A really cool youtuber, piano perspective, who does piano arrangements of music and has a neat downward camera angle on the playing. Mostly video game music. If you're a fan of that stuff, check him out.
Here's a couple of my favorites:
To Zanarkand
Clash on the Big Bridge
Corridors of Time
@Thenomain
I think your last point about 'game system simulators' makes me miss the days of a coded combat system and a condeath game like the old Transformers or Megaman MUSHes.
@faraday
I find that I've only used places on one Superhero game I played on, and I rewrote (well, okay, wrote from scratch using the concepts of it) something for my own use (I was going to use it at my WoD game), and simplified it greatly. I thought people would get a fair bit of use out of it; I may share it (I'll probably have to remove functions that are specific to the way I code, and it's also for Penn so it might have some stuff that won't work on MUX).
The big thing it did, when you're at a place and using the command it prefixes to your place as [Place] to everyone at that place, and only the people at the place could see what was going on using the tt command. It also had a working purger for when people left the room, disconnected or otherwise left a place without using the depart command. But you could pose as normal to the room, and room poses would be visible as normal. It was meant to reflect 'and we're all chilling here, talking amongst ourselves so that others can't hear'.
Here's a way that it displayed, and the +help, which I thought was pretty straightforward. If anyone wants a copy, I'm willing to decomp it and throw it up somewhere.
@TNP
That or they just don't know how to do the CSS and such, and so you have stuff that overlaps other stuff and other issues of coding.
@Packrat
Another person caught the error, and corrected the site in the earlier post, it should be themudhost.net.
I think the difference is, some people are saying 'death is the only outcome' and some are saying 'defeat, setback, loss of resources, etc. is an outcome, not JUST death'. OR at least treating things like all fights between hero/villain factions should come down to 'Do I kill this guy who is in my opposing faction, and what is the logic behind why I -DON'T-.'
@ThatGuyThere
This is one of the cruxes of what I've been debating on replying to the thread. It's funny that it came up almost simultaneously with a facebook thread about 'how do we stop everything from devolving into killboxes' in LARP that I'm participating in. The mechanical portions of combat have teeth. They have detailed X does Y rules. The mechanical portions of social and other methods of 'conflict' often don't, or when they do, they're extremely unenforceable (or get so much blowback from players that it's not worth enforcing them).
As far as villains/factions, I don't think that they can work well on a non-condeath MU* for the simple reason you provided: investment and ability to play. You rarely ever see a faction-based conflict media where the 'main characters' (which is what I consider PCs on MU*s to be) die regularly (well, okay, Game of Thrones, but even then it's not every episode). Even if red shirts and extras are dying left, right and center.
In Underworld, Selene gets shot and injured and nearly dies, but doesn't die, while lesser vampires get eaten by Lycans and shredded by UV bullets. In TF comics, Optimus Prime gets blown to slag and recovered to rebuild, while Gyro the flyingbot explodes into bits of flotsam in space, never to be recovered. In Gundam, Amuro Ray blows up Zakus by the dozens, but Char vs. Amuro is a showdown with neither dying while their Gundams get disabled.
I still haven't come up with a really GOOD way other than try to determine quick, painless approval processes (which won't work on games as complex as WoD, because of everything that has to be fact-checked and notated and all of that). And that requires something that I think a lot of MU*s are lacking: trust in, and communication with, their playerbase. The WoD game I was working on, I planned to have a policy of 'you can go IC and play, staff will review and some retcon may happen' and I even wondered then if it was a workable.
I've often wondered if a game that is set up with an in-built reason for characters to die, and then come back, would work. Like the Phantasy Star II genesis game cloning chambers, or a game where characters can be rebuilt like on Transformers. But that's something that cheapens death and, to some people, is probably no better than condeath scenarios.
Perhaps mechanics baked into the MU*, separate from the tabletop or other gaming system that exists, to mitigate PC 'death' scenes, while still allowing for villains to be defeated. In the Buffy RPG, doesn't the Drama Point mechanic allow you to skip death by spending them? In the Final Fantasy tabletop I run, there's Destiny that you can use to 'cheat death' when a monster with Killing Blow would kill a KO'ed character. I wonder if building something like that into the game would help; make it a limited resource, but dramatically appropriate.
