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Gemtech's long-promoted "Shadow Legend" was officially released in mid-June. Although the work had previously received mixed reviews, its fame was undeniable and it became a hit.
As a 3A masterpiece, it stood out during a period when second- and third-tier game developers were launching only a few small and medium-sized titles. It can be said that "Shadow Legend" dominated the market, claiming the top sales spot on official and major game platforms within just one hour of its launch.
In the office of PixelPioneers Games, John and Martel were not working on the content for "The Elder Scrolls: Skyrim" that day; instead, they sat in front of their computers playing "Shadow Legend," which had just been released. Researching opponents is a vital skill for anyone in the industry.
The ARPG game type shares a somewhat similar worldview, although it has a smaller scope. The dichotomy between good and evil allows the protagonist to transform into a special artifact of shadow. After playing for a while, John had determined the tone and style of the game.
There are also several interesting features, such as the protagonist's shadow ability. When in shadow form, players must sneak around, avoid detection by enemies, and then strike. The game offers unparalleled openness, with a strong sense of impact and action elements. John felt particularly intrigued by the ability to use shadow powers to impersonate enemy soldiers and infiltrate their bases.
This reminded John of a game called "Slaughter Prototype" from Parallel Memory. The disguise function in "Shadow Legend" is somewhat reminiscent of certain characters in that game. Whether the game's later content would prove more impressive remained unknown to John; as of now, he hadn't played far enough to dive deeper into the plot.
"What do you think?" John asked, putting down his mouse and turning to Martel.
"The standard Gemtech R&D process is evident; the visual effects, sense of shock, and artwork are outstanding," Martel commented, then suddenly paused. "However, there is a certain conservatism in the overall rhythm and plot layout…"
The rhythm feels conservative. Hadn't he made the same mistakes in the past?
As the main producer on a 3A-level game for the first time, Martel was cautious at every turn, aiming to avoid major mistakes. Some of his bolder innovations ultimately ended up being handled conservatively.
Martel suddenly understood Gavin's mindset while developing this game. Not only were they first-time 3A game producers, but even seasoned veterans in the industry occasionally played it safe.
Martel shook his head with emotion, then glanced at John, who was deep in thought, staring at the screen. This guy didn't count.
While thinking about the gameplay and features in "Shadow Legend" and other games in Dream Memory, John suddenly felt he could introduce more engaging elements to "The Elder Scrolls: Skyrim."
"Do you think including these elements would make the game more fun? More replayable?" John asked, looking at Martel, who appeared stunned. Before Martel could respond, John continued, "It's not just a combat-centric game. We could let players build families, raise children…"
"And they could construct independent houses, clinics, libraries, alchemy labs, and stables. They could garden, plant flowers, and enjoy leisure activities. If they feel overwhelmed, they could hire housekeepers. But why not implement multiplayer? Not just for dragon hunting or war, or for vampire versus Dawnguard."
"We could introduce new plotlines. Imagine if the Dragonborn defeated Alduin years ago, yet Skyrim's civil war lingers. Players wouldn't only be adventurers; they could become merchants reselling to hostile camps. They could return to Westwood Town, purchase the grand tavern, become a local boss, and invest in land in Snowmantle City and Windhelm, evolving into capitalists. They could collect mounts, start a mercenary guild, and contract others for missions. We can establish more lore, new races, and ancient Devil Gods to enrich the world."
"Make it casual, too. The art could draw on European landscapes, and with stunning graphics and character customization, players could design whoever they like. And why not a zombie mode? A vampire-Dawnguard plot could serve as an alternative zombie mode, set during a mid-world vampire crisis within a swords-and-magic framework."
As John laid out his ideas one after another, Martel's expression became contemplative. Although the ideas were exciting, something about them felt off, though he couldn't quite identify what it was.
While Martel was mulling this over, John had already exited "Shadow Legend" on his desktop and opened a new document to note down his thoughts. It required careful consideration to determine if these ideas would actually improve the game or if they simply sounded good in theory.
This was not merely part of "The Elder Scrolls" in memory, nor was it akin to the multiplayer aspect of "The Elder Scrolls" within those memories. It was its own RPG, Elder Scrolls. To John, "The Elder Scrolls Online" felt more like an online game wearing "The Elder Scrolls" skin than the vibrant world of Tamriel. How to ensure their version of "The Elder Scrolls: Skyrim" avoided this pitfall was a challenge John needed to address.
By merging elements from evergreen multiplayer games with his innovative ideas, John's fingers danced across the keyboard.