![]() ![]() But I'm pretty comfortable with the idea itself being in there. I wouldn't say anything if the idea was badly executed. Just like there is no point in criticizing that particular concept of SotAs writing. The answer was pretty much "I don't know. It reminds me of a section in "Brave New World" where one of the main characters asks the Resident World Controller why old things necessarily have to go and forcibly be replaced by new things. SotA clearly has its fair share of problems but saying "No no, you can only write a story THIS way nowadays" is pretty stupid and crippling the creative process. Prefab player abodes, meanwhile, are particularly lovely - housing sword collections, steampunk safes, and sedentary guard dogs. The outlandish architecture resembles something Garriott himself might have built at the height of his fortune. In the town of Soryn Fields, a hot air balloon is anchored next to a 60-foot statue, while snowmen decorate the sunlit high street. This is where the game drops any pretence of gravity and becomes its colourful best. The influence of the latter provides one of Shroud of the Avatar’s few genuine highlights, however - the player-run hamlets scattered across its overworld. Garriott seems undecided about which legacy he is following up - the simulation and single-player storytelling of Ultima VII, or the persistent online world of Ultima Online. Honestly, it might be less embarrassing if we keep this one to ourselves. "The rest of our people will know what happened here," he hisses as he succumbs to the flames. He fails to react when he catches on fire, reminding me of the eerily still protesters who have committed to the horror of self-immolation. Shortly afterwards, I watch the demise of a fearsome Obsidian Elf standing a little too close to a burning cart. ![]()
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