Chris Avellone Quotes – Quotes on Life, Role-Playing, and Screenwriting

Contents:

• The Adventure Begins
• Black Isle. Thunder over the Sinking Island
• Obsidian. The Four Musketeers in the Attic
• Freelancer. Freedom and Difficulties
• Chris Avellone's Statements on Various Subjects

The name Chris Avellone has become iconic for role-playing game fans. In the world of Western RPGs, it is difficult to find a more productive and talkative developer. Chris began his career at the legendary Black Isle studio and later served as co-owner and creative director of Obsidian Studios for a long time. In recent years, he has worked on numerous projects across various genres as a freelancer, continuing to make significant contributions to the industry. His work is distinguished by deep storytelling and well-developed characters, making him one of the most respected creators in the world of video games.

The editorial team of Skillbox Media's "GameDev" decided to create a biography using the hero's own words. As fans of Planescape: Torment know, Chris's words possess unique power and profound meaning.

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The Adventure Begins

At the age of nine, I became engrossed in an exciting game with my neighbor Michael when he first told me about Dungeons & Dragons. It was an amazing game, combining elements of role-playing interaction and strategic thinking. The concept of a game based on imagination and rules attracted me. I was amazed by the illustrations in the rulebooks, which added a special atmosphere to the game. This experience taught me an important lesson: attractive elements, such as sexual imagery, can significantly increase interest in a product, especially in the context of fantasy worlds inhabited by goblins, spiders, and orcs. Dungeons & Dragons opened new horizons in the world of role-playing games and creativity for me.

Chris soon acquired his first rulebook and spent several weeks studying how numerical attributes affected his skill level in a fictional world. He delved into the game's mechanics to better understand how different parameters shape his character and influence his interactions with the environment.

Understanding D&D for a nine-year-old wasn't easy. Later editions of the core rulebook captured the game's concept much better, providing better examples and gameplay samples than those available to older players. While this presented certain challenges, such experiences build character and make the game more enjoyable.

Learning the rules of the Dungeons & Dragons tabletop game isn't limited to just reading the books. Finding a group of like-minded players is a crucial step, which was often a real challenge for avid players, especially in the pre-internet era. Social barriers and limited communication made it difficult to form gaming groups back then, and many D&D fans struggled to find adventure partners.

My mother, father, and older brother weren't the best playmates. My brother would often set the dice on fire when they didn't roll the way he wanted. In the end, we were left without dice.

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Chris made an important discovery that changed his life. While visiting a friend of the same name, he saw him enthusiastically playing on a Commodore 64 computer. His friend was playing The Bard's Tale 2: The Destiny Knight, a new game from Interplay. The game offered players an exciting adventure in a vast fantasy world full of dangerous dungeons, providing an experience comparable to playing Dungeons & Dragons. The Bard’s Tale 2 attracted attention with its deep storyline and unique mechanics, which made it one of the most memorable RPGs of its time.

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I realized that a computer could become a game master and manage a game session, and this discovery seemed incredible to me. The use of technology in tabletop games allows us to significantly simplify the process of running a game, making it more engaging and interactive. The ability to entrust the control of the plot and gameplay to the computer opens new horizons for players, allowing them to focus on interaction and character development.

Chris did not leave tabletop role-playing games aside. He managed to find like-minded people, although none of them wanted to take on the role of the leader. As a result, Chris decided to take on the duties of a game master to organize and run exciting gaming sessions.

After that, my social life changed significantly. My friends and I played The Temple of Elemental Evil campaign every week for two years. When we grew bored with fantasy worlds, we switched to superhero games and spent another two years playing Superworld. Hero Games' titles appealed to me with their more thoughtful approach and the ability to customize characters, which added to the gameplay experience.

During high school, I submitted numerous unsuccessful pitches to Dragon magazine, an RPG publisher, and the creators of the GURPS roleplaying system. The responses I received were usually standard and told me I needed to grow up. Even Hero Games wasn't immune to this practice. However, I managed to overcome the resistance of authors like Monte Cook and Bruce Harlick, despite their repeated attempts to end our communication. Monte even sent me a disgruntled letter the day before he decided to give up. This experience taught me an important lesson in my gaming career: persistence pays off.

I've made a lot of mistakes in the process of running games. Players gathered around the table instantly react to the atmosphere of the game, and if they are not having fun, they show it. This gives me the opportunity to make timely adjustments to my approach. For example, if the players did not like a certain dungeon move, I might decide not to use it anymore. Players do not like having their items stolen, and superheroes do not want their identities revealed. Gaining experience and understanding how to best entertain players, regardless of their skill level, is excellent training for creating computer games. Realizing your mistakes and wanting to improve helps develop your game design skills and create more engaging game moments.

"One of the most valuable techniques I've learned is the ability to recognize "power fantasies" characters in the game. It's important to understand what exactly they desire: do they strive to be the strongest, the smartest, or emulate characters like John Constantine or the Gray Mouser? By exploring the players' desires and ambitions, you can create an adventure that includes key moments where they can showcase their abilities. After such episodes, players usually feel satisfaction and pride, realizing that they contributed to the common goal of the group and felt their importance in the process of the game."

After high school, Chris attended Virginia Tech, where he studied architecture for two years and continued running tabletop role-playing games for his friends. However, when teachers noticed that his notebooks contained more text than sketches, Chris began to question his career choice. He soon transferred to the College of William & Mary, where he spent another three years studying philology. This transfer allowed him to delve deeper into the world of literature and language, which became an important milestone in his professional development.

Chris cites writers such as Kurt Vonnegut, Roger Zelazny, Robert Pirsig, Orson Scott Card, and Harlan Ellison as significant influences on his writing style. These authors brought unique elements to the literary process, allowing Chris to develop his own voice and approach to writing. The influence of these masters of words is reflected in his works, contributing to their depth and originality. Kurt Vonnegut had a significant influence on me, especially his works "Galapagos" and "Bluebeard." He demonstrated boldness in his use of words and masterfully connected different stories. The * sign before the characters' names in "Galapagos" became a symbol for me that literary conventions can be overcome with amazing results. Vonnegut inspires experimentation with form and content, opening new horizons in literature. SEO optimization is important for increasing the visibility of your content in search engines. You should focus on keywords that are most relevant to your topic. Use them naturally in headings and text to improve readability and SEO. It's also worth paying attention to the structure of the text: use subheadings and short paragraphs for easy reading. Don't forget about meta tags and alt attributes for images, as they also impact SEO. Keep in mind that unique and valuable content helps attract an audience and increases the likelihood of backlinks. Follow these guidelines to make your writing more visible and useful to users and search engines.

