It's Chris Mortika's fault for mentioning the Valeyard first and therefore bringing up memories the whole sorry mess that is Trial of a Time Lord. Nothing ever good comes of that. :-)
Many WHO fans are still traumatised from that situation. Sometimes saying, "Carrot juice!" to the wrong person can send them into a foaming rage.
Alex Martin wrote:
The map is interesting, but I think it will cover a similar amount of ground to either the NV or FO3 one:
You may be from the Quabbin area, but you may start on the edge of the area marked on the NV or FO3 scales (if Vault 119 has been completely destroyed, there is no need to revisit it).
The FO3 scale includes the whole city and some of the immediately surrounding areas, like Concord and Hanscom. The NV scale also includes Salem, Providence, Worcester, Fall River, Ft. Devents and the Natick Army Labs. Either would work well for the game.
Regardless of the scale, the world map itself will probably be similar to NV/FO3/SKYRIM/OBLIVION in size if they are intending to be crossgen. If they are not, and the console versions will be exclusive to PS4 and XB1, that removes the memory limitation and we could have a substantially larger area.
Capaldi didn't speak in the special, that was the Time Lord general's subordinate (confirmed by the subtitles).
I think Moffat said somewhere recently, in regards to "The Day of the Doctor," that the Doctor never refers to himself as "Eleven" or "Ten" or whatever, but only thinks of himself as "The Doctor."
Well, that's a lie (Moffat, by his own admission, does that a lot). On Moffat's own watch, Smith calls himself the Eleventh in THE LODGER. When images of his previous selves appeared in that Gaiman Cyberman episode, they also showed him as the eleventh.
Also, showrunners don't get to set DOCTOR WHO canon because they are - relatively - ephemereal. Moffat is the twelfth showrunner in the series' history, and anything he says or does on his watch can be contradicted or changed later on (just as he has contradicted or changed things other people have said).
Well, in terms of spin-off games in other genres the cleanest way would be to do basically what they did with New Vegas, farm the spin off out of house
Well, technically FALLOUT 3 was the outlier, made by people who had nothing to do with FALLOUT previously. They'd just bought the IP. NEW VEGAS was made by a lot of the same team who made FALLOUT 1 and 2 (and VAN BUREN, the 'original' FALLOUT 3 before it was cancelled). So there remains a strong connection in the choice of Obsidian to do NEW VEGAS - and I'm pretty certain - the spin-off from FALLOUT 4. The FO3/NEW VEGAS one-two punch worked incredibly well last time for Bethesda and I can see them doing it again, especially as Obsidian have said they are up for it.
Technically, all of the Fallout games are Wasteland in all but name
I knew this, but didn't want to tangentise ;)
If I recall correctly that BoS game failed so badly it was essentially disavowed by pretty much everyone and relegated to non-cannon, "that never happened", status. Basically removed from the franchise.
Pretty much. TACTICS was also originally said to be non-canon, but then FO3 dropped a few references to it, so it's now assumed to be canon (or at least partly canon).
I don't think we were specifically discussing them, since they are no longer canon: the 'modified' endings from the Extended Cut DLC (further modified if you have LEVIATHAN installed) are now the official endings to the game.
However, the 'fourth option' is Shepard saying, "Sod this," in a fit of petulance and dying and everyone else dying and the Reapers heading off to chill out in intergalactic space. I don't see MASS EFFECT 4 choosing that as its starting point. Maybe interesting if they did, but it's basically the 'Spellplague ending', pretty much destroying the setting and leaving it an uninteresting, hollow husk of no value or interest to anyone afterwards.
The three existing endings you can do something with afterwards, which may or may not work.
Yeah, I think the next biggest show to have missing episodes after WHO is probably DAD'S ARMY, one of Britain's most beloved sitcoms (it's certainly the only 1960s/70s sitcom with episodes still airing in primetime on the main BBC channels today, which is remarkable). And there's only three missing episodes from that show, so it's much less of a problem. THE AVENGERS is probably the next-most-significant after that.
I think the process in the USA was restricted to very early programmes (from the 1950s) and live sports events and chat shows. Dramas seem to have - mostly - survived intact because the USA cottoned onto the value of repeats and syndication much earlier than the UK (rather fortunately for the likes of STAR TREK and THE TWILIGHT ZONE).
