studio (and/or composer) and publicly perform that music to a paying audience probably has some limitations.  In the end, I knew music from eight of the 19 featured games and those that I did not know or recognize, were still beautifully performed by a great orchestra.

Since beginning in 2004 with "Dear Friends - Music from Final Fantasy," video game music performed in the United States has seen some growth and recognition [citation needed] and I can only hope that it will continue to do so with it reaching, at least, the status that film soundtracks from composers such as John Williams, James Horner, Michael Kamen, and John Barry have been given. There is still a ways to go, but I would like to think we are headed long the right path.

~JWfW/JDub/Jaconian

Instrumental 

Origin Stories Part III: The Elder Scrolls: Arena

I just finished The Elder Scrolls: Chapter I: Arena earlier in the week after I don't know how many hours.  The point of the game is to traverse across the continent of Tamriel to find eight pieces of a staff that was broken in order to defeat a battlemage masquerading as the current Emperor, Uriel Septim VII.  Think the first The Legend of Zelda set in Tolkien's Middle Earth.  There you go.

As previously stated, fast traveling between towns is a must since walking 1 km in-game will take about two hours in real time.  A lot of cities are 100+km apart (or at least the ones that you need to get to) and that's just in the same province.  I had previously gone into my method of playing the game, but that was before I seriously began collecting the pieces of the Staff of Chaos.  By about the fourth piece, I changed my tactic quite a bit as ransacking random dungeons became tedious and there was no long a point to collecting gold as I already had upwards of 200,000 at any given time.

But that's not the point of today's post.  Today, I wanted to nerd-out about the story and the lore behind the games in the Elder Scrolls series and anyone who has been reading knows that I like (have to) create origin and backstories for characters and why they're doing what it is that they're doing.  So I'm going to be doing that again.

The Elder Scrolls: Chapter I: Arena begins with your character being thrown into the dungeons underneath the Imperial Palace in Cyrodiil (then unnamed beyond "Imperial Province) and the year is 3E 389.  I figured that my female Bosmer (Wood Elf) Silandra was some kind of assistant/handmaiden to whomever the delegant from whichever city state she hailed from in Valenwood at the Imperial Court was before Jagar Tharn impersonated Uriel Septim VII and imprisoned everyone else.  That's when the game of TES: Arena takes over.  It was a simple backstory that didn't require too much thought or planning.  

I didn't have anything else for Silandra before she became a handmaiden to the court delegate.  It wasn't important, at least to me, so I went with it without any further additions.

Then the gears started moving again once I began my search for the final piece of the Staff of Chaos which turned out was located in [SPOILER] Red Mountain in Vvardenfell, Morrowind, or also known as Dagoth-Ur.  Yes, the same as that Dagoth Ur, but without the hyphen.  So here is what happened, at least in my Elder Scrolls universe:

Dagoth Ur's body/spirit was resting/building strength in the heart of Red Mountain, but still not at his full strength.  When the person later to be known as the Eternal Champion entered Red Mountain (passing under the Ghostfence and avoiding Vivec's Ordinators) and claimed the last piece of the Staff of Chaos, it emitted a surge of power that gave Dagoth Ur a renewed source of energy that allowed him to spread the blight disease beyond the Ghostfence surrounding the base of Red Mountain. 

In my game time, this happened around 3E 394 Rains Hand, (Lore time span in 389-399) and it would still be another 33 years before the events in Morrowind would take place.  It would be interesting to note that in 3E 400, members of the Sixth House would use the tunnel found/created by the Eternal Champion to re-establish themselves outside of Red Mountain in their former stronghold of Kogorhun, north of Red Mountain.   Additionally, the power from the reformed staff allowed would Dagoth Ur to reclaim Sunder and Keening (two Dwemer artifacts) when Almalexia and Sotha Sil re-entered Red Mountain to strengthen the Ghostfence in 3E 417.  This ultimately leads to Almalexia and Sotha Sil withdrawing from "public life," leading to the "downfall" of the Tribunal. [/SPOILER]

I'm sure there is more that I could integrate from the official lore of the series, but I am not entirely that knowledgable and I haven't completed all of the expansions for Morrowind (Tribunal & Bloodmoon).  And thinking about this now, once I finish with Oblivion, I'll probably go through Skyrim again with all of this completed backstory in mind but at the moment, I'm not sure how I will work in my character and the events in Daggerfall, but that might just have to be something that develops as I play the game.