I continue to refer to "Zen and the Art of Motorcycle Maintenance" as an important resource for understanding quality in general. It also offers an effective method for overcoming writer's block: if you're having trouble describing a street, focus on a building, and if that doesn't help, focus on its smallest detail—a brick, for example. Write only about that detail to overcome creative block and continue working.

After completing his studies, Chris Avellone gained a varied work experience: he performed as an actor, playing a criminal in police academy training, worked as a toy salesman, and served as a supervisor at the campus center. During this time, Hero Games became interested in several of his video game ideas. Gradually, Chris realized his passion for creating characters for fictional worlds. His creations included such unique characters as Ashtray Art, a pyrokinetic who loved fire and saw flame as a woman, and Crazy Billy, a character who grew stronger when drank alcohol, reminiscent of the Hulk, but in his case, "powered by beer." These original ideas laid the foundation for Chris's subsequent career in the gaming industry, where he continued to develop his skills and creativity.

Hero Games could only pay Avellone $50 every two months, which certainly didn't allow him to pay the bills or consider this a full-time job. However, one of the employees soon recommended Chris to Interplay, where he was interviewed by Mark O'Green, head of the Dragonplay division. O'Green asked the future game designer difficult questions, including how Avellone envisioned a game set in the Planescape setting, the development rights to which the company owned at the time. This moment became a significant milestone in Chris's career, opening up new opportunities for him in the video game industry.

I told him that I would start with the character's death and describe what happened to them afterward. The character would wake up in a morgue and gradually piece together the situation, like piecing together a puzzle from fragments of their past.

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Chris Avellone was hired by Interplay, and his interview answers formed the basis for the development of Planescape: Torment.

Black Isle. Thunder over a Sinking Island

After moving from his native Virginia to sunny California, where Interplay was located, Chris was entrusted with developing a role-playing game licensed for Dungeons & Dragons. This project became an important stage in his career, as it opened up new opportunities for creativity and the introduction of innovative ideas into the gaming industry.

The action took place in the Forgotten Realms, just like in Baldur's Gate. I had to develop city concepts, discuss them with the design team, and integrate them into the game environment. However, the project didn't live up to expectations, and as a result, I was transferred to the position of level designer on Descent to Undermountain.

Descent to Undermountain was Interplay's attempt to create a counterpart to Ultima Underworld. The game used the engine previously used for the Descent series of space shooters. The development team aimed to integrate gravity and melee elements into the new project, but didn't take into account the technical difficulties that arose. As a result, the new game failed to achieve success: it failed to gain popularity among players and received negative reviews from critics.

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I didn't realize what I was getting myself into, but I was very happy to have the opportunity to work on the project at the time. We didn't have enough computing power to implement our plans. Признаюсь, что в движке Descent не было ничего плохого, однако нам не хватало знаний и ресурсов, чтобы создать нечто подобное Ultima Underworld.

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Во время разработки Undermountain Крису предложили возобновить работу над проектом в сеттинге Planescape. В это время команда, занимавшаяся разработкой ролевых игр в компании Interplay, была выделена в отдельное подразделение, получившее название Black Isle Studios. Руководство студией принял Фергюс Уркхарт, с которым Крис будет сотрудничать в течение следующих 20 лет.

Крису была назначена небольшая команда для работы над проектом под названием Last Rites. Однако вскоре стало известно, что это название уже зарегистрировано другим правообладателем. После тщательного рассмотрения множества альтернатив, включая такие варианты, как Ressurection, Requiem, Mungoth и Doomguard, разработчики в конечном итоге выбрали название Torment. Это решение отражает уникальность и концепцию проекта, позволяя создать запоминающийся бренд в игровой индустрии.

Студия Black Isle разработала игру Fallout 2, процесс создания которой оказался сложным. В середине разработки проект покинули ключевые дизайнеры первой части: Тим Кейн, Леонард Боярский и Джейсон Андерсон, которые основали свою студию Troika Games. Чтобы спасти сиквел и обеспечить его своевременный релиз, многих разработчиков, включая Авеллона, перенаправили с других проектов на Fallout 2. Таким образом, Крис начал одновременно работать над двумя RPG, которые вскоре стали культовыми в жанре.

Фергюс собрал команду в комнате, раздал документы с описанием локаций и сказал: «Вперёд». Мы начали работу над проектом. Я взял на себя Нью-Рино, завершил Город Убежища, а также поработал над Лагерем Налётчиков и специальными встречами. Затем мне нужно было полностью сосредоточиться на Planescape, так как какое-то время я одновременно работал над обеими играми. Это был непростой опыт, но он оказался очень ценным. Я приобрёл множество навыков, таких как написание сценариев и создание диалогов. Комmitting mistakes allowed me to refine my narrative approach, which I successfully integrated into Torment, что значительно улучшило игру.

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New Reno is one of the most attractive locations in the Fallout game. This city, based on the real Reno, which was the center of the gambling industry in the United States before the advent of Las Vegas, has retained its gambling atmosphere in the post-apocalyptic world. New Reno reigns with the chaos and grotesqueness characteristic of Fallout, where casinos, brothels, and the illegal trade in weapons and drugs intertwine. The city is controlled by four mafia families, each of which seeks to eliminate their rivals. The game's protagonist, the Chosen One, has the opportunity to intervene in this struggle for power: he can choose the side of one of the clans or entangle them in his intrigues. New Reno is memorable to players for its rich variety and unexpected possibilities, making it a unique place to explore in Fallout.

Fallout opened up new horizons for me to interact with characters through dialogue and quests that I hadn't encountered in other RPGs, and that left a huge impression on me. I wanted players to be able to freely explore New Reno and do whatever they wanted. However, in retrospect, I realize that adding four crime families to New Reno was overly ambitious, as developing their unique designs proved challenging.