Steven Moffat has said he doesn't really understand the Valeyard. In fact, no-one really does: the first writer working on the idea, Robert Holmes, died before he wrote the scripts that would explain what the hell he was, and then the second, Eric Saward, quit the show after a titanic argument with the showrunner and forbade them to use the scripts he'd written. So the whole idea was pulled out of thin air off the cuff, which is why it doesn't really make a whole lot of sense.
There is one cheap possibility that I can see working:
We can all agree that regardless of if Smith or Capaldi is the 13th Doctor, the show will continue on past him and the Doctor will gain new regenerations somehow. So the statement that the Valeyard will arise between the Doctor's 12th and final incarnations does not mean that the Valeyard will appear between 12 and 13, but between 12 and the last incarnation of the Doctor, whenever that is.
The other is that the go with the novels' explanation that the Valeyard's creation was the eventual result of the Sixth Doctor's mental instablity, and the Sixth Doctor's premature regeneration negated the Valeyard from appearing. So now he'll never appear and they don't need to worry about him. Which I'd think was more likely except that a Moffat script mentioned him fairly recently. So either Moffat is lying that he doesn't know what's going on with the Valeyard and is planning to address it, or he said that to troll the fans. Frankly, he's capable of both :)
There is some scope for side-games in the FALLOUT universe set in other genres. FALLOUT 1 and 2 were turn-based RPGs; 3 and NEW VEGAS were real-time with pause (or VATS, pretty much the same thing); and FALLOUT TACTICS was combat-focused. There's no reason why you couldn't have a FPS-style spin-off, especially given that Bethesda also own id (RAGE could have been transformed into a FALLOUT FPS fairly straightforwardly). And of course WASTELAND 2 is going to be a FALLOUT game in all but name anyway.
As long as the side-games don't detract from the core RPG series and prevent it being made (the mistake that was made with the original X-COM series, with too much focus on novelty side-games like the space combat thing and not enough on the core turn-based strategy games), side-games set in other genres could be interesting.
Phil Morris is very unconvincing in this interview. He mentions, unprompted, that some episodes were film-recorded, that others might come back from overseas and WHO fans shouldn't lose hope. He also says very specifically, "We're at 97 at the moment," with a grin.
The location of the episodes is also interesting. The 'omnirumour' (that 90 episodes - including the 9 reported already - have been found in different locations) includes the idea that some of the TV stations in Africa and Asia less-than-scrupulously sold the episodes on for personal profit after reporting to the BBC they had been destroyed, in which case they could show up anywhere. But that could just be a clue to justify the rumour. Certainly nothing substantive backs that up.
There's absolutely no gain in transferring an oldstyle video signal to High Def... the pixels simply aren't there. Episodes like that will just be released in standard DVD format.
Correct, although the DVD team has apparently reported some moderate gain in quality by transferring the image to blu-ray and remastering as much as they can. More to the point, they can fit more episodes onto a disc which allows for better and slimmer packaging. In some cases, like the newly-recovered episodes, they can also add special features that were missing from the originals.
If SPEARHEAD FROM SPACE and the new series Blu-Rays have sold well enough, I think the BBC will look seriously at a Blu-Ray release. They'd have to do it in a way that appeals to new fans though, because the existing ones are unlikely to double-dip (or, for older fans who bought a lot of the VHS tapes in the 1980s and 1990s, triple-dip) given there won't be a big quality increase.
That does make sense. The 'countdown' would appear to be pointing to a separate Bethesda online announcement though, which I believe is a first; SKYRIM was announced at the Spike Video Game Awards in December 2010. I also believe that Bethesda have been saying they want a shorter time between announcement and release, not the years and years that passed with OBLIVION and FALLOUT 3. Assuming they are following the SKYRIM model, that could mean that FO4 would be out in November 2014 or thereabouts.
I figured that the designers were giving tacit support to Destroy as the canon ending by virtue of the fact that it's the only one that allows Shepard to survive (if you worked hard enough).
Possibly, but then if Shepard isn't in the new series (which is the official word from BioWare), that shouldn't many any difference. I think Destroy only works if ME4 follows up on the argument that ME3 failed to let you make: that the Quarian/Geth alliance (if you managed to pull it off) and EDI's lack of interest in destroying organic life shows that coexistence is possible, so a future cycle of Reapers will not inevitably arise.