~JWfW/JDub/Jaconian
Caught By Your Divine Spell

Monthly Update: October 2014

Madd MS Paint Skilz Yo!

It's that time of the month again, and I'm pretty sure I've used that opening before. . . but you know what?  Neither do I.

This is going to be a hectic month.  First off, Conklederp and I are getting married on Saturday (11th) so some of the posts early in the month might be sporadic, depending on how much I am able to get accomplished ahead of time.  We are presently (at the time of posting) preparing to make our way to Nor*Cal tomorrow, with our goal being ultimately in the south (by California standards) and we'll be back about the middle of the month.  Goodtimes shall be had by all and yes, "goodtimes" is a legitimate word.

I spent a good amount of time during September playing both The Elder Scrolls: The Arena and Path of Exile.  It would seem that the Diablo type of play that is PoE is more enticing and engaging than what I found with DOTA 2, which makes me a little sad that I'm not as interested as I was hoping to be with the free-to-play MOBA, but I think solo game playing is too ingrained in my system.  I did play a session of PoE with Chreekat for an hour or so a few weeks back and since then I haven't seen him on Steam playing PoE, so I'm hoping that I didn't tarnish the 37 hours he's put into the game, but it looks like he was on yesterday.  I on the other hand, have only quested for a paltry 26 hours.  Oh the humanity!

And this just in, I am a Steam Stalking Creeper, but no, I still haven't played Minecraft in any of its many iterations.  Line me up to be stoned.  Again.

What the hell!  While writing today's post, music from Dead Island: Riptide (composed by Pawel Blaszczak) has come up a couple of times and it's a lot better than it has a right to be.  Now I've never played Dead Island: Riptide, yet anyway and I'll get to it eventually, but this soundtrack (acquired through the Humble Deep Silver Bundle) is really good.  I'm tempted to even say that it's "beautiful," but. . . you know what?  No buts.  The track that just played, "Let it be Haven," was indeed a beautiful simple piano piece.  There I said it.  Cue the onslaught of hate.  Maybe, but probably not.

Let's briefly take a look at October.  I restarted schooling a couple days ago so I'll be trying to get ahead for the first couple of weeks seeing as how doing school work during a honeymoon so video gaming and said activities will not be as prevalent as normal, at least for the first half of the month.  Game-wise though, October will probably be fairly similar to September with PoE, Arena and I might even delve into Fallen Earth, which I just spotted as being an open world free-to-play post-apocalyptic adventure game.  If I'm able to find time that is.  Although in the next week, I'll be hoping to play another round of Mansions of Madness with our friends so I'll have more tales to tell upon our return.

So have a happy October and I'll see y'all when I'm around.

~JWfW/JDub/Jaconian

Instrumental

MIDI Week Singles: "Dragonborn" - The Elder Scrolls V: Skyrim (PC)

I could really do a Game Scores post about the music from this soundtrack, but I would find it nearly impossible as I tend to limit myself to three to four tracks, so I decided to post an article for the MIDI Week Singles instead.

"Dragonborn" from The Elder Scrolls V: Skyrim on PC (2011)

The Elder Scrolls V: Skyrim Original Game Soundtrack

Composer: Jeremy Soule

Record Label: DirectSong

Game Developer: Bethesda Game Studios

By now I'm sure that a lot of you have heard this song and/or are at least familiar with its existence.  For those of you who have never heard this song before, you're welcome.

As would be the case with any long running series, there will be people who say that this song is better than that song or that this song sucks because this is when the series became too commercialized or even that that one song is terrible because the composer slept with more than five people in a ten year span and they're totally a whore, because my cousin said so.  All of that aside, I find that this song still gives me chills.

I will still listen to this song all the way through whenever I start up Skyrim, which, honestly, hasn't been too often recently, but that's because I have a queue that needs whittling down.

Really, this is one of the reasons why I started doing the MWS posts, for songs that could exist away from their respective video game and be enjoyed for the music experiences that they offer.



~JWfW/JDub/Jaconian
Instrumental

Return to Morrowind: The Fall of the Nerevarine

I finished Morrowind quite a while ago although I never wrote a followup to my First Impressions article, mainly because I couldn't think of something insightful to say that hadn't already been said my the people who already love that game over all other games in The Elder Scrolls series.  I will simply say that I love Morrowind too for what it was back in 2002 and for what it is here in 2014.  