After working on Fallout 2, Chris focused entirely on the development of Planescape: Torment. During this period, the team expanded significantly: Colin McComb joined the game's design team and became a valuable assistant to Avellone.

I knew that to create a compelling experience, I needed to consider several key elements. First, I wanted to start with the death screen, which would set the tone for the entire adventure. Then, it was important to show the player the world beyond the Mortuary to expand their perception. An important element was interaction with the pregnant alley, where the player can assist with the birth of a baby. I also thought about the concepts of Fjull and Trias, as well as what it would be like to communicate with otherworldly beings with an unusual perception of reality.

Furthermore, the game needed to feature a levitating skull, a chaste succubus, and a buried village, adding depth to the exploration of the world. Finally, I wanted to create an opportunity to dialogue with one's own mortality on the plane of the dead. With these elements in mind, I asked myself, "How do I guide the player through all of these events?" I began to explore different paths that would lead to the revelation of these themes so that the player could fully immerse themselves in the atmosphere and experiences I aimed to convey.

Planescape: Torment was significantly different from traditional fantasy RPGs. This was due to its unique setting, which is one of the most unusual in the Dungeons & Dragons series. Unlike well-known worlds like the Forgotten Realms or Dragonlance, which emphasize politics, combat, and heroic deeds, the world of Planescape focuses on philosophical and existential questions. Players are drawn into profound reflections on the nature of existence, identity, and choice, making the game not only entertaining but also intellectually challenging. Shifting beliefs in the Planes can have astonishing consequences: cities can shift depending on the opinions of their inhabitants, and gods disappear if faith in them ceases. The Planescape universe is a complex labyrinth, where worlds are connected in unexpected ways: any doorway can become a portal to the underworld or to unknown realms. The city of Sigil, considered the center of the Planes, stands out in this context. Sigil is teeming with portals to other worlds—it seems you can get anywhere from there. This city became the main setting for the game Planescape: Torment, where players explore unique locations and interact with a variety of creatures.

The game stands out not only A unique setting, but also Avellone's original approach to design. By the time development began, Chris had accumulated an extensive list of criticisms of role-playing games that he sought to address in his project.

When I was conceptualizing the RPG in Planescape, I had a clear list of both desirable elements and those I disliked about the genre. I decided to get rid of everything that evoked negative emotions: no halflings, dwarves, or elves, no evil mages, no kingdom-saving missions, and no traditional swords. I also eliminated elements commonly found in RPGs, such as frightening undead, death reboots, and strict class systems with fixed alignments. Instead, I added what I always wanted to see in games: a puritanical succubus, friendlier undead, compact dungeons, a self-centered main quest, a fragmented protagonist personality, and interesting plot details like pregnant alleys. My goal with this was to create a unique and memorable gaming experience.

Set in the Planescape universe, the setting deliberately departs from traditional Dungeons & Dragons conventions. This creates unique opportunities for adventure and character development, allowing for much more creative freedom than standard D&D campaigns. Planescape opens the door to original storylines and unusual interactions, making every game engaging and memorable.

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Since the release of Fallout 2 and Planescape: Torment, the concept of gray morality has become a key theme in games developed under Avellone's direction. Players are faced with situations where there is no clearly correct solution, which adds depth and complexity to the gameplay. These games offer unique experiences, prompting users to consider the consequences of their actions and moral dilemmas. Gray morality has become an important element that enriches the story and makes interactions with the world more engaging and multi-layered.

Players should be able to freely choose their playstyle in RPGs, without feeling pressured by the developers' moral judgment. I do not advocate predetermined worldviews and beliefs for players. My goal is for them to ask themselves at the end of the game: "Who am I really, and how does this differ from who I originally thought I would be?" In this context, Torment can be seen as a role-playing experiment, where each incarnation of the Nameless One represents a unique personality, reflecting different types of players. This depends on the choices the player makes in the game world, highlighting the importance of freedom of choice in role-playing games.

Planescape: Torment was released in late 1999, and while its sales were moderate, they couldn't compete with the success of games like Fallout and Baldur's Gate. The game stood out for its quirky and unusual concept. Reviewers and players noted the high quality of the writing, comparing it to the best examples of literature. At the time, this was a rare phenomenon for video games, highlighting the uniqueness and artistic value of the project.

Planescape: Torment has become a cult classic over time, leaving a deep mark on the gaming industry. Its spiritual successor, Torment: Tides of Numenera, raised its funding on Kickstarter in just six hours, and the campaign ended with over $4 million—a record for the platform at the time. The influence of Planescape: Torment is also felt in Disco Elysium, a new classic among text-based RPGs. The gameplay, deep world-building, and character development continue to inspire developers and players alike, cementing Planescape: Torment's status as one of the most important works in video game history.

As a game developer who experienced the fear of getting fired along the way, I get a lot of satisfaction from the positive reaction to the project. The QA team noted that the game had an unusual style, and that kind of feedback is always questionable. I wasn't sure how it would be received. Our small team put in many hours of development, and it's nice to see that people appreciate the result. Six months later, I realized: "It looks like I can relax a little. I think I've managed to buy myself some extra time for further improvements."

Chris Avellone later realized that the excessive amount of text in the game negatively affected the gameplay process.

During the development of Planescape: Torment, I focused too much on dialogue and "verbal combat" that the actual combat in the game became secondary to me. This was definitely my mistake. Creating a game with a focus on narrative wasn't particularly difficult. It was one of the reasons I got into development. I've always viewed conversations as dungeons to explore, as well as conflicts and challenges to solve.

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Black Isle began development of the Icewind Dale duology, which reflected classic fantasy elements and continued the tradition of the Baldur's Gate series. These games emphasized combat, which Black Isle hoped would boost sales amid the financial difficulties of its parent company, Interplay. Although the games received positive reviews from critics, their commercial success was modest, and sales did not surpass those of Planescape: Torment. The RPG industry seems to be getting tired of isometric games.

In the final years of Avellone Studios' work, they not only designed both parts of Icewind Dale, but also developed the Fallout threequel, codenamed Van Buren. The game's plot was planned to be spread across several states, including Arizona, Nevada, Colorado, and Utah. Van Buren used a new 3D engine, which allowed for the implementation of both turn-based and realistic combat.