I do wonder if the Leviathans will play a key role in ME4. In the ME3 DLC they make it clear that they are only joining the alliance because the alternative is their own annihilation. With the Reapers gone or neutralised, the Leviathans have no reason to stay in hiding, and they make it clear that they consider all other races to be gnats who should be serving or worshipping them. That seems a ripe angle to explore in the sequels.
Interesting. Apparently Phil Morris, who found the previous nine episodes, told actor Julian Glover that there will soon be some 'good news' for him. Glover played Scaroth in DOCTOR WHO's CITY OF DEATH (as well as General Vreers in THE EMPIRE STRIKES BACK and currently Grand Maester Pycelle on GAME OF THRONES) but his earliest role on the programme was playing King Richard the Lionheart in the Hartnell story THE CRUSADES, of which two episodes remain missing.
Several WHO sites who ran this story have all mysteriously pulled it, which usually only happens at the BBC's request. This adds credence to the rumour that THE CRUSADE's two missing episodes are among whatever ones have been found.
Interesting. There's just enough in the story to keep it alive.
I do wonder if the site is fake but it doesn't matter because Bethesda probably aren't too far off from announcing their next game. All of the DLC for their last game is out, the ultimate edition has come out and a few months of quiet have elapsed, so they must be fairly close to announcing something.
But a computer terminal in a burnt out building in the middle of a wasteland still can have electricity?
All computers, robots, cars and quite a few buildings, in the FALLOUT universe have mini-nuclear reactors inside them which will remain active for centuries, hence why so much stuff in the setting works. And why cars disappeared in a small thermonuclear blast if you shoot them enough times ;) Computer terminals probably would as well, but I think they made them invulnerable as destroying them would break the game.
I definitely got the impression from the game that players were 'supposed' to go with Synthesis, as it unifies machine and organic elements as the trilogy had been advocating all along (through the Geth/Quarian relationship, the tech-driven resurrection of Shepard and the relationship between Joker and EDI) and is the least destructive. The consent thing is troubling, though, but without further information it's hard to say how troubling it is (everyone's skin glows for a few hours and then they go back to looking normal, just with tons of nanobots or something floating around inside them?).
Mind you, they also sabotaged that by having Synthesis as the only one where Shepard 100% dies and Destroy as the only one where Shepard (apparently) survives as a human form the same he/she was before the events of ME3. I always took that to mean that each option has positives and negatives and no one is 100% right; 'Control' is apparently the weakest option, but even that has the Citadel surviving when the rest suggest it is destroyed.
If they are going to go with a sequel, or a successor, they can really only do one of two things: either a cop-out, in which the game takes place on an exploration ship lost in another galaxy out of range of the effects of the Catalyst, or pick an ending and go with it, which is going to further nullify the whole theme of choice in the original trilogy.
Personally I don't see why they just don't go with a prequel, set in the First Contact War or the 30-odd-years between it and the trilogy. One of the problems with a sequel is that they might be tempted to introduce a new threat even bigger and more dangerous than the Reapers and go even more gonzoid in scale, which is really unnecessary.
The Sontarans in the new series aren't really like the Sontarans in the old. The ones in the old series successfully invaded Gallifrey (if only briefly), whilst the Sontarans in the new series are so lame they couldn't even get an invite to the Time War. Also, the 'comedy Klingon' schtick was more the preserve of the Chelonians in the novels. The Chelonians were supposed to appear in the TV series a few times (most notably in the episode with the bus crashed on the desert planet, which started off as a direct adaptation of the novel THE HIGHEST SCIENCE, which introduced them) but have never made it because of budget: ambulatory warrior tortoises that don't look ridiculous is a tall order. I get the impression the Sontarans are sort of a second-best option.
That said, I thoroughly enjoy Strax and his spiel. It could get annoying if over-used, but right now his once or twice-per-season appearances and the occasional minisode broadcast feel just about right. This is why I'm so-so on the idea of a Paternoster Gang spin-off series: Jenny and Vastra could certainly carry it, but Strax could get annoying if they didn't give him more to do than express desires for comical levels of violence as the solution to every problem.
Mild spoiler for the Christmas special:
Apparently villainous Sontarans will play a role in the Christmas special.
Any theories if Strax/gang will be seen with the 13th DR?
I could be wrong, but I think they've already confirmed they will be returning next year. I see them very much as one of Moffat's core concepts/ideas that he's brought to the table and will likely be de-emphasised or even disregarded entirely once he moves on, like how Torchwood and the large recurring cast from the 9th/10th eras has almost vanished after Daveis moved on.