Just as a warning, there will be SPOILERS in the following section that cannot be avoided as they pertain to events that happen to the main character in the game relating to the main storyline.  You have been warned.

What I'm here to talk about is the evolution of my character, Valgrin of Markarth, whom I briefly covered in my first post about Morrowind.  In that post, I said that Valgrin was born somewhere in the province of Skyrim, probably sometime around 3E-400 (27 years before the beginning of Morrowind).  Stuff happens around the city of Markarth that lands him in prison, possibly Cidhna Mines and as there is little known history as to how long Cidhna Mines have been in operation as a prison, we'll still go with that story.  Eventually he is shipped off to Morrowind by decree of Emperor Uriel Septim VII as is told at the beginning of the game.

The story events happen in Morrowind including Valgrin contracting Corpus Disease although the symptoms are nullified through events in the game.  Additionally, Valgrin receives the Wraithguard gauntlet from Vivec in the later stages of the game.  I decided that Wraithguard, upon equipping it, has fused to Valgrin's arm.  I haven't decided if this has to do with the Corpus Disease or if it is simply something that just made sense in my head.  I also based the following events on what is known to have happened to the Nerevarine from various sources of information.

So Valgrin of Markarth, now known as the Nerevarine has a disease that affects the mind and body as well as a gauntlet that has fused to his arm.  

The main reason for all of this is that I wanted to increase the stats of the skills that I did not focus on during the main campaign and do side quests in both the main game and expansions that I did not have a chance to do the first time around.  My Light and Medium Armor skills were very low, so I began equipping bits of armor I found, replacing the Nordic Mail I had been wearing since starting the Bloodmoon expansion.  So I have decided that Valgrin was becoming slowly crazy, as an explanation for wearing non-matching pieces of armor.  It made sense in my head.

If you recall from my initial post, when I started the main storyline in Morrowind, Valgrin looked like this:

By the end of the game, roughly 120 hours later, he had developed into an ass kicking Nordic tank sporting primarily Ebony and Daedric armor; I apparently did not care about wearing the heaviest armor in the game.

Although his outward appearance has started to become erratic, I have not changed his overall behavior towards the other NPCs and I am continuing to complete quests as they come in.  He still acts the same as he did before the effects of the Corpus Disease and Wraithguard, but he is not outwardly carrying himself as he did before.  During one of the quests in the Bloodmoon expansion, I came across a creature that used a severed Nord leg as a club that I have held onto.  I figure that along with Valgrin's conglomeration of armor from various sources, that he will end up only equipped with this semi grotesque clubbed weapon (not depicted here however).

Yes, a bug helmet.

I think my endgame is that eventually he will act erratically enough that he might start killing people just because (although that might be pretty extreme), although I am sure that most of us have gone on killing sprees right after saving knowing that we would not be saving after.  After I have decided that I am done playing Valrin, he will be lost from Vvardenfell, possibly becoming a hermit, with history only remembering that an Outlander was found to be the Nerevarine and was never heard from again after a certain amount of time.



~JWfW/JDub/Jaconian
And Everything Needs A Reason To Be

Second Impressions: The Elder Scrolls: Chapter I: Arena (PC)

The following will be my second impressions of The Elder Scrolls: Chapter I: Arena, seeing as how I already had a first impression, but I felt that that article was written a while ago (January 2013) and since then, I have changed my approach to the game and therefore, my impressions of the game have changed dramatically.

About a month ago, I was rereading the article I wrote about failing at being able to successfully load and play Daggerfall (TES: Chapter II) and was going over the comments that had been left.  I followed the link that one Roger left which took me to a wiki page for setting up Daggerfall, that by default is in French or German (if the page does not have the "_EN" suffix), but thanks to the miracles of modern technology, Chrome does a wonderful job at translating the pages into something readable by my uneducated mind.  For both the Daggerfall and Arena pages, I was able to download versions of the game where all of the previous DOSBox commands came "pre-installed."  This was not a problem for Arena, but the chance at having to play Daggerfall without the risk of having the game tell me the previous problems I had were again present, was much welcome.  So the downloads commenced followed by the playing.