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I regularly ran tabletop role-playing games based on Van Buren for our design team. This allowed them to familiarize themselves with various locations and concepts of the game, as well as see how quests could be solved. I received their feedback on how to improve the game's locations. An interesting aspect was that the developers had a variety of skill sets for their characters, which made me think about how these skills could be implemented in different areas of Van Buren.

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In 2003, the project was canceled as Interplay decided to focus on the console market. On the eve of Van Buren's cancellation, Chris left Black Isle. Soon after, he, along with Feargus Urquhart, Chris Jones, Darren Monahan, and Chris Parker, founded Obsidian Entertainment. Initially, its office was in the attic of the Urquharts' house.

Giving up three or four years of preparation for Fallout 3 and starting from scratch was very difficult. But I had no choice, and I decided to leave. I called Fearg and asked if I could work with him. He replied that it might be a mistake, but offered to become the owner of the new company he was planning to start. I agreed. Together with Darren, Parker, and Chris Jones, who also left the team for their own reasons, we decided to found the gaming company Obsidian Entertainment, working out of Feargus's attic. A special thank you to Margot Urquhart, who, despite being pregnant, tolerated us and brought grapes and cookies up two flights of stairs. We were full of enthusiasm and drive to create a new game.

Despite the significant difficulties and high workloads of developing such iconic games as Planescape: Torment and Fallout 2, Chris, the designer of those projects, looks back on that period with nostalgia. Although he had to seek medical attention due to severe exhaustion, he considers the experience meaningful and important for his career. The time spent creating those games became a memorable period in his life, leaving an indelible mark.

The most memorable moments in my career as a game designer are associated with the creation of Planescape: Torment. This game left a deep mark on the industry and in the hearts of players. Fallout 2 is second on my list of favorite projects due to its captivating storyline and original gameplay. Both games had a significant influence on the development of role-playing games and continue to inspire new developers.

Obsidian. The Four Musketeers in the Attic

Glad to have the support of their old friends at BioWare, the new company Obsidian has begun development of Star Wars: Knights of the Old Republic 2 — The Sith Lords. This sequel to the successful RPG created by the Canadian developers continues to explore the Star Wars universe. Chris Avellone led the team as lead designer and writer, ensuring the high quality of the story and gameplay.

Когда я впервые узнал о разработке игры во вселенной «Звёздных войн», признаться, я не испытал особого энтузиазма. Мой интерес к этой франшизе угас давно, и пик моего увлечения пришёлся на эпизод «Империя наносит ответный удар». Я не следил за новыми событиями и персонажами, что вызывало сомнения в необходимости возвращения к этой культовой вселенной. Однако, стоит отметить, что «Звёздные войны» остаются значимой частью поп-культуры, и игра, основанная на их сюжете, имеет потенциал привлечь как старых поклонников, так и новых игроков.

После первоначальной реакции и нескольких недель исследований я снова погрузился в мир, который возродил мою детскую любовь к фильмам и франшизе. Пятый эпизод по-прежнему впечатлял и был интересен для просмотра. В ходе исследований я выявил несколько тем и вопросов, которые, как мне кажется, можно было бы интегрировать в игру, даже если у меня не было на них окончательных ответов.

Студия оказалась в уникальной ситуации: компания LucasArts запросила подготовить питч для игры еще до выхода первой части. Это требование стало настоящим вызовом и возможностью для команды проявить креативность, продемонстрировав свои идеи и видение проекта на ранней стадии разработки. Подготовка питча в таких условиях требует глубокого понимания рынка и целевой аудитории, а также способности прогнозировать успех игры, основываясь на концепциях и механиках, которые еще не были опробованы в первой части.

Нам пришлось работать над созданием сюжетных линий и идей, не имея четкого представления о игре KotOR, кроме информации, доступной на сайте LucasArts. Этот процесс стал для нас настоящим вызовом, так как мы стремились создать уникальный и увлекательный контент, опираясь лишь на ограниченные источники.

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Рассматриваемая тема актуальна и интересна для многих людей. Она затрагивает важные аспекты, которые могут повлиять на повседневную жизнь и профессиональную деятельность. Важно подчеркнуть основные моменты, которые помогут читателю лучше понять суть вопроса.

Оптимизация текста должна включать использование релевантных ключевых слов, которые могут помочь в повышении видимости страницы в поисковых системах. Это может включать фразы, связанные с конкретными аспектами темы, а также с актуальными трендами и новинками.

Таким образом, переработанный текст будет не только более читабельным, но и более эффективным с точки зрения поисковой оптимизации. Это позволит привлечь больше посетителей и повысить интерес к рассматриваемой теме.

Когда первая часть игры наконец вышла, разработчики из Obsidian начали активно изучать новинку. Согласно контракту, у них было около года на разработку. В результате знакомства с игрой сценарий претерпел значительные изменения. Разработчики стремились улучшить сюжетные линии и адаптировать игровой процесс, чтобы он соответствовал ожиданиям игроков и требованиям современного рынка. Это позволило создать более увлекательный и глубокий игровой опыт, который получил признание как у критиков, так и у фанатов.

There were few changes between the first and second versions of the script, but this was certainly beneficial. Improvements to the plot and characters made the story more gripping and interesting for viewers. Importantly, the script revisions allowed for better exploration of key moments and a deeper emotional connection with the audience. These changes enriched the overall concept and made it more appealing to watch.

After the release of KotOR 2, both journalists and players noted the high quality of the story and the well-developed characters. However, many expressed dissatisfaction with the technical aspects of the project, as the game seemed unfinished. This was due to the extremely short development time and a small team of only 30 people. Obsidian faced a shortage of IT and QA specialists, which negatively affected the final result.

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We were counting on more development time, which would have given us the opportunity to improve the game and compete at a higher level. However, a decision was made, both on the part of LucasArts and Obsidian, to release the project on a shorter schedule. I was the only co-owner who advocated for an extension of the development time and was ready to defend this position. The remaining co-owners didn't want to risk losing the royalties stipulated in our contract.

Despite its technical flaws, the game gained cult status among fans of both role-playing games and the Star Wars universe. Kreia, the companion character, was particularly popular among players, and Avellone singled out her as an example of successful character development in an interview. The character became emblematic of the game's deep storytelling and interaction, contributing to its acclaim and lasting influence on the RPG genre.

