|Paizo Pathfinder® Paizo Games|
|About Paizo Messageboards News Paizo Blog Help/FAQ|
Grand Magus wrote:
When one of them makes a mistake or his plane is inferior in that situation.
@jjwolven: You didn't mention how the psionic characters outshone the others (although this would not be the thread or subforum for that discussion).
Anyway, since I've finally read through the playtest document, I might as well post my impressions here.
Kineticist and Medium seem like fine classes for which I can come up with character concepts quite easily. I'm a fan of Radiance House's work for 3.5e, though, so I don't know if I will use Paizo's updated Binder.
The Mesmerist looks like an updated Beguiler, a class that - like the Warmage - should have been a Sorcerer PrC back in 3.5. I like the fluff and quite a few of the mechanics. I just don't see why it needs to be a base class.
The Occultist seems fine, even if I probably won't play one, as it doesn't interest me much. However, the weapon and armor proficiencies are weird and do not fit the class's fluff. If this was intended to be a psychic melee combatant, I'd understand, but the class seemingly wants to be something else.
The Psychic is not for me. I'm neither a fan of the fluff nor of the amplification mechanics. I'd rather play a Psion.
The Spiritualist looks good. It is basically a haunted Oracle to the extreme, although I find the fluff a bit too narrow. Maybe there will be archetypes for tethering elementals or other outsiders in the book.
So, 2 or 3 interesting classes out of 6 is not enough for me to consider buying the book.
I believe that tactic is called the "Thach Weave" or a variant thereof. It was developed by one John Thach during WWII, because the US Navy Wildcats were inferior to the Japanese Zeros. As the Japanese pilots rarely used group tactics, it proved a pretty effective defensive tactic.
Just four quick things: 1. Pun-Pun wasn't created using the Psion class. He can use the Psion class.
2. The problem was not that class, but that he can somehow force a Sarrukh to grant him one of its abilities. Sarrukh are high-level creatures from a FR splatbook, which makes him a corner case.
3. The whole thing is an experiment in extra odorous cheese and and not meant to be played.
4. You have no idea about 3.5 psionics if you use Pun-Pun as an example for its alleged brokeness.
If you want a discussion about this, PM me or use one of the psionics threads on the board, please.
Grand Magus wrote:
I have no idea if they recorded that information. Also, confirming kills was really unreliable, because it frequently happened that a shot-up plane made it back to base or that a plane that still looked flight-capable after losing an engagement went down out of sight. The latter happened a lot in the Battle of Britain. British planes were outfitted with .303-caliber light machine guns. These things usually didn't stop German (or Italian) planes from fighting immediately, but damaged them enough that quite a few of them ended up in the drink much later.
As for lining up shots: you always wanted to approach a fighter from its six. You were way out of its firing arc and rearward visibility wasn't great in many WW II planes (the BF109 was especially bad in that respect, even if the thing blocking your view as an armor plate). But even rookies knew that. As a result, part of German air combat doctrine was "never fly more than 30 seconds in a straight and level line in a combat area". The allies had similar guidelines. More often than not, you'd catch an enemy fighter plane at an angle where a deflection shot was necessary to bring it down (the whole thing changed when engaging bombers; never approach a bomber from its six if you can avoid it).
That's not necessarily saying you'd engage in a turn fight. You needed to know your airplane's capabilities versus the attacker's plane and then decide how you wanted to continue. Most WW II planes were built with speed as their main defense in mind (with the exception of most British and Japanese aircraft). The FW-190 series for example could probably be outturned by any other single-engine plane during the war (though it had a very good roll rate, I believe, which helped a bit). It was very fast, however, and had a great dive speed, which meant pilots could dive away from engagements (provided they were out of the enemy's line of fire), then climb back up to a greater altitude and boom their opponents.
It was much more useful in WWII and the early part of Korea when the Mk1 Eyeball was a pilot's sole sensor system.
That's where I was coming from.
Re the different pursuit types: In the prop era, there was an additional reason for using them: visibility. Depending on the target's distance and position realative to you, your plane's engine would block line of sight when in lead pursuit. But it was necessary to line up deflection shots, especially if you caught the enemy inside his turn (which you ideally wanted to do, because he showed you the "broadside" of his plane, including the cockpit). So you had to lead you target while hoping that the enemy pilot didn't change direction or - much more aggreviating - altitude when out of sight.
Yeah, but that's not really an Immelmann turn. It's a half loop.
Originally, the Immelmann was a shallower version of a Wingover, with the expert version being the Hammerhead: After an attack on an enemy with less energy you'd pull up until your plane almost stalled, then used rudder to reverse direction, ideally going in for another attack. The enemy cannot follow you; if he does, he will stall sooner than you and therefore be unable to evade your attack.