The first mission I received after emerging from the spectral gate in the Imperial prisons (surprise, surprise) was to escort a woman from the town of Vullain Haven to Wasten Brukbrook in the east.  Now, I figured that that meant that Wasten Brukbrook would be the next town over, so I began traveling on foot.  It was not until I had exited the game to look up the control setup that I discovered "Shift+M."  

This brought up a map of Tamriel (the explorable world), which then brought up a map of the province I was in when I clicked on that.  I was told that it would take me 17 days to travel from Vullain Haven to Wasten Brukbrook, on the southeastern part of Valenwood.

First off, I learned that by pressing "Shift+M" I was able to bring up the world map, and by clicking on a particular province, I am able to travel to any of the city states or towns in that province.  Finding this out was the very definition of a "game changer."

This was when I decided that I would greatly alter my approach to how I play Arena.  When out traveling in a world without topography, getting lost is beyond easy.

That mountain is really just a matte painting and does not count as topography.

My approach to the game goes now as follows.  If I am on a time sensitive mission (escort/rescue/kill the beast), I will fast travel from wherever I am.  Often times these missions give enough time to fast travel to the desired location, complete the goal and return if need be.  I have yet to come across a quest that would need me to speedrun through a dungeon.

If I am on my way from one town to another, I will exit the town by normal means (the city gate) and head in the direction of the town looking for dungeons along the way.  I will explore said dungeon, often collecting gear and other items and once I am either carrying at my weight or inventory capacity, I finish going through the dungeon (because having a completed map is OCD important), killing as many enemies as I can in order to gain experience then once I exit the dungeon, I fast travel to the next town to sell my collected booty.  I could just as easily fast travel between cities, but where is the fun in that?  Plus I would not be at level 15 having not collected even one piece of the Staff of Chaos.

Currently in the game, traveling between cities takes an average of three days, at least in Valenwood.  So 72 hours of straight walking towards the destination.  I then figured out that 1 minute in real time translates to roughly 12 minutes of in-game time.  So if I wanted to be "hard-core," I would have to spend six hours in real time in order to reach a city 72 hours away.  I do not think that Bethesda believed that players would not use fast travel.  Keep in mind that the town I had to travel to was 17 days away plus the return trip would total 34 days.  I personally would not want to spend 68 hours of real time completing that one quest.  On the other hand, I would be very interested to find out if travelling from one site to another is actually possible without fast travel, but that might have to wait for another time.

In other aspects of the game, I am able to appreciate what Bethesda was trying to do with Arena back when it was released in 1994.  In the instruction manual, the creators often reference pen-and-paper RPGs (Dungeons & Dragons) and even with the character creation and how the stats are affected such as Strength, Wisdom, Endurance, Personality (Constitution and Charisma respectively in D&D), Intelligence, et cetera are all direct references to D&D.  Even the armor rating is taken from THAC0 where a lower number is preferable to a more intuitive higher number.  Bethesda had also expanded upon the standard classes of Fighter, Mage, Cleric and Thief and developed the following subclasses, each with their own bonuses and drawbacks.  For example Thief, Burglar, Assassin, Rogue, Acrobat and Bard are all subclasses to the Thief header.  I blindly chose a thief because unlocking ALL THE THINGS!! is better than say, being able to wear enchanted armor.

There are a few annoyances though, as is to be expected with playing a game that was created 20 years ago on a semi-modern computing device that was built within the last five years.  Now I do not know how often Arena was buggy or to what extent those bugs occurred, but at least once a day I am graced by a crashed game in one form or another.  While the crashes are not all too frequent, they are very annoying, especially when I am about to be picking up some sweet fwag!

But at least the Male is bigger than the Happy4 turning right to the zero eighth notes.  Amiright!?

Having the game randomly crash has also gotten me to save my game after almost every enemy encounter as I have run into monsters that have killed me in two hits while I have full life.  But my main advice for this game: save often, even after doing inane things like selling swag or before leaving a town.

With this renewed interest in Arena, I feel that I am able to enjoy the game a lot more than my first runthrough, although in the article I did sound quite optimistic despite when I last talked to Dr. Potts, before restarting the game again, I mentioned that my biggest issue was finding my way around the world on a 2D surface.  I will probably put out a post on Friday regarding my choice in character and picking a Bosmer (Wood Elf) female and naming her Silandra, so stay tuned if that happens to be your bag of chips.

