![]() It can be introduced into scenes set in the past. Why not write something more like: “When you eliminate a component, nobody can introduce it in scenes set in the future. However, while additional Traits may be bought for the Component in those prior scenes, they will not (simply by increasing the Component’s Importance) over ride the fact that the Component has been Eliminated”. The Component could still be introduced into scenes set in the past (before it was Eliminated). When reading it, I felt like I was being programmed, not entertained.Īn example, picked more or less at random: “The game mechanic effect of Eliminating a Component is to render the Component unavailable to be Introduced into scenes chronologically set in the future. ![]() It doesn’t appear to be written for people. But it does so in a, for lack of a better word, inhuman fashion. Like any gaming text, it explains and defines abstract terms, how they relate to each other and interact. The Universalis text suffers from a major flaw. Does it state its goals clearly? Does it reach those goals, using setting, mechanics and other elements? Does it avoid self-contradiction and confusion? However, in reading Universalis, I find there must be at least one other criterion: Is it entertaining and easy to read? My personal view is that it’s not easy to pass a value judgment on the way people actually play, but there are several criteria that can be applied to a game text. There’s currently a debate in Norwegian gaming circles about whether it’s possible to say what constitutes a “good” or “bad” game. But there’s a lot to say about it before I do. Because right now, I’ve just finished reading it, and I don’t actually know what it’s going to be like to play the game. I’m going to write two reviews of Universalis. Or, as they say in the very first chapter: “Conceptually, Universalis is a collaborative story telling endeavor in the form of a game”. Universalis is a game about making up stories.
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