Earth_Poet
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I know you said only for star and evil tree, but I wouldn't bother spying on penguins each week without the clan chat. I would think it makes it easier to find the star and evil trees. Heck, a Jagex Mod was even organizing groups to get Evil Trees on the day of their release.
Sure there may be some freeloaders, but I would think these events would be more fun to attend with friends.
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I doubt it to be honest, Jagex has been adamant all along that horses would never be added to the game.
never read anything about that before
It used to be on a sticky in the RSOF do not suggest list, but surprise! It's not there anymore.
It is extreamly hard to run Runescape. Adding a new skill would cause too much trouble for the Jagex moderators.:? How long have you played? Jagex always adds new skills to the game.
On topic: Aside from the "cool" factor, what uses would it have? In other words, how would it tie in to already existing game content. As it is, teleporting would still be a faster and more efficient method. If it created an advantage for combat, then would they have to retool our combat levels again for this?
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I read all the articles as i always do (except the fictional :? ) and liked thme all
but i have a question reagrading the did you know tid bit. Ieve never heard of a castle wars bracelet and when i tried to look them up on tipit item database there was no such thing. Any answers here?
It's an enchanted emerald bracelet.
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I liked the second one too. I like MMG telling us stuff in his chat, but I do wish they released more updates. I have heard a rumor that Jagex is working on another MMO, which could explain the slowing down of updates, and the more maintenance type of updates. Yes its called Mechscape.
This question has been asked before, and Jagex's response has been that Mechscape has their own separate crew independent of Runescape.
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Sure the amount of content so far this year has been disappointing, as has the content itself but it didn't come as a surprise if you'd paid attention to what Jagex have been telling you.
No, it's not a surprise as Jagex did mention this last year. It was my fault for assuming that meant we were trading in quantity for quality. Most people were in favor of doing away with a barrage of weekly mediocre updates in favor of one big update a month. I think there was even a poll showing that awhile back. I find it hard to defend them when, in your own words, "the amount of content so far this year has been disappointing."
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Second, the way armor and defense is set up is a bit too one-sided in my opinion. Having high defense with good armor in no way affects how hard you will be hit. It will only determine how often you will be hit. This is a key component on why defense is so underpowered compared attack and strength. High defense is great for endurance fights, but not as effective in 1v1 fights.
Actually, there was a post by a J-Mod on the forums some time ago- don't remember exactly when- that said wearing better armor does in fact decrease the max hit of the monster/player attacking you.
Fair enough:
Defence refers to the chance you have of being hit. A higher Defence level makes you a tougher warrior, giving you the ability to last longer against any foe.To train Defence, you should select the 'Defensive' option from the Attack style screen (to find out which style is which, scroll your mouse over the icons).
A large part of Defence is armour. Having more resilient armour, combined with a good Defence level, will minimise the chances of being hit.
I showed you mine, now you show me yours.
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Tug of War was a really interesting read. I tend to prefer solo monsters myself.
Diaries of Development:
which reminds me of how they used to be back in Runescape Classic, where youd often find Andrew or Paul in game talking to players about what they think of updates.You've honestly been playing that long, huh? Early, early Classic days. Anyways, I think most players are getting frustrated with the slowdown of updates. It's late April and we've so far had 3 quests, 1 minigame, and 1 Distraction and Diversion. My expectations are on something real big coming this summer now, because the beginning of this year has been dreadful. I appreciate that Jagex is being more opened, and I understand not wanting to corner yourself into a release date with BTS, but there's a reason why we have deadlines. It's the same reason you have one yourself at the Times. It's because if you didn't have a deadline, nothing would ever get turned in and nothing would ever get released.
As an adult over 30 myself, How I Came to Play Runescape was an interesting read. I sorta stumbled on to the game myself as well, and I enjoy it for the same reasons she does.
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First, having a "universal" armor set as you suggest might throw off the combat triangle, and in the end only weaken mages/mage hybrids even further. You're not only gaining stacked defense bonuses, by layering melee armor with dhides you're gaining defense against all 3 combat styles across the board with relatively no restrictions except to mage.