~JWfW/JDub/Jaconian

I'm Onto The Next One

"Here's How You Can Play That Game Better."

I've heard this for a while and it crops up every now and then: "If you don't build your character a certain way, you won't have a chance at beating the game" or "To get the most out of Game X, make sure to do this when creating a character."  I can't really be more specific than that as I always avoid reading these articles as I do not agree with them.  I would like to think/believe that a game can be enjoyed and beaten without the need to follow an unofficial ruleset.

I of course say all this after my failed attempt at Final Fantasy: 4 Heroes of Light and I gave advice as to how to not fail as bad as I had done.

Does this make me a hypocrite?  Sure, why not!?

I bring this up now because I am playing (or at least started back in January) The Elder Scrolls IV: Oblivion and someone I was talking to (either in the real world or at work) asked if I was careful in how I created my character, because apparently if you do not do it correctly, you can ruin your chances of being able to finish the game.

I first heard about this "phenomenon" from a former housemate who told me about how to build a mage that wouldn't suck in Diablo II.  This roommate, whom we will call The Sauce, suggested that I build an Ice Mage and put my all of skill points into Ice Magic.  He followed this advice up with recounting how he had known people who had ruined their characters by accidentally putting skill points in the "wrong" skill tree and had to discard high level characters.  This idea that you could ruin a character on accident and have to start over from the beginning frightened me.  I should also point out that this was only 3 years ago.  I'm sure the same could be said for Torchlight I or II and I'm positive that there are at least a couple (hundred?) people would tell me that I have not created my Mage in Torchlight II correctly as I have my skill points spread out between a number Ice spells, a Fire spell and some passive buffing abilities.

I also read a similar article/post over on this internet thing regarding Breath of Death VII.  I was looking for hints about how to defeat a particular boss and two separate posts I read stated that if you put leveling attributes for particular characters in "the wrong" areas, that you would have a very hard time with the game.  And I am currently having a very hard time against a particular boss four hours in.

I do not like this.  Not one bit.  How is the normal gamer supposed to find this out on their own?  I think that's my feelings towards beating video games in general, that there should not be one specific way to beat a game.  To kill Boss A, you shouldn't need to perform specific attacks and defenses in a specific order otherwise you're not playing the game correctly.

I think this is one of the reasons why I could never beat Advance Wars: World of Ruin.  I just became stuck with a certain series of battles and had to resort to Gamefaqs to make my way through them.  It is frustrating to me that a written document could tell me how to beat a multi-faceted enemy, that there is a preordained order that the computer performs its actions so that a victory can be achieved over and over again.  Eventually I gave up because I had reached a stalemate about 20 minutes into a battle and didn't want to go through reading an article and having my hand held through the remainder of the battle.  Additionally, if I had to have my hand held through the last number of battles, I would most likely need to be directed through the rest of the game as it would only prove to be more-and-more difficult.

So that's my two bits about games where people feel that you need to create characters in a certain/specific way in order for the game to be enjoyed (i.e.: beaten).  I'll play the game however the damn hell I please.

~JWfW/JDub/Jaconian
You Can't Change Fate, But Don't Feel So Bad


P.S.  In a similar, but not related train of thought, this idea about following an obscure plan in order to get something from a game happened to me in Final Fantasy XII when I first heard about the Zodiac Spear.  The article I read said that you could not have opened any of the treasure chests in a couple of specific areas  and that the Zodiac Spear could be in one of two chests in a particular dungeon.  I say "could" because even if you did open one of the chests you weren't supposed to open, it could still be there, but there would be something like a 90% chance that it wouldn't.  Now how in the hell is the regular player supposed to figure this out if there was nothing in the game that hinted about this?  

The Elder Scrolls IV: Oblivion ~ New Character Story

A while back, I had considered restarting Morrowind with a new character because I had felt that using a Nord of the Skyrim Province who was supposed to be a reincarnate of a heralded Dunmer (Dark Elf) hero was a bit far fetched.  I thought that playing a Dunmer would be more appropriate.  After I had thought about that decision and slept on it, I continued with my Nord, just to see what would happen and if the main quest line would make any more sense with an "Outlander," believing that Bethesda knew what they were doing, otherwise when beginning the game, you would have only been able to choose to be a Dunmer.  In the end, I am very glad that I continued as that decision gave rise to my new character for The Elder Scrolls IV: Oblivion, the Dunmer Ashlander, Talaq Ashburnab (same-ish name as the other Tal'aq, but different alltogehter.  I just like the sound of the name).