360 is a dead console. I think that no new games will be coming out for it very soon.
This depends on the sales of the PS4/XB1. If they both rocket off into the stratosphere and shift many millions of units in the first year, then it's more likely we'll see developers shifting to the new consoles quite quickly. If sales are more cautious, developers will likely wait longer. The last PS2 games only came out a few months ago. And with roughly 160 million PS3s and XB360s out there, developers would be foolish to abandon them too soon.
No Mutants Allowed have also called on it as fake, following the CVG investigation. CVG is even following a lead that suggests that the FALLOUT 4 registration was linked to the confirmed-fake registrations of HALF-LIFE 3 and SHENMUE 3, also in the last few weeks.
Of course, the European Trademark thing may be a fake, but there could still be something in the website and the countdown. And of course Bethesda are likely not far off from announcing their next game (regardless of what it is) anyway.
Ah, it turns out that the company issuing the C&D is called Moon Design. They are, apparently, the rights-holders to the HERO QUEST name in the USA. I gather the rights situation was rather complicated and Gamezone had not fully cleared everything with every other company involved. Apparently they are now in discussions over a licensing deal.
There's been a C&D, which isn't quite the same thing. Almost anyone can C&D and Kickstarter will always take it down briefly to look at it. If it has no merit, they'll put it back up.
According to the company, they'd been in constant contact with Hasbro throughout the process and had been talking to them about officially licensing the product in those territories where they didn't already have the rights. It's possible Hasbro's legal team threw a fit regardless, or maybe the company's, "We'll ship anywhere in the world regardless," claim violated the spirit of the talks with Hasbro, since that did seem to be saying, "We're going to licence the game elsewhere in the world with you if we can, but if we can't we're just going to ship it anyway."
It's also possible it had nothing to do with Hasbro and GW threw a fit and C&Ded it with no legal basis to do so (like they did on Amazon with the Space Marine debacle last year which completely backfired on them). On that basis, I would expect Kickstarter to dismiss the claim as baseless and reinstate it within a couple of weeks. If it's with Hasbro (who actually own the original game rights now), it could be more serious.
ETA: Crikey. They'd made $542,000 and were trending towards $4 million! Maybe Hasbro just said, "Sod that, we'll do it ourselves"?
I doubt there will be any import since there's almost no chance it will come out for PS3 or 360, so accessing old saves will be close to impossible.
There'll probably be a variant of the 'story so far' thing they used in the previous games so people can make the important decisions quickly for the game without a save. PC players, I presume, can directly import their saves across.
But yeah, this is another reason why I think they were initially preferring a prequel as the way to go.
I think if they had more, even if they were not ready to be released, they would have announced them all at the same time.
It depends on the situation. Basically, Phil Morris - an independent TV archiver and researcher - is travelling around Africa looking for these missing episodes. He's the first person to physically go out there and specifically look for this stuff. This was catalysed by the discovery that there had been 20 missing episodes at a TV studio in Sierra Leone before it was destroyed in the civil war.
So you have a situation where, if episodes are found, negotiations have to be undertaken between Morris and the TV stations for access. Then if Morris finds and buys stuff off them, it then has to be returned to the BBC and the BBC need to buy it back (which is also an involved process). Then the BBC needs to spend weeks analysing the film to see if it can be restored and brought up to release quality. If it can't, then announcing anything would be premature. Then they have to spend 3-4 weeks restoring each episode, during which time other problems might come up.
Basically, the BBC doesn't want to say, "We've found 30 missing episodes!" in case they have to come back and later say, "Sorry, 12 of them were damaged beyond repair." That's how we end up with rumours swirling around for months before anything is confirmed.
I can't believe I missed that whilst watching the episode:
Spoiler for the 25th anniversary special, not the Christmas one (be careful on the Internet, there are some MASSIVE spoilers for the Christmas special out there now).
A nebula in the shape of the crack in space and time appears to be behind the TARDISes. Maybe the presence of 13 TARDISes at once - or 13 instances of the same TARDIS - is what caused the crack in time and the TARDIS to blow up retrospectively? Maybe the Doctor saving Gallifrey is what terrified/will terrify his enemies into gathering together to destroy him?
Does any given incarnation of the Doctor age between regenerations?
