Posts made by Chet

Well, if we have horror, sci-fi, and diesel, that could be a troll heavy environment.

Perhaps, we will need to apply the logic of Eric Cartman, Fuck It Mountain, the son of a wrestling team member.

We must adapt the comedy to the game, but as a series of three measures in discussion.

First, simulacrum: approach as diminuitive, to force the problem to show itself as a display of its strength, truly its weakness.

Then, the subversion, the movement to achieve dominance over the display of strength, by approaching with the inverse, the opposite concept in the abstract.

Finally, the counter, the defeat of the problem and the learned solution, the disabling of the displayed weakness with the inversion's conclusion form, our policy.

So, what is the weakness to a troll in terms of an Axis player (and there are more than three) that wants to be offensive, in their comedy. What can we find, if we force them to display this as their primary trait (with the proper courtesy of doing the same as Allies, a separate discussion), then applying the inversion of the logic to their consequence, for the policy solution, the gameplay factor in the theme?

I would love to construct a Wolfenstein MUSH, with some of the codebases I already have, maybe minus my political control and sub-faction setup, and instead use hard factions via application.

As far as I see it, you'd use a hard sci-fi/horror setting, dieselpunk like my associate is using at 4T MUSH (the DC Comics/Marvel game set in the 1930s), however with each belligerent (read: involved in the war) faction having a unique culture and technology basedlinked to the fighting. It would require a coded set after Command and Conquer, with an NPC platoon code and a commando code for fighting NPCs and other commandos.

Each player would have two alts, one Allied and one Axis, in the varied factions per country, with three potential options: a leader, an officer, or a commando. Leadership available would determine theater (i.e., location of the conflict in theme terms), officers and the units granted for potential usage would determine campaign (i.e., the individual goals set by leaders), and commandos would be deployed as elite units to fight on either side.

Would anyone be interested in this, as a game?

I'm looking for grid description editors for a modestly sized grid, a 22nd century spy MUSH that's based on political economy concepts. Everything, including the framework of the grid, is complete, and it's relatively small, I just need a little extra effort after the somewhat draining process of putting the architecture together.

This one is based on political economic theory, with the MUSH as a central and unwritten concept inside the game itself, as a signals contact theory for espionage operations around the world.

If anyone is interested in my other project, my time travel Duke Nukem game, based on university life, I have the entire project saved and ready to relaunch, if I have more interest. I want to do something with this codebase, even if it's the standard Dune game that everyone is so fond of.

@Tinuviel

You know, you look like Lowtax, but why were you in Deadpool?

Luthor!

1. MUSHing is about world-building, not playing around on your weekend or developing characters. If you focus on the primary function, the latter benefits will follow.

2. A good staffer is a legendary villainous heel before being recruited, but not out of character. The villainous heel in character provides elements to the plot crucial to a game's longevity, but the latter trait makes the player an enemy of the state in their own mind. The latter player should be told to start their own project, maybe they might be useful to MUSHing as a whole.

3. Proper game design involves an asymmetry that has a potential cheat, the potential cheat being your intended method of direction in the MUSH theme. If there's no way to cheat the game, then there won't be players, and if the cheat doesn't follow theme, your game doesn't follow the intents, it becomes a new animal. Combine the functions, you have steering, automatically.

I got hooked on a Jack Daniels kick for September and October, I went through five bottles in four one week periods, every other week. In November I sampled Laird and Company Applejack, an apple brandy with a whiskey kicker that ran me five bucks less than a bottle of Jack Daniels.

I don't go by the handle anymore, I pick up the standard fifth, but I stopped mixing and chasing, aside from the novelty of buying a huge iron drum of Dole pineapple juice for the applejack. While pleasant, I admittedly regret using a mix. Straight shots are my new preference, I can't stomach malt or beer or wine cooler.

Could I ever?

What if Y2K and the alleged glitch was a cover for the bug where shareware could be outwitted in terms of the trial period before purchase, by changing the clock backwards?

In that case, why not just change the merchandised software implement for shareware clock timing, sold by some nefarious organization as a utility packet?

They'd logically do it for free, and in public.

What's a little napalm between friends?

It's a big universe, and there's a lot of time, but it isn't on your side, alien scum. Duke Nukem has been around the block so many times that the block is a charred pile of ash, and his friends in the Earth Defense Force are time traveling with him across the galaxy and through dimensional parallels to fight the Rigelatins and their allies. Duke Nukem's worst enemies have arranged a grand alliance, against the outnumbered forces of humanity, with changes in history and outlandish weapons meeting to produce the battle of titans.

Do you have what it takes to engage in the most insane combat imaginable, manipulating events and forming your own personal units, forming front organizations and seizing plot power for yourself, the player? Do you want a system of completely unique fighting with innovative powerups, a non-competitive skill roll system complete with several systems of advancement throughout the game, and of course, a monitored system of world building, alliances between players, an internal intrigue among the villains that allows for manipulation, fighting, and peace, all through politics? Gadgets, guns, grenades? Time travel, retroactive continuity being thematic, and of course the grand daddy of them all, a frag tag system to hand out Duke Nukem to the most killer player, at shifting intervals?

Time to chug beer, ladies.

portent.genesismuds.com:2077 . We're in alpha phases right now, to test the system integrity. Staff positions always welcome if you want to sign on as a plot staffer, advancement point rewards for bugs and typos spotted. An immersive playworld and a bastardly dastardly arena of fun, from a simple theme expanded into every possible alley of plot and madness.

Duke Nukem: Paradise City.

I have a set of code that would make a perfect expanded Metal Gear Solid universe.

I used to view MUSHing as a combat sport, like arena terrorism or a Yakuza lemonade stand.

Now, I view it as more of a way to be pretentious towards my own delusions of peculiarity.