First off, how Valgrin of Markarth, the incarnate Nerevarine of Indoril Nerevar, a Dunmer General from the 1st Era influenced the events that take place in Oblivion.  

Emperor Uriel Septim VII sees that in the future he will be assassinated, his death is already foretold.  In this vision a prisoner helps him seal the gates of Oblivion which his assassination have brought about.  This is the in-game plot for Oblivion.  In the game Morrowind, Uriel Septim VII sends a prisoner who is born under a specific star sign, whom he believes will fulfill the Nerevarine Prophesy and release Morrowind and those living in Vvardenfell from the blight brought about by Dagoth Ur, who is residing at the heart of Red Mountain, in the center of Vvardenfell.  This is the in-game plot of Morrowind.

In Morrowind, I chose to be a Nord because it seemed like a good idea, having just played 150+ hours in Skyrim and I knew that I wanted to play a tank-like character.  Thus, Valgrin of Markarth was brought into being.  During the main quest, your character comes upon many different factions of Dunmer throughout Vvardenfell.  One of these is a tribe of Ashlanders, the Urshilaku, who are the group that sets your character ahead on his quest to fulfill the Nerevarine Prophecy and the first group/clan/tribe to recognize him as such.  I decided that this is where Talaq would originate from.

So Talaq was influenced by an Outlander being the Nerevarine.  This opened up his view of other races and began to deteriorate his prejudices of other races that were not Dunmer.  Knowing that the Nerevarine was a Nord (using my game from Morrowind as a canon storyline), Talaq wished to visit this land that the Nerevarine came from.  Being an Ashlander, a relatively poor nomadic tribe of Dunmer, Talaq had very little in the way of way of payment to find travel into Skyrim.  In the village of Khull, the Khajiit shipmaster S'virr tells Talaq that he can give him free passage to Skyrim by way of Solstheim after picking up/dropping off a shipment.  Free passage is dependent on Talaq transporting goods to both Fort Frostmoth and to the port in Windhelm.  Talaq agrees to this.

Unbeknownst to Talaq, S'virr fell in with the Nord smuggler Brurid and is smuggling Skooma and Moon Sugar.  While disembarking, members of the East Empire Company call attention to S'virr's boat and Imperial soldiers begin searching the cargo and find the contraband.  The imperial guards begin questioning Talaq on the docks.  A group of Dunmer witness the Imperial's verbal and physical abuse of Talaq and rush to his unasked-for aid.  During the skirmish, one Imperial is killed along with the two Dunmer who attempted to help.  Talaq was imprisoned as he was believed to be connected with the two dead Dunmer.  Because Imperial soldiers were killed, Talaq was taken to Cyrodiil and imprisoned under the charge of "an assault on the Emperor's men, is the same as an assault on the Emperor".  

While being processed, Talaq chose the surname "Ashurnab," after the Daedra shrine Assurnabitashipi to the west of the Urshilaku Camp.  Talaq did not wish to disgrace his family, yet chose and slightly altered a word/name that he already knew.  Coincidentally, in reality and in-game, the Assurnabitashipi shrine is dedicated to Mehrunes Dagon, the instigator of the Oblivion Crisis.

The way that I see this story unfolding, is that Uriel Septim saw an Ashlander at the time of his death and his visions regarding the Nerevarine Prophecy came to him, he saw a way of bringing an Ashlander, a group not normally seen outside of Morrowind, to Cyrodiil.  Uriel, however did not know anything about the Ashlander that he saw in his visions, only that by perhaps helping to fulfill the Nerevarine Prophecy, would this Ashlander somehow end up in Cyrodiil.

And now, I present to you Talaq Ashurnab, freshly released/escaped from prison:

Without a helmet on, Talaq sports the traditional Dunmer top knot.  I do wish that I could have figured out a way to make his cheeks a little more gaunt, similar to the way that the Dunmer look in Skyrim, or you know, Danny Trejo.  I didn't have a specific age for Talaq, hence not bringing up the year of his birth in relation to the storylines of Morrowind and Oblivion, and really, it's probably not that important.