Just got approved on The 100.
Will probably poke my head in to RfK again and see if I can get jones for NWoD.
Development hell is my life though.
Been asked to mess around on a Transformers fame by a friend.
So really just 100 and maybe RfK.
@tragedyjones
None of those sound surprising. Sleepy Hollow is actually a pretty good 'weird shit goes down in a small New England town' series, despite some left-field stuff that they've used for plot. It'd be good inspiration for someone to watch if there was someone who wanted to make a new WoD set in New England.
I'm happy with The CW. They have all of my ratings, the only thing I don't watch on CW is Person of Interest (knew this was the final season) and Limitless.
@Lithium
True, but I can still be pissed at the idea of Lannisters winning.
@Admiral
I have no words to tell you how much that pisses me off. Here, have an apt response.
9 episodes into season 1 of GoT.
Already I want there to be SO MUCH DEATH on the House of Lannister. Holy shit I haven't hated anyone in a TV show this hard for a long time.
@Taika
It was really just the nature of the game, at least from my experience, back then and in that circuit (mind, this was 1999-2002ish, if not a little earlier). You played and sure, you'd have people who weren't really interested in building things OOC as well as IC, but the majority... well, OOC communication and OOC friendship was the norm. Even if you were characters who would tear each others heads off ICly.
It was also helpful that a lot of stuff was coded so things like combat were 'you use a command, the system calculates, and you pose accordingly in a fight' and that the game promoted OOC communication for stuff like that, even with the randomness. It was just 'how it was done' back then and in those circuits.
I think most of mine come from factional, consent-based con-death games so this is probably going to sound trite for some people who really consider 'antagonist PCs' to be capable of killing a PC.
But I think some of my best antagonist PC memories are from my time playing Rock/Megaman at Megaman MUSH. For a really long time, I played Rock and one player played Bass (Rock's counterpart in the Robot Masters group), and we had a really awesome rivalry and a lot of fun times.
I've had this type of relationship with characters at lots of games. The player of Deathsaurus when I was Optimus Prime at TF: Generations; Rock and Bass (and to a lesser extent, Sigma) at Megaman MUSH; my tenure as a villain who had major goals at Beast Wars MUSH (Aftershock, who fucked with the Maximals REALLY hard...), and to an extent the same PC at my own BW game (Aftershock, but also a tenure as Megatron); and particularly as Gavin/Gate at X-Men Evolutions (the transition from an X-Man to a member of the Brotherhood, through the lens of a disaffected teen who was really affected by Genosha as a mutant prison/slave camp was really epic, and the players of Wanda and Pietro, and Kitty and Storm and a bunch of OCs on that game were really stellar).
I think the biggest 'antagonistic' issues I've ever had were, when playing an antagonist, you get the 'I'm a good guy/had a good application/have good stats so I must win all the time!' type situations, which is more of a player attitude thing than a game attitude thing. There was a player who I worked out some neat stuff for a plot I ran as a player at Beast Wars MUSH, and he was super hateful OOC gloat guy when he 'won the big fight against Aftershock' and was hyper bitchy when he lost a fight. It wasn't a good situation, and he was eventually pfired from the game.
@Arkandel
Fox has a weird ratings thing. Like, shows do REALLY well. But like CBS, I guess they have a target demographic, and the shows that do well, but get cancelled, don't do well with the demographic that they're trying to steal away from another network. TSSC was really good. I was looking forward to seeing what the whole deal was with Shirley Manson's character.
@Taika
Yeah, make the exit as normal. Set all the attributes on an object or exit elsewise to be the parent, then @parent the exits to the parent.
@Taika
You make the exit like normal, so @open Exit <E>;e;exit=#DBREF,Return Exit <RE>;re;return exit.
Those are attributes that are normally set on an exit, that show what people in the room see when you leave, and what people see in the room when you arrive. So people in the room, when you leave, see 'Name heads (exit name) towards (exit destination)' and in the room you're going to, people see 'Name arrives from (exit origin point)'
I use a room parent so that I can just set it on every exit and be done with it.
Here's my Penn exit parent, for example:
http://pastebin.com/2s03s8jy