The trailer makes Horizon look bad. I will probably watch at least the first 10 minutes, though. I'm also not a canon hound, so if Axanar works and Paramount doesn't block it, I'm fine with it, FASA or no FASA.
As for good fan movies, I recommend Star Trek: Phase II. They have done tremendous work with the scripts for the scrapped second TV series.
Grand Magus wrote:
Never heard of Yo-Yo attacks. There are aerial combat maneuvers called high and low yo-yo, respectively.
The Soviet MiG-15bis was designed for intercepting B-29 bombers, which meant high service ceiling, good climb rate (and good acceleration), good high altitude performance and superior armament. To add insult to injury, the bloody thing turned really well, too.
OTOH, the MiG-15's low altitude performance wasn't great, compared to the F-86 Sabre. The firing rate of the Soviet large caliber cannons was also not really suited to combat enemy fighters and gun convergence between the 23mm and the 37mm was off, I believe.
That's a long period to cover and I'm no expert, just an interested amateur, so take what I write with a grain of salt.
Basically, duels were much more prevalent during WW I, because of the ideal of gentlemanly combat and also because bombing tactics were just emerging. The fighter planes were really suited to these tactics, because those bi- or tri-plane fighters could turn on a dime.
After the Great War, the powers believed the future would lie in inassailable bomber formations and neglected developing fighter technology and tactics further. The Spanish Civil War kind of reinforced that impression, with the Legion Condor's bombing campaign being so successful. But the German Luftwaffe already was investing in new fighters and accompanying tactics. The Messerschmidt BF 109 was one of the first so-called energy fighters, I believe.
Energy fighting means that the pilot would try to gain altitude as rapidly as possible (meaning the planes had to have a good climb speed), because altitude equaled energy you could convert into speed used for diving down on an enemy plane, taking a shot and then using the speed gained in the dive to quickly gain altitude again, before the enemy had time to react. This was referred to by US pilots (I guess) as "Boom & Zoom", as opposed to "Turn & Burn". As this was more an ambush tactic, there barely was dueling anymore. Fighter wings would swoop down on the enemy and zoom away, then turn back and do the same again until they ran out of ammo or fuel.
The US AAF and Navy perfected this tactic and ordered their fighters to be uniquely suited for it. Late US planes would not have a great climb speed, but in the pacific theatre, the distances were so long that that didn't matter. The machines were very heavy, which meant they could outdive anything the Japanese Armed Forces (mostly using turnfighters, like the RAF) could throw at them.
Strategic bombing would be used much more heavily in WW II, so fighter escorts were standard. Again, the best plane for that role was the P-51. Its range was so great that it could range in front of bomber formation to sweep the sky clear of German interceptors, which by then were much more heavily armed than their US counterparts, but lacked the flight characteristics to keep up with them.
Don't trust Dogfights (the show) too much. It has the reputation of being historically inaccurate.
A Split-S is a simple change in direction. You do an aileron roll while in level flight so you fly inverted. Then you pull on the elevators until you have reversed direction. It's called Split-S because from the side, the plane's flight path looks like the bottom half of the letter S.
It was a pretty effective way of dodging incoming fire, but there are much more complex maneuvers.
'The Train Job' wasn't Firefly's pilot. It's the second episode. I agree that it would be a bad pilot. The real, feature length pilot is called 'Serenity' (like the movie) and sets up the characters nicely.
The problem with Rebels is that the second episode was as bad as the first one.
That entirely depends on what coffee you drink and how you prepare it. If you use the cheap stuff from the lower shelves in the supermarket, you get a nigh-undrinkable sour brew. The same goes for a coffee maker that gets cleaned maybe once a year.
I drink my coffee like the Turks do: not-quite boiling water poured directly on ground coffee in the mug. The floating bits will sink to the bottom after a while and you get a taste very close to the fresh coffee smell.
@FreeholdDM: I'm nowhere near New York. Trends like that arrive here about 3-5 years later.
I really wanted this to be good. Unfortunately, the pilot is as bad as the worst The Clone Wars episodes (yes, those with the Character-That-Shall-Not-Be-Named), with a disjointed narrative and flat, uninteresting, annoying characters.
Character design is also dodgy: the bruiser looks like an overgrown, purple monkey and the (supposed) Mandalorian wears so little armor she could do away with the rest, as well.
Jaysus, go watch Firefly already! Cue FreeholdDM showing up in a puff of sulfurous smoke and tell you the opposite.
Reynolds is not neutral. The man has serious issues with authority, so I'd peg him has chaotic neutral.