I see Talaq as someone who, having seen the power and influence of an Outlander Nerevarine believes that helping people, to a certain extent can be beneficial.  As with other Ashlanders, he will not question the decision to kill someone who insults or threatens him.  And as with most/all Dunmer, he has a strong dislike/disgust for necromancers (which is how I justified diverging from the main quest so early on and routed a keep full of necromancers and their ilk.

He is still pretty naive though, because he is still pseudo-young so he's bound to do some stupid things.  Sure, why not.

So that's my character that I've created to play, at least through the main questline, in Oblivion.  

~JWfW/JDub/Jaconian
Instrumental

First Impressions: The Elder Scrolls IV: Oblivion (PC)

The Elder Scrolls IV: Oblivion has a sordid history with me, which is why I didn't jump on the bandwagon back in 2006 when the game first came out.  Prior to 2006, I had heard nothing about The Elder Scrolls series on any platform, most likely due to the fact that I wasn't a big PC gamer until recently and I didn't own a 360 or PS3.  

The symbol for the school of Conjuration.

I recall seeing the boxes in Target and upon first inspection, I thought that I had stumbled across a video game series based around H.P. Lovecraft's Cthuhlu mythos.  The cues for me were the similarity between the "Elder Gods" and the "Elder Scrolls," as well as "Oblivion" being a frequent theme of sorts in Lovecraft's writings about the various.  Even the logo I thought was an artistic relic based around the image of Cthulhu.  Granted the symbol looks a bit more like fangs, but now that you have Lovecraft in your mind, seeing what I had thought might become a bit more clear.  So at this point, I figured I would get around to playing this Oblivion game.

The house I live in during 2006, we had a housemate whom we will simply call OnlineGamblerGuyWhoLivesInAMercedes, or Axe for short talked a bit about the game then showed myself and Chreekat what the game was like.  He described it as a kind of fun fantasy game played in first person and I immediatly thought of the Neo Geo game, Crossed Swords.  Axe said that by the end of the game it had gotten repetitious and that you can simply jump while moving and you raise in experience levels.  He said that it while it was a decent game, just that by the end, it got pretty boring.

This was my first impression of not only Oblivion, but of this apparent Elder Scrolls series.  It was not a favorable impression.

Ring in 2012.   Skyrim had been out a year by the time I bought the game and delved deep into it's depths (not nearly as much as Conklederp has mind you).  Thus my impression of The Elder Scrolls forever changed and for the better at that.  In March of 2013 I began playing Morrowind (Chapter III) and this January (just over a month ago), I began playing Oblivion.  

My feelings about this game continue to be conflicted.  I understand the immense leap from Morrowind to Obilivion, the changes in gameplay mechanics (the ones I know about anyway), the graphical improvements over the four years between the two games.  However, in the back of my mind are those first feelings of negativity because of the review of a housemate and finding out that the conjuration sigil had nothing to do with anything related to H.P. Lovecraft.

One other sad thing, for me at least, is that I'm not a fan of the intro song, which is just a fanfaric and slightly sped up version of "Nerevar Rising" from Morrowind.  Yes, I know it was used again in "Dragonborn" from Skyrim, but there it's done with a choir and all bombastic, which I tend to like.  Basically the song, "Reign of the Septims" using the "Nerevar Rising" theme, plays it too fast for what the song is doing.  I don't know if that really makes much sense, but that's how I feel.  The rest of the music in the world I do enjoy as it is very Jeremy Soule and fitting for Cyrodiil.

Presently, I am 14 hours into the game, which isn't far by Elder Scroll standards and for those of you who know, I just joined The Blades at Cloud Ruler Temple and that is where I have left the game since the middle of January.  Rather than be all rhetorical, I have not stopped playing, but felt that I could now diverge from the main storyline to do any half dozen of those side quests that always populate these open world games.

There are certain things that I do like so far in Obilivion such as the lushness of the land.  I mean, just look at all these lupins (??)

and I just escaped (was allowed to escape) from prison!  I like the facial feature-thing mechanic that I will/might get to in a later post.  I like building my character and having them focus their abilities along certain paths.  And as is the case with any game, there are certain aspects that I'm not too fond of such as the menu system, the pudginess of faces due to the facial feature-thing mechanic, the ability to fast travel to locations you have not yet gone to but know of their existence and how small Cyrodiil feels, but maybe this last part is normal having come from such a vast expanse in Vvardenfell.