Yes. Time Lords age like humans in appearance within a single incarnation, but incredibly slowly. For both the Eighth Doctor (Paul McGann) and the War Doctor (John Hurt) to have aged so visibly, their incarnations were probably around for hundreds of years each, which clashes with existing chronologies, but that's DOCTOR WHO for you. The First Doctor also aged from a baby to a very old man over the course of several hundred years (an estimated 250+ years of real time, although that's complicated because the First Doctor was hit by a Dalek superweapon a few months before his regneration which aged him by another few hundred years in an instant).
Based on continuity issues - the Doctor travelling continuously with overlapping companions - it appears that the Fifth Doctor didn't last very long at all, but with almost all of the rest there are gaps where you could fit years of adventures in. Over the course of the show, the Doctor appears to have aged the better part of a thousand years through such gaps.
The strongest indications to date have been a prequel. Originally the Rachni Wars were mooted as a setting, and I think have a game with no humans at all in it would have been fascinating. However, they seem to backed away from that and a game set during the First Contact War has been most heavily rumoured recently.
The idea of a sequel is potentially controversial: BioWare would have to pick one ending from ME3 and declare that canonical, which would rankle with fans who were told their choices had consequence and MASS EFFECT was their story. BioWare turning around and saying, "Hey, 'Synthesis' is what really happened, tough luck to everyone who preferred something else," seems counter to that idea.
Then again, everyone and their uncle either simply replayed the ending 3 times to get all the endings or watched them on YouTube, so maybe it doesn't matter.
As for the relays:
IIRC, 'Synthesis' and 'Control' both show the relays surviving, albeit heavily damaged and repairable. 'Synthesis' I think was also the only one to show the Citadel surviving, which is why I think that's the most likely ending to be declared canon.
In any case, whilst the mass relays massively speed FTL travel from cluster to cluster, there is - I believe - still a standard FTL drive which allows travel from system to system at a much slower rate.
the first is far more iffy.
Not if the Hasbro/Universal deal goes through. Then it shouldn't be a problem because Hasbro are bringing the same backing and marketing firepower that they brought to the TRANSFORMERS movie franchise. That should entail a fairly hefty budget for the film. That won't necessarily mean it's good, but certainly they'll be putting some serious resources into it.
If the Sweetpea/Warner Brothers thing goes forward instead, I'd be expecting something much more rubbish (Sweetpea, in one form or another, made all three of the previous live-action films). For a start, I doubt very much Hasbro will give them any help at all, which severely limits their marketing opportunities.
Ace is also a significantly different kind of character than Sarah Jane, so it would be very clear she is not a replacement, she's doing her own thing. Even older, wiser, and running a charity, I'm pretty sure Ace probably still rides motorcycles, builds bombs for fun, and generally tries to buck the system whenever it gets in her way. :)
In the novels, Ace ended up with a short-range time vortex manipulator hotwired to her motorbike, which she would then ride backwards or forwards 300-400 years in either direction to kick arse. She'd also spent three years fighting Daleks on the front lines of a devastating future war between them and Earth. That works for me :-)
They were going to bring her back in the SJA and even had a line setting it up (a woman named Dorothy running a charity called 'A Charitable Earth') but didn't get round to it. Sophie Aldred has said that she doubts Ace would really be running a charity, unless it's a front for something else. She cropped up as a talking head in a few of the 50th anniversary celebrations and she's still in good shape for 51. If she was up for it, a reappearance could be great.
An interesting thing about finding Gallifrey:
It could mean reappearances from Louise Jameson and K9 Mk. 1 - as Leela and K9 were left there in the Fourth Doctor's run - and possibly Lalla Ward's, with Romana being reinstated to repair the damage left behind by Rassilon Bond. Though I suspect any future Romana appearances will be with a different actress via regeneration.
Anyway is it just me or have they upped the female soldier ratio in Enemy Within significantly? I remember barely getting any female soldiers while playing EU. And now in my EW playthrough 70% of my mainstay soldiers are actually women.
I don't think so. On all my playthroughs I've always ended up with quite a few female soldiers. In fact, all of my decent snipers (on four playthroughs) have been women.
Inevitably, there is now a Kickstarter for a new-but-faithful version of HERO QUEST.
They've already smashed the Kickstarter target (they asked for $58,000 and have already gotten $327,000) so this is definitely happening, with a fair number of extras on top.