Yes, multiple times. All take place after the forging of the Rings of Power, which could explain why he's able to change shape.
I agree that most ciders are too sweet. I'm partial to Bulmers (Magners outside of Ireland; don't drink the English swill). I think it's more intensely flavoured than Strongbow while having a nice balance between sweetness and tartness.
We don't get any US ciders in old Europe, sadly. I heard some good stuff about them. As for pear cider: I liked Koppaberg's. Their apple cider tastes very artificial, though.
As I remember, Carrot put his fists up and started punching Wolfgang, Wolfgang proceed to almost put his fist through Carrot's chest which resulted in cracked ribs for Carrot. Carrot never seemed to be the one to purposely get himself into that situation since it is terribly cliche, he is more someone who would take advantage of cliches to win.(Kind like like the Indy/Swordsman fight, why get into claw range when you can drop something heavy on them for an ironic/funny win?)
That's the point of the character. Carrot is Noble, like Gavin. Gaspode comments that the wolf follows unwritten rules in the fight with Wolfgang, while Wolfgang does not; Vimes thinks the same about Carrot vs. Wolfgang. Carrot started out as a walking clichée (he's got The Birthmark and The Sword, after all) and Pratchett decided to make that the character's defining trait by modeling Carrot's psyche after it.
@Fabius It has been pointed out by the characters that Carrot has set up situations in ways that I really don't like. Remember when they went to Ubderwald and met that nazish werewolf whose name I can't remember? There was this big alpha wolf that came along with them and I think was hinted at a potential rival to Carrot in regards to Angua. Carrot set things up so the wolf was killed in a fight against the werewolf.(Carrot went HtH and got his butt kicked by the werewolf when that is not even the last thing he would do.)
I'm not sure how much you remember about the book, but that is in no way supported by the story. Gavin (the wolf with the unfortunate name) is as noble as Carrot and attacks Wolfgang the Werewolf to save Vimes, not Carrot. How would Carrot go about setting that up?
I don't know what you two are talking about.
@MannyGoblin: Carrot has royal blood, which apparently enables you to do these things on the Disc. That was hinted at as early as in "Guards, Guards!" He still is very affable, but has grown as a character
Esme Weatherwax always was powerful, but scared of using that power, because she doesn't want to end up like Black Aliss. Even so, she's shown to be terrified of both the Lords and Landies as well as the Vampyres (she even goes into hiding in the case of the latter).
@Slaunyeh: The Discworld series are (because there are multiple) almost all recurring characters. You've got the Wizards, the Watch, the Witches, Susan Sto Helit, Moist von Lipwig as well as Tiffany Aching. These make up roughly 80% of characters. Sure, some of them appear in other series as secondary characters, but that doesn't mean they have been abandoned.
As for the characters themselves, they are not generally show as "a little dumb". They always feel in over their head, though. Susan is far from "normal" from the very beginning, as is Rincewind. And the witches don't fit that description in any way.
Also, Vimes clearly is a successful character (as is Moist von Lipwig) and he's the protagonist of more novels than the others.
I couldn't take a Drizzt movie seriously. Salvatore's writing contains so many clichées (including the atrocity that is the drunken Scottish dwarf stereotype), that it would do more harm than good.
Crysis is a prime example. When made, it wasn't possible to run it on ultra on any gaming rig at the time.
Crysis is also known as the world's most expensive tech demo (at that time).
I don't understand the desire to always have to play games at maximum settings. If the game is good, graphics are only a nice accessory. If the game sucks, even the greatest graphics in the world will not save it.
Not that, although that is quite dark, as well. I meant the sidebar detailing torture methods, specifically.
By that reasoning, every Cleric and Paladin would be on "The Dark Side", as well.
Re "The Line": I think it was also crossed with the description of torture methods in Cities of Golarion. Those made me queasy; I had no problems of the sort with the degenerate hillbilly ogres.
I think the True20 system did it like that.
I played a Lizardfolk ranger in an Eberron campaign (Q'barra). He didn't give a hoot about all those pesky humans trudging through "his" jungle, but hired himself out as a guide nonetheless. Even lizard people got to make a living.
After the party came across a threat that endangered the whole region, he helped them because his tribe was affected, too. Eating the hearts of particularly powerful enemies in front of the paladin and the treehugger elves didn't make him win popularity contests, though.
Falantrius, if you're not afraid to adapt old material, there is one (fan-generated) Witch class for the D20 system using a Book of Shadows in Liber Mysterium. I used it together with Green Ronin's The Witch's Handbook in an 3.5 FR game (but probably will update the character to a Shaman in the future). The class's balance is a bit dodgy, though.