When I develop characters, I follow a specific process. First, I identify the core traits that will shape the character's personality. Then, I create a backstory to understand what events in the character's life influenced their development. Creating a visual image is an important aspect: I consider the appearance, clothing, and features that will highlight the character. I also consider the character's motivations and goals to make them more realistic and multi-layered. Finally, I write interactions with other characters, which helps to further develop their personality and behavioral patterns. This approach helps create memorable and believable characters that are easy for readers to relate to.

• I examine their role in the story. Kreia from KotOR 2 serves several functions at once: a companion, a warped reflection of the protagonist, and a vehicle for expressing the game's themes (the role of the Jedi and the nature of the Force in a living galaxy).
• I name them correctly. This is more important than it might seem. Kreia, for example, was conceived as a variation of Leia with a more edgy prefix—she primarily acts as an ally, just like Leia, but her life before meeting you was... brutal.
• I create the character's visual signature with the help of a concept artist. Kreia combines elements of a wise mentor (Obi-Wan's robe) with elements of the Dark Side (Palpatine's hood).
• [I make sure] the character can voice my concerns or say things I really want to write. Kreia is my mouthpiece for everything I hate about the Force, and so I let her do the preaching."

Following the release of Star Wars: KotOR 2, Obsidian Entertainment began development on a BioWare-inspired sequel, Neverwinter Nights 2. Unlike the game set in a galaxy far, far away, Chris Avellone played a less active role on this project. He was not the creative director, but he wrote a significant amount of companion dialogue. His position as creative director allowed Avellone to be involved in many Obsidian projects, including some that never saw release. Neverwinter Nights 2 features a deep storyline and well-developed characters, thanks to the input of Avellone and his team.

One notable game in the Alien universe was Aliens: Crucible, an RPG that promised to be "a scarier version of Mass Effect." The game was intended to incorporate elements from various genres to diversify the gameplay. The story takes place on a planet with unstable physical laws, where a research team finds itself scattered across its surface. Aliens: Crucible was conceived as a gripping experience that would constantly maintain tension and an atmosphere of dread. This game captured the attention of sci-fi fans and raised hopes for a unique gaming experience in the Alien world.

One of the main challenges was maintaining the atmosphere of fear even in dialogue. Conversations can be filled with tension and dread. How will a character behave if the Alien can attack at any moment? It is impossible to hide from the threat in a dialogue between two talking heads while pondering your next actions. This creates a unique tension and increases the sense of uncertainty, making conversations a key element in creating a terrifying experience.

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In early 2009, publisher SEGA decided to cancel the game. However, another project, on which the Japanese company was collaborating with Obsidian, continued its development. This was Alpha Protocol, Obsidian's first RPG based on an original IP. The developers drew inspiration from James Bond films and the TV series 24. As a result, Alpha Protocol implemented a tense dialogue mechanic borrowed from the canceled Aliens: Crucible. All dialogue in Alpha Protocol was accompanied by a timer, which perfectly suited the atmosphere of the spy genre. This unique mechanic increased player engagement and added a strategic element to interactions with characters.

The game received mixed reviews from critics. Like Obsidian's previous projects, Alpha Protocol was criticized for technical shortcomings. Avellone believes that if the game had been released before Mass Effect 2, reviews might have been more positive. However, the publisher insisted on postponing the release for six months, as a result of which the game was released only in May 2010.

Sometimes I wonder what Alpha Protocol would be like without the spy action elements. After playing The Walking Dead, I wondered what Alpha Protocol would be like if it focused solely on the dialogue system and interactions between characters. This could be a unique gaming experience worth exploring. This approach could deepen the plot and develop the characters, revealing their internal conflicts and motivations, which would make the game more interactive and emotionally rich.

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Fallout: New Vegas was released in 2010. Bethesda acquired the rights to the Fallout franchise from Interplay back in 2004. Fallout 3 moved the action to the East Coast, but since Bethesda was busy developing the new Elder Scrolls game, the studio approached Obsidian Entertainment about creating a spin-off that would return players to the West Coast. Fallout: New Vegas was a significant addition to the Fallout universe, offering players unique quests and a deep storyline while maintaining the atmosphere of the original series.

Fallout: New Vegas inherited many elements from the canceled Van Buren project, including the famous Hoover Dam, which became one of the game's key locations, and Caesar's Legion, which represents one of the main factions. Although Chris Avellone was one of the founders of Van Buren, Josh Sawyer became the game director for Fallout: New Vegas. Chris returned his focus to companion creation, as he had in Neverwinter Nights 2. He also designed characters that appear later in the story, and worked on the final slides and the prequel comic All Roads, which significantly enriched the game's narrative and deepened its world.

Several DLCs for the game were developed under Avellone's supervision. Such DLCs include Dead Money, Old World Blues, and Lonesome Road, which can be attributed to him.

Most video games create extensive content that players are often unaware of. One of the reasons BioWare produces comics and literature based on their games is that there is significantly more going on in their worlds than a single game can depict, even with additional content (DLC). A similar situation is observed with Fallout: New Vegas, where the circumstances are exacerbated by the fact that some of the developers previously worked on the Van Buren project. As a result, we accumulated a multitude of ideas for storylines that weren't implemented.

From a developer's perspective, creating short adventures is more satisfying than game development, which can drag on for two or three years. This approach allows us to quickly incorporate player feedback on previous episodes and make improvements to the development process. Short adventures allow for a quicker response to audience preferences, making the gaming experience more engaging and relevant.

Following the release of Fallout: New Vegas, Obsidian Entertainment released Dungeon Siege 3 and then struck a deal with Microsoft to develop Stormlands, a project that was ultimately canceled. The next step was work on South Park: The Stick of Truth. When financial matters became difficult, Obsidian turned to the Kickstarter platform with Project Eternity, which became a spiritual successor to classic isometric RPGs. This project received the necessary funding, allowing Tim Avellone to return to creating an old-school role-playing game.

During this time, the designer also participated in the development of Wasteland 2 and Torment: Tides of Numenera, projects from inXile Entertainment, which were financed through crowdfunding. However, disagreements soon arose between Avellone and other co-owners of Obsidian, which led to his decision to leave the company.