Yeah, DOCTOR WHO was almost entirely shot - location shooting up to about Season 20 or so excepted - on tape. The sole exception is SPEARHEAD FROM SPACE, which was 100% made and even mastered on film. That's why SPEARHEAD is the only classic WHO story released on Blu-Ray, because you can extract a HD (or even a 4K) image from film, but video is stuck in its original resolution; the extra information needed for HD is simply not there. You can upscale it a bit, but not much before pixellation sets in.
As for the MARCO POLO thing, several fan sites (including those right about the previous missing story) have suggested that it is in error: MARCO POLO has been found, but in Ethiopia by the same guy who found the last lot, following up fresh leads resulting from that find. The rumour is that several episodes of THE DALEKS' MASTER PLAN have also been founded recorded at home. This makes more sense because it's highly implausible that someone sitting at home with expensive recording equipment would record all of a 7-part historical story belonging to a new TV series, whilst it's more likely they would record part of an epic Dalek story three years into the series with 'Dalekmania' at its very height.
However, whilst I can buy MARCO POLO being found (it's by far the most widely-sold, still-missing story and statistically is much more likely than almost any other serial to be found), TDMP sounds like wishful thinking to me.
Regarding how this episode fits in with the END OF TIME:
The High Council and Rassilon begin their crazy white star/drums plan. Then the Hurt Doctor finds the Moment, which is reported to Rassilon and convinces him to move quickly. That whole thing happens in a blink of an eye and the Master attacks/kills the High Council (or is trying to). Then the planet is rescued by the Doctors and transported out of time and space.
So when they find Gallifrey, Rassilon can still be alive, or have been killed by the Master (who may have been injured in the process and regenerated, if John Simm didn't want to come back) or pretty much anything they want.
The biggest inconsistency to me:
The Time Lords supposedly went all a bit mad, but whilst Rassilon and some of the other Council members clearly did, the generals all seem pretty reasonable.
AN ADVENTURE IN SPACE AND TIME was superb. David Bradley's performance as William Hartnell was absolutely astonishing, the rest of the cast was great (maybe not so much Reece Shearsmith as Patrick Troughton, but he was hardly in it), the attention to detail was brilliant (right down to some of the first story Daleks having differently-coloured eyepieces) and it was mostly very accurate, with a few changes for the sake of clarity. The cameos from old-school WHO actors were also quite nice (especially Jean Marsh on the recreation of the TARDIS set where she used to work in the 1960s).
The final cameo worked quite well. I know some people found it taking them out of the show, but I thought it was a nice way of linking the past and present of the show.
QTEs are best-used when they allow a player to take part in gameplay they normally wouldn't be able to. THE WALKING DEAD is an excellent example because it's an adventure game without a combat system (developing a dedicated combat system would cost money and you'd then want to have more combat to justify it, thus turning it away from being an adventure game), so when action beats take place they really don't have any choice but to employ QTEs. There were relatively rare and employed meaningfully.
In a lot of games they are more irritating because they aren't fully justified. If you have a game with a big combat system then giving you different buttons to press for a cinematic action scene (which you can't concentrate on for spectacle because you're too busy concentrating on what buttons to push) is pointless. CRYSIS 2 had a few of these which grated, but by far the biggest offender was SPACE MARINE: there wasn't a single one in the whole game and then the entire final boss battle is a long sequence of them. Extremely annoying.
TOMB RAIDER's weren't too bad because they generally turned up in places where normal combat options were not possible (in close melee, or when Lara is restrained in some fashion). The game also has quite long periods when you have full control and there are not QTEs at all.
They backed themselves into a corner here. They said they were making a new version of PLANESCAPE: TORMENT, just without the PLANESCAPE setting or D&D rules because of legal reasons. For a lot of fans that means real-time-with-pause, because that's what P:T had. However, most fans also seem to agree that combat was not a major focus of P:T and wasn't very good. You could also avoid about 90% of the fights in the game through dialogue. Combat was not a cornerstone of the game in the same way it was in the other Infinity Engine games. This is also why PROJECT ETERNITY, which is similarly the 'spiritual successor' to the BG/ICEWIND DALE games, was clear that it had real-time-with-pause from the outset.
When they decided that they wanted to do turn-based combat, they really had no choice but to open it up to a discussion and vote. The game wouldn't exist without the backers, and they need to have a say on such a fundamental part of the game. I do think that if the designers honestly believe that turn-based is better for the game, it would take a substantial vote against it (by two-thirds or more, maybe) for them to change their minds.
