I first saw Divinity: Original Sin in March, 2013. I was in London, at the Walkabout pub by Temple station. Larian had brought two games across from Belgium and I wanted to get my hands on the one that featured dragons wearing jetpacks. I knew that the Original Sin code was quite early and I didn’t have any particular attachment to the series, having only played Divine Divinity, and that many years before and briefly.
You can read the impressions I wrote up afterwards. The intro sums it up best. I remember speaking to Swen Vincke, Larian’s CEO, right after playing – I mentioned Ultima VII and it became obvious we could have talked for hours about the intricacies of the game and its systems. How it contained crafting without needing to contain a menu or prompt for the verb, and how the NPCs followed schedules and seemed to exist.
Vincke seemed pleased that I’d picked up on the influence but I also realised I’d found someone who recognised what a high bar that game sets. He told me of the things he wanted the team to integrate, the level of simulation he’d chase given the time and funds. Excited, but apprehensive, he told me that a Kickstarter was planned, with the hope that the extra money would allow the scope of the game to expand.
In early 2013, Larian showed me mincemeat, and then I sat down with Vincke to talk about steak.
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