Several factors influenced this decision. Opaque accounting led to situations where Feargus Urquhart's family members were listed as Obsidian employees. The other co-founders also refused to refund employees who donated their funds to save the studio during difficult times. Furthermore, the style of interaction with publishers played a role: none of them expressed a desire to continue working with Obsidian. Avellone believes this is due to Urquhart's manner of communicating with publisher representatives.

When I left Obsidian, I received nothing. There was no payment for my share, no royalties. My departure was accompanied by many complications, including the sudden cancellation of health insurance, errors in financial reporting, and problems with pension contributions. In addition, the company refused to honor the terms of several existing contracts. These circumstances made it extremely difficult for me to leave the company.

Given family problems and debts, some individuals attempted to use these circumstances to pressure me into signing a severance agreement that was less favorable to me. This document restricted my ability to work on RPG games and required me to remain silent about all aspects of Obsidian, including companies the studio is affiliated with or in which its CEO has a stake (such as Fig, Zero Radius, Dark Rock Industries, and others). I was also forbidden from criticizing the games I worked on. I am usually quite open about my criticism of my own projects, and not being able to do so felt extremely unnatural.

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When Chris learned that Urquhart had been causing him problems back in his days at Black Isle, despite previously claiming otherwise, it was the last straw. Chris decided to quit, slamming the door. His revelations about Obsidian's internal difficulties became widely known. This incident highlights the importance of honesty and openness in a corporate culture, and demonstrates how misunderstandings and distrust can destroy relationships within a team.

Freelancer. Freedom and Difficulties

After a difficult breakup, designer Chris was not left without work. His name is known to many in the video game industry. Instead of moving to another studio, Chris decided to go freelance. This decision was driven not only by his desire to work on projects in various genres, but also by family circumstances: his mother was seriously ill. Фриланс позволил Криси гибко распределять время между работой и заботой о близких, что стало для него приоритетом в этот непростой период.

Попытка давления со стороны компании Obsidian подтолкнула меня к переосмыслению некоторых жизненных приоритетов. Осознав, что долги за лечение матери оказывают влияние на мои решения, я решил максимально сосредоточиться на своей работе. Я стремился компенсировать ту сумму выходного пособия, которую Obsidian пыталась использовать в качестве рычага, чтобы заставить меня подписать договор. В конечном итоге, мне удалось достичь своей цели.

За годы своей карьеры Авеллон работал над множеством разнообразных проектов, что позволило ему накопить богатый опыт в игровой индустрии. Его работа охватывает такие игры, как пошаговая тактика Into the Breach, иммерсивный симулятор Prey, экшен Star Wars Jedi: Fallen Order, ролевая игра Divinity: Original Sin 2 и платформер Degrees of Separation. В некоторых проектах он сосредоточился на создании персонажей, в других — на разработке мира и написании сюжетов, что делает его вклад в каждую игру уникальным и значимым.

Крис, казалось, нашёл идеальный формат для своей работы. Он больше не был связан условиями одной студии, что позволяло сосредоточиться исключительно на творческих процессах. Однако судьба приготовила для него новый вызов.

В 2020 году Крис Авеллон столкнулся с обвинениями в непристойном поведении. Две девушки, с которыми он взаимодействовал на видеоигровых конвентах в 2012 и 2014 годах, обвинили его в домогательствах. Эти заявления имели серьезные последствия для его карьеры: студии, с которыми он сотрудничал на тот момент, такие как Techland, Paradox и Gato Studios, оперативно разорвали с ним партнерские отношения и объявили о прекращении совместной работы.

Утром понедельника на меня обрушились звонки и электронные письма. Многие из них, включая сообщения от компаний Techland и Gato, содержали документы о прекращении рабочих отношений.

Это может показаться удивительным, но я не стал сопротивляться. Сопротивление бесполезно в условиях «культуры отмены». Компании оказываются в безвыходной ситуации: любое их действие может быть воспринято как поддержка обвинений, даже если они не обоснованы. Запрос на время для тщательного разбора ситуации часто вызывает недовольство и обвинения в недоверии к обвинителям. Даже намек на то, что компания может задержать свою реакцию или углубиться в детали, может привести к ее отмене. Никто не желает стать объектом отмены, даже если это означает разрыв связей с теми, с кем они работали долгие годы. В условиях такой культуры важность прозрачности и взвешенности действий становится критически значимой для компаний.

Я понимал всю серьезность ситуации и старался действовать тактично, чтобы не усложнять жизнь другим. Мне было ясно, что любая нерешительность может привести к серьезным последствиям. Многие разработчики из этих компаний были моими друзьями и коллегами, и я не хотел причинять им вред или ставить под угрозу проекты, в которых мы все были вовлечены.

Год спустя Крис поделился своим мнением о произошедших событиях на платформе Medium. Он отметил, что хотел предоставить возможность другой стороне выразить свою позицию и выслушать все доводы, прежде чем высказать собственное мнение. В результате разработчик подал иск против своих обвинителей. В 2023 году стало известно, что Крис выиграл судебное дело. Обвинения оказались ложными, и разработчик получил семизначную компенсацию.

In recent years, Chris has been actively commenting on events in the gaming industry and sharing insights into the work of studios. He analyzed the recent Fallout series and spoke about Obsidian's proposals to Bethesda to create spin-offs of the Elder Scrolls series. There is no information yet about new projects in which Avellone is involved, but there is hope that it is only a matter of time.

Chris Avellone's statements on various topics

Storytelling is the art of conveying ideas, emotions, and experiences through compelling narratives. Effective stories have the ability to capture the attention of an audience, generate interest, and leave a deep impression on their minds. To master this skill, it is important to consider several key aspects.

First of all, a story must have a clear structure. The beginning should be intriguing, creating interest in further developments. The main part should develop the plot, introducing conflicts and obstacles that must be overcome. The ending should be logical and satisfying, allowing the audience to process what they've heard.

It's also important to consider characters. Characters should be layered and relatable so that listeners can identify with them. An emotional connection with characters helps them engage with the story more deeply and learn from their experiences.

The language you use is equally important. Vivid metaphors, imagery, and detailed descriptions help create a vivid picture in the listener's mind, making the story more engaging.