I will come back to Obilivion very soon, I think I just needed some time to figure out my current feelings for the game and how they conflict with how I first felt about the game.  Well, that's about my quota for the month for talking about feelings.  


~JWfW/JDub/Jaconian
I Shall Return From Out Of The Fire
P.S.  Have a good (snowy?) weekend all.

When Is A Game Too Much Game?

I have a queue of unplayed games and this time I'm not referring to just the games that I haven't played on Steam (although that list might be growing again due to Steam's Winter Holiday Non-Denominational Sale), but also the games for the PSP and 3DS that are patiently awaiting their turns to embed themselves in the emotional center of my brain.  This queue of games has recently gotten me thinking about the amount of time required to play all of these game to their conclusion. 

Now, when I say that I beat a game, I'm not referring to "completing" a game with every available character/car/plane, watching every ending and achieving every single achievement.  I just mean beginning a game and playing through until the credits finish rolling.  If I happen to unlock new features and earn achievements in the process, then bonus points for me.

I recently just completed Dead Island after playing roughly 62 hours.  That is a lot of time to spend on anything, let alone a video game.  Recently though, I have noticed that some games are becoming almost too long, or more likely, I am drawn to games that take up a lot of time.  Between the two of us, Conklederp and I have clocked in 571 hours on The Elder Scrolls V: Skyrim and expansions; I currently have 115 hours on The Elder Scrolls III: Morrowind and have only just completed the main quest, not to say anything about either the Bloodmoon or Tribunal expansions; on Final Fantasy XII, I spent around 125 hours and I still didn't finish all of the hunts or collect all of the Espers.  When Grand Theft Auto V was released last year, it was touted as having over 120 hours of game content.

When does game content become too much content?

Eternal Darkness: Sanity's Requiem and Dead Space took my about 16 hours each while Amnesia: The Descent took 18 hours, but Gone Home and Evoland both took only 3 hours.  Those were perfect lengths of time for their respective games.  Horror games are a hard thing to do for an extended period of time.  I have never played a horror game that lasted as long as, say Morrowind and maintained that level of tension and fright.  Is it possible to maintain that level of tension for 50+ hours?  I honestly don't know as I feel like game length is relative to both the game itself and the person playing the game.  

For myself, as long as the quests make sense, I don't really mind fetch-quests for which both Skyrim and Dead Island are pretty notorious for.  I understand the argument against them as they do eat up a lot of time, especially if fast travel is not an option, but again, I enjoy exploring and looking at the worlds that I explore.  But, as is the case with anything in life, too much can be annoying.  Too many fetch quests to gather supplies for an outcome that is never witnessed is too much. In Morrowind, I was tasked with taking 20 jars of sujamma (local liquor) to the middle of nowhere.  What irritated me was that I had to reallocate my inventory to accommodate 60 lbs of items and travel to a mine just so that some miners who were most likely slaves, could have their liquor.  What I didn't mind was that I was travelling to a part of Vvardenfell that I had not visited so I was exploring. 

So how long should a game be for it to be both entertaining and fulfilling?

I don't think there's a correct answer here.  

Some games work better as a five hour short story while other games, primarily sandbox games almost demand that they last 100+ hours.  And there-in lies one of my problems:  I like sandbox games.  GTA, The Elder Scrolls, I like these games and I like to experience the worlds and the people who populate them.  I recently just started the Assassin's Creed series and I can see Fable, Mass Effect and Dragon Age on the horizon and I know that I will spend as much time in those worlds as I have in others. 

What I have come to realize while putting down my thoughts, is that I am drawn to long, drawn out narratives.  While I do enjoy playing shorter games like Evoland, Dear Esther and Nightsky that may take up only a couple of hours, I also love spending hours upon hours being immersed in a world and it's fictional culture.  Sure, I'll play some games that I know that I can finish in an afternoon, but maybe with the exception of a few games that I cannot recall at the moment, but that doesn't make them any less worth playing.  Sometimes a game that can be played in short segments is just what I need between the doses of massive epic quests.

~JWfW/JDub/Jaconian

I'm Not Ready To Make That Kind Of A Commitment