They call me Hamburger Harry, and I am a MUSHer.

Here's the decompile (sans enhancement system, at the moment).

https://www.dropbox.com/s/ozma6z369mpueft/master system decompile.txt?dl=0

Documentation forthcoming, although available for link, deeply buried in other files, on my MUSH listed in the thread main article.

I've decided to freeware my science fiction code platform, once I finish it, with a system of coded commands to customize the coded terminology along the needs of the theme.

It includes: A pairing skill-based combat system non-reliant on statistics. A set of nine power-ups, notable for their math, that alters the skill system. A customized metapowers system that advances alongside advancement points. A zone-damage system that reduces damage synchronicity from damage/dodge tradeoff bonuses built into the combat system. An enhancements system built into a monetary marked economy for boosts in combat, that can be purchased and deployed in fight with money earned from the previously mentioned zone-based damage system. A set of non-competitive skill rolls that work to determine winners, as well as playing into the enhancements system for roll bonuses. An up-down-neutral voting system to advance player influence. A business system to allow players to purchase investments along different markers that have different meanings conducive to customization. An alliance system, to enhance gain of influence or non-competitive skills (as opposed to combat, built by fighting). A merit token system, for plot power, purchased from a pool of business capital. A ten culture system, with a voting council, rules and culture names determined by the staff. A sub-system within the ten cultures, for individual groups of players to congregate in, at the determination of players and staff. Finally, a completely integrated chargen system.

This system is almost entirely complete, besides the integration of the enhancements system.

If you're interested in the project, drop by at portent.genesismuds.com:2077.

Ignore the window dressing, I don't have a theme on this place, and I probably won't be doing a crime theme, wouldn't want to be redundant with Shadowrun: Denver already in place.

A collection of sonnets that I've authored, with a secret shared theme.

https://www.dropbox.com/s/918141yne7wtrsa/Sonnets.rtf?dl=0

How about mixing Yakuza and ninjas into a MUSH, with warring syndicate martial artists and spies and mercenaries?

I've been tossing around ideas for a game to make for ages now, after License to Kill didn't work out because I didn't have the theme fleshed out properly, and Long Halloween had a total of two players on grid because of its raw size. I have an extensive suite of coded world commands that I can repurpose with a simple edit() command shortcut I've made.

I'd love to get together a team together to make a game (I haven't been on an actual team-prepared game since 2003 {M3:DP} and I worked briefly with another player or two on city descing in the median). I can offer you all my code, if you want to message me for an addy I can give you so I can show you my various statistics, advancement, personalization, environment, and plot currency systems. All five layers are meant to work together.

I've never been able to comport myself public-wise.

As I've mentioned, I've been trying to get a degree in fiction for a couple years now. I plan on completing it by 2022, and my head is in a much sounder basket than before.

In the meantime, I've cobbled together a few practice ideas, but much more importantly, a large sheet of plot and character design rules, observations, shortcuts, and concepts. These tricks are in print, comics, and screenwritten form, and can be applied to a number of different types of written materials.

I'm looking for a writer that might like to test some of my theories out, free of charge if you prefer, or maybe to just look at what I've got laid out in terms of my viewpoints on fictitious logic. Send me an e-mail at zartan@outlook.com, contact my IM here, or log onto my little project MUSH, portent.genesismuds.com:2077.

I'd love to chat.

I'm in the early stages of creating a game with my combat system, now modified for Grand Theft Auto, with an action movie feel for the codebase simulation being a screenwriter or actor, instead of being a video gamer or pen-and-paper tactician.

I've got 20 cities (including Bullworth and Carcer City), five rooms a piece, with a shifting powerup system (and Wanted Stars), a plot system as the economy (with money), a method of earning grid space, and of course, a gang war system I have yet to code.

I'm going to set it in 1983, with all the corporate splendor, conservative talk show caustic sarcasm, urban misery, and international intrigue of the Reagan years. From the slopes of Aspen to the hardcore scene of Boston, I plan on including it.

If you're interested, drop me a line. I plan on including as many Features as possible, started at the beginning of each game, modified to start in 1983 for each plot.

I need room description writers, profile writers, and theme writers.

My introduction to geekdom was a comic book I bought at Walgreens, in Jamaica Plain, Boston, off the rare rack, wrapped in mylar. I was in kindergarten, and the year was 1990.

The comic had been published ten years earlier, in 1980 (first draft, still own it, it's about ten feet away right now RL), Green Lantern vs. Evil Star. It discussed the ethics of imprisoning a supervillain that needed to destroy an entire planet, or else he'd wither and die of old age, in agony. A real exploration of the passing of life from the elderly, to the young, to allow society to continue on as we see it today. Today, we are Green Lantern, placing our elders in facilities where they can no longer wrack the chaos that we now inflict upon our society, in order for our children (you, the lovely reader of the comic) to grow. Tomorrow, we are Evil Star.

The second half of the comic was 'The Trial of Arkis Chummuck'. I spent a good 20 years of my life speculating on how the comic ended, since it was a cliffhanger. The comic features a Green Lantern losing a duel to an archivist civilian on a fascist planet, and having his body eaten by the archivist, in ceremonial tradition, before the ring selected the archivist (Chummuck) as the new bearer. Arkis then proceeded to defeat the military dictator of his planet in single combat, whereupon the dictator chose to die in a disintegration chamber, as befitting his culture.

Arkis was placed on trial before the Green Lanterns, on the charges of murdering the dictator. It ends with Arkis informing the court that if he is found guilty, he will be forced to kill himself under ceremonial tradition, dooming the Green Lantern council to the same fate as he, in the trial chambers.

Certainly an interesting exploration of law that haunted me throughout my years reading literature and reimagining it, to solve that quandry.