Don't forget the purpose of your storytelling. Determine what you want to convey to the audience, whether it's a lesson, an idea, or an emotion. A clear understanding of purpose will help focus on important points and make the story more cohesive.

Storytelling isn't just entertainment; it's a powerful communication tool. By mastering it, you'll be able to communicate your ideas more effectively and inspire others.

The storytelling method used in Doctor Who effectively captures players' attention. It immerses them in an atmosphere rich with visual puzzles that raise questions and provoke thought. Players are faced with uncertainty, which fuels their desire to explore the world around them and find solutions. This curiosity becomes the driving force that leads them to new discoveries. I've found that the best adventures in both board games and computer games are based on asking questions that prompt players to take action. This approach surpasses the traditional framework, where players are simply told a sequence of actions—from point A to point B, then point C, and finally point D—to achieve the goal. Storytelling creates a deeper, more engaging experience, keeping players interested and engaged throughout the game.

A video game writer must possess a variety of skills to create engaging and captivating stories. First and foremost, strong storytelling skills and an understanding of plot structure are essential. The ability to create layered characters with depth and motivation is also crucial.

Furthermore, knowledge of game mechanics and genre features helps the writer integrate the plot into gameplay, making it more organic and engaging for players. It's important to consider the interactions between characters and the player, creating dialogue and choices that influence the development of the plot.

Creativity, imagination, and the ability to adapt to the various requirements of a project are also key skills. The ability to work in a team, collaborating with designers and programmers, allows for the creation of more complex and thoughtful game worlds.

Editing and self-editing skills are equally important, as they will help improve the text and make it more readable. Understanding the target audience and the ability to adapt your writing style to their preferences also significantly impacts the success of your game.

Therefore, a video game writer must combine artistic ability, technical knowledge, and communication skills to create original and engaging game stories.

There are many aspects to this list, so I will try to highlight the key points. Please note that these may vary depending on the type of game you are creating.

• Logical thinking. Even if you are not a techie, even if you cannot write code, you still need to understand the simple process of "if-then-else" and how it affects writing for a player who can make any number of choices at any given time - and this can break the flow of the narrative.
• Know how to tell a story without words - visually and with sound. Some of the best game stories don't involve you in a talking head dialogue; they use props or work closely with the sound department, environment artist, and level designer to shape a story moment to engage all the senses at once.
• Strong prose, technical, and storytelling styles—we use them all in our games. Prose is for games without voice acting, technical is for interface text and tutorial tips, and script is for games with voice acting (in them, brevity and attention to the actor's tone are key).

Inspiration is something that can arise in the most unexpected moments and places. It can come from nature, art, interactions with people, or even from everyday life. Often, inspiration comes from personal experiences that shape our thoughts and ideas. It is important to be able to notice these moments and use them for creativity.

Many artists, writers, and musicians find inspiration in the world around them. Nature, its beauty, and the changes in the seasons can awaken emotional responses and ideas for new projects. In addition, interacting with others, discussing interesting topics, and exchanging opinions can serve as a powerful catalyst for creativity.

The more open we are to new ideas and experiences, the easier it will be for us to find inspiration. Regularly practicing self-reflection and journaling can help us capture moments of inspiration and ideas that come to us. In this way, each of us can become a source of inspiration for ourselves and others.

Inspiration can come from the most unexpected sources. Two key sources, besides movies, TV series, music, books, and video games, are studying history and traveling. History is full of amazing events that can surpass the wildest imaginations of writers and artists. Traveling opens new horizons: it allows us to get to know unique physical locations, cultures, and people, which is especially valuable for those who create new worlds. These two sources enrich the creative process and contribute to the formation of original ideas.

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I often use a method that consists of asking lots of questions of the people I meet, even if it requires effort, especially when I am feeling introverted. Taxi drivers, for example, can be a source of fascinating stories, even if the ride only takes five minutes. Each of them has their own unique story, which can be interesting, even if they themselves don’t realize it until you start asking questions.

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Great ideas arise from a combination of creative thinking, observation, and analysis. They often appear in unexpected situations when a person is faced with a problem or need. It is important to be open to new experiences and willing to experiment.

Creativity can be developed by expanding your horizons: read books, communicate with different people, explore new fields of knowledge. Observing the world around you and understanding people's needs also contribute to the generation of unique ideas.

Sometimes ideas come in moments of calm, when the mind is free from pressure. Write down your thoughts and ideas to avoid missing inspiration. It's important not to be afraid to make mistakes and learn from failures, because every attempt brings you closer to a successful solution.

Therefore, great ideas are the result of active thinking, openness to new possibilities, and constant self-development.

Most of the stories I'm truly proud of weren't created at the computer. Inspiration comes in moments when I step away from the screen. This process takes time and allows me to see the world from a new perspective, which significantly enriches my creative experience. It is in such moments that I find ideas for future works and understand that true creativity often occurs outside the digital space.

Information sources play a key role in research and everyday life. They serve as the basis for making informed decisions, forming opinions, and expanding knowledge. It is important to be able to distinguish reliable from unreliable sources to avoid misinformation and manipulation. Scientific articles, books, official reports, and peer-reviewed journals are examples of authoritative sources. At the same time, online resources, blogs, and social media may contain inaccurate information. To improve the quality of research, it is recommended to use multiple sources, verify facts, and consider the credibility of the authors. A systematic approach to analyzing sources will help to obtain a more complete and objective understanding of the topic under consideration.

Working in various fields often presents certain difficulties and challenges. One of the most challenging aspects of professional work is time and resource management. Effective task planning and meeting deadlines are key factors that can significantly impact a project's success.

Furthermore, interacting with colleagues and clients can also present certain difficulties. Teamwork requires the ability to listen, take into account the opinions of others, and find compromises. Conflicts and misunderstandings can arise even in the friendliest teams, and their resolution requires patience and diplomacy.

We must not forget the constant need to update our knowledge in a rapidly changing world. Technologies and work methods are rapidly evolving, and professionals must be prepared to learn and master new skills. This can be a stressful process, but it is necessary to maintain a competitive edge in the labor market.