I'm waiting for it to drop in the Christmas Steam sale. Also, the game apparently has already been expanded by some free DLC allowing you to play as the Space Wolves and adding 3 new missions. If they combine that with the two expansions and re-release the whole thing at a more friendly price (say under £10), I'd certainly take a look at it.
FALLOUT 4 is almost definitely on its way - despite some rather limited attempts by Bethesda to put a smokescreen over it by hinting at a new property - and I agree with Scott (* feels faint *) that it'll probably be announced next month.
As for the European setting, I don't think so. One of the games says that Europe was completely 'glassed' in the nuclear war, which suggests it is completely uninhabitable. They may be misinformed, of course. I also think that the 'Americana' stylings of the series are pretty ingrained into the games and it'd be hard to transplant that somewhere else (the same reason that GTA hasn't ventured outside of the USA, one obscure, old expansion pack excepted). Canada, which was occupied by the USA during the war with some sort of resulting culture clash, might be a possibility. Maybe even China, as the other nation in the war and if Bethesda are looking to open up the global appeal of the franchise. If it is Europe, I think somewhere like London would be quite likely.
But there's still a huge amount of uncovered territory in the States. We've really only seen California (and only part of it), Nevada, Alaska (very briefly) and Washington DC. New York, Boston, Florida, Texas, Chicago and the Pacific North-West are all waiting to be explored as well.
Next up, MARCO POLO. Sources are saying - in some cases the same sources as who correctly predicted the return of the previous episodes - that a fan in the 1960s recorded the serial off the TV and this has been preserved, but without sound. Fortunately, several audio recordings of the whole thing exist, so that can be fixed.
This may sound ludicrous, but the first commercial home recording equipment was actually released in the UK in 1962. It allowed you to record onto 16mm spools of film. The blank spools of film were astronomically expensive, which prevented the system from taking off. However, some limited recordings of classic programmes have come up this way.
I'd stay sceptical for now, but after the same sources were proven right about the last lot it does have some credence.
I think one of the curses of playing the Doctor is that, no matter what role you are playing, you are "that guy who was a Doctor Who"
To some extent. It's a career-highlighting role for many actors because it is such a big deal. That's not to say they haven't done good work before or after (pretty much all of them have), but when you're playing a British institution it's of course going to be extra-notable.
Having said that, Hartnell was a minor British movie star before WHO (with critical kudos for A SPORTING LIFE); Troughton became a well-regarded and reliable comedic and dramatic actor with numerous well-received roles, the last of them in THE BOX OF DELIGHTS; Pertwee was a hugely famous radio sitcom star in the 1960s and later starred in the kids' show WORZEL GUMMIDGE, which was huge in the UK (and I believe Australia) in the 1980s; Tom Baker starred in RASPUTIN and SINBAD before the role (the stuff about him being really obscure is an exaggeration, at best) and has done the voice-overs for LITTLE BRITAIN afterwards, as well as adopting a Shatner-esque, self-deprecating personality; Davison was massively popular in ALL CREATURES GREAT AND SMALL and later a mainstay of 1990s and 2000 ITV drama shows (most recently LAW AND ORDER: UK); Colin Baker was briefly big in a TV show called BROTHERS, but has mostly been on stage since leaving the role; Sylvester McCoy was a big kids' TV presenter and performer in the 1970s and 1980s and is now in the HOBBIT trilogy; and Paul McGann had a number of dramatic roles in the 1980s and 1990s (including in ALIEN 3) and has done a lot of work on stage and screen since.
Of all the Doctors, probably Hartnell, Pertwee, Davison and Eccleston were the most famous when they took the role. Of them all, probably Troughton, Pertwee and Davison had the most successful post-WHO careers. The two Bakers probably suffered the most from their time on WHO (Tom from typecasting, Colin from being fired and perceived as unpopular, which wasn't really the case).
it ceases being a D&D movie and becomes a "that character" movie.
Quite right, and desireable. It becomes a movie set in the D&D universe. That's what D&D as far as films or books is concerned: a common universe. There's no such thing as a 'D&D story' (three films has made that clear) unless it's a GAMERS/ZERO CHARISMA thing featuring people actually playing the game in RL. The mistake the previous three (!) movies made was trying to make an 'archetypal D&D movie' and discovering there's no such thing.