The importance of emotional intelligence is also worth noting. The ability to manage your emotions and understand the feelings of others can significantly facilitate work interactions and increase overall productivity. Ultimately, overcoming challenges in the workplace requires a holistic approach that includes developing personal and professional skills.

Creating dialogue and writing text is always a challenge. I often find that trying to develop a character concept without having written any lines can be ineffective. As soon as you start writing, the character begins to change. Choosing words and phrases allows you to move beyond the initial concept; you almost allow the character to behave as they choose. This approach can lead to more natural and lively dialogue that better reflects the character's personality and character.

Video games are popular entertainment, but players often have certain complaints. One of the main problems is the lack of originality in plots and mechanics. Many games repeat the same ideas, which leads to boredom and predictability. Furthermore, excessive monetization can be annoying. Players feel they need to spend extra money to succeed, which detracts from the overall experience.

Dissatisfaction can also arise from a lack of quality content. Some developers release games with a limited number of levels or without a full story, which fails to meet player expectations. Technical issues, such as bugs and low-quality graphics, also negatively impact the gameplay experience. Players expect stability and high standards, so any shortcomings can cause disappointment.

Balance issues in games are also important to note. Sometimes, certain characters or classes become overpowered, making the game unfair and ruining the experience for other players. Finally, a lack of developer support, such as a lack of regular updates and improvements, can lead to players abandoning the game.

Thus, despite the popularity of video games, there are many factors that can cause player dissatisfaction. Developers should consider these aspects to improve the quality of their projects and meet audience demands.

The idea of ​​a chosen one in games often causes frustration. The feeling of "I'm special" without justification can be problematic. It's especially frustrating when the player is the only character acting, while everyone else is simply inactive. This creates a sense of absurdity. Another source of frustration is that many games introduce interesting characters from the start, such as Sunny Smiles and her dog in New Vegas. The desire for such characters as companions remains unfulfilled, as developers often don't allow players to interact with them. As a result, such characters are forgotten, which feels strange and disappointing to players.

Some writers fall into the trap of trying to explain every plot detail to the player in too much detail. They begin to deliver long monologues about the characters' thoughts and their grand plans. However, players are not stupid. Information can be skillfully distributed, allowing players to draw their own conclusions about characters' motives and the reasons for their actions without resorting to direct explanations. This approach not only engages the player's thinking but also makes the plot more intriguing and multilayered.

This section presents a source of information that can serve as a basis for further research on the topic. The referenced material contains valuable data and research that allows for a deeper understanding of the issue at hand. Using authoritative sources increases the credibility of the material and promotes a better understanding of the information. To optimize the search, it is recommended to use keywords related to the topic, which facilitates finding the necessary data. Proper citation of sources also plays a crucial role in maintaining academic integrity and credibility.

Modern computer games often lack a strong focus on the player's storyline. Many authors strive to tell a story about a world that is not directly related to the player's actions. As a result, the player ends up as a mere random participant in the events, which is a significant problem. The optimal story structure in video games should focus selfishly on the player, emphasizing their actions and providing unique reactions to their character. Rather than telling a standalone story where the player accidentally witnesses events, it's important to create a narrative in which their choices and actions are decisive. This will allow the player not only to immerse themselves in the game, but also to feel their importance in the unfolding narrative.

Конечно, я готов помочь с редактированием текста. Пожалуйста, предоставьте сам текст, который вы хотите изменить.

Современные механики диалогов вызывают у меня усталость и разочарование. Я ощущаю, что качество диалогов ухудшается с течением времени. Идея помещать главного героя в парализующий односторонний разговор с другим персонажем, при этом ограничивая интерактивность, кажется мне неэффективной. Я ищу вдохновение в таких сериалах, как «Шерлок» от BBC, и размышляю о том, как можно интегрировать подобные взаимодействия в игры, например, в Half-Life, при этом сохраняя динамику игрового процесса. Уверен, существует способ улучшить эту систему, избегая при этом использования кинематографических вставок, что позволит создать более увлекательный и интерактивный опыт для игрока.

Конечно, вы можете предоставить текст, который нужно редактировать?

Моральные выборы в диалогах напрямую влияют на возможности персонажа, и альтернативы, которые могли бы вознаградить игрока за нейтральные решения, отсутствуют. В результате интерес к взаимодействиям с NPC и необходимость осознания своих действий уходит на второй план. Игроки часто сосредотачиваются на выборе между «добрым» и «плохим» вариантами, что приводит к потере глубины RPG. Вместо того чтобы принимать решения, исходя из контекста ситуации и отыгрывать роль, игроки просто «играют» с механикой игры, что снижает эмоциональную вовлеченность и делает процесс менее увлекательным. Поэтому важно, чтобы разработчики RPG создавали более сложные и многогранные диалоговые системы, которые стимулировали бы игроков к естественным реакциям и осознанным выборам.

Сценаристы играют ключевую роль в кино- и телевизионной индустрии, однако их положение остается сложным. Многие сценаристы сталкиваются с низкой оплатой труда и отсутствием защитных механизмов, что затрудняет им реализацию своих идей. В условиях высокой конкуренции и постоянно меняющегося рынка сценаристы часто вынуждены работать на условиях фриланса, что добавляет неопределенности в их профессиональную жизнь.

При этом значимость качественного сценария сложно переоценить: успешные фильмы и сериалы начинаются с продуманного сюжета и ярких персонажей. Важно, чтобы индустрия начала больше ценить труд сценаристов, обеспечивая им достойные условия работы и справедливую оплату. Это может привести к улучшению качества контента и росту интереса зрителей.

Наличие профессиональных ассоциаций и поддержка со стороны коллег также могут сыграть важную роль в улучшении положения сценаристов. Они могут выступать за справедливые условия работы и защищать интересы авторов, что в конечном итоге приведет к более здоровой и продуктивной индустрии.

Я всегда ощущал, что как только вопрос касается денег — когда работодатели поняли, что низкие оценки возникнут из-за плохого сюжета, всё изменилось. Игра Half-Life изменила для меня всё. Это как будто кто-то сказал: теперь они осознали, что шутеры от первого лица могут иметь глубокий сюжет, и это значительно улучшает игровой процесс. Как только это начало сказываться на итоговом результате, люди стали больше ценить труд сценаристов.