Second, the way armor and defense is set up is a bit too one-sided in my opinion. Having high defense with good armor in no way affects how hard you will be hit. It will only determine how often you will be hit. This is a key component on why defense is so underpowered compared attack and strength. High defense is great for endurance fights, but not as effective in 1v1 fights.
With all that said I wouldn't mind seeing an improvement to defense and armor along the lines you suggest, but I would like to see your armor bonus calculated in to the equation on how hard you could be hit, while your defense level would affect how often you will be hit. As it stands right now, PVPers have the chance to practically one-hit opponents even with 99 hp. I've heard suggestions on raising the max hp level to compensate, but it would seem more logical to reexamine how defense is structured into fighting.
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Sorry folks. I had a busy day today. I posted a rough instruction for rhyming, but I plan on updating this and making it more thorough in the future. I'll try to post the guide for meter in a few days. I want to take my time with that one, because it can be a difficult subject to explain.
@ratchet= I still like the idea. I do agree with the mod you spoke with said though. This isn't a writing site, and so I guess we're lucky to even have the VL. At the same time, if we did grow then it would seem logical to create a subforum within the VL for the Coffee Shoppe. It could be dedicated for serious discussion and critiques, and maybe have an access restriction like the Falador Library has. I wouldn't want to scare off people who just want to come here and share, and end up finding a big discussion on writing like it was science class.
@NOM = I see you already bumped it up, and I'll go take a look at that tomorrow.
I'm happy to see a growing interest here.
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[hide=On Enjambment]To be honest, I wanted to address the topic of line breaks, and the different techniques to give people an idea. I came across a few poems on this forum that ended every line with punctuation. Both end-stopping and enjambment are perfectly fine to use. The problem I saw was authors would sometimes cut up sentences with commas, splice sentences to together with commas, or end fragment sentences with a period. Usually, this stems from a belief that every line must end with punctuation. I wanted to point out that it is okay to continue your thought to the next line.
But you asked a very good question, and to be fair I should try to answer it. I would argue with archimage that enjambment is not an archaic form as he implies. In fact, I see more living contemporary poets today using enjambment than not. In relation to Shakespeare, we all know he wrote all of his plays in iambic pentameter, but his earlier works were mostly written with end-stops. Later in his life he began using enjambment to imitate a more conversational tone. Shakespearean scholars tend to date his undated materials by judging the frequency of his enjambed lines. I also want to point out that enjambment is not confined to free verse poems. Believe it or not, Ive come across some fine sonnets using enjambment. Using enjambment is not something to be arrogant about either. Its really a minor thing in the whole scope of poetry. Yes, many of the literary terms may sound like jargon, but thats the case in almost any field of study. I can be in a room full of doctors and not understand a word they are saying. Its not as important to memorize the terminology, as it is to recognize it and understand what it does. The terminology is really just something that we can use to identify whats going on.
Back to the question, whats the point of enjambment? Enjambment can be used, just like Shakespeare did, to create a better conversational flow in the poem. End-stopping tends to leave a hard pause at the end, essentially finalizing the stream of thought. Enjambment is a lighter pause at the end of the line, allowing you to make a subtle point while blending it into the next line. Enjambment can also be used to create tension at the end of a line before releasing it in the next line. Lets take the example I used in the guide:
Daddy always hated seeing meRide my bike without a helmet.
If I were intending on writing a poem about a difficult relationship with my father, then the first line has created a subtle tension that could serve to preface the rest of the poem. It would be subtle enough to seem unintentionally intentional, almost Freudian I would say.[/hide]
[hide=A word about C/C]C/C (or c&c) is short for comments and constructive criticism. It is important to remember that a c/c is nothing more than an opinion. Everybody tends to c/c work differently. Some want to completely rewrite your work in their own style. Some want to flaunt their knowledge of terminology. Some only offer their own interpretation of what you wrote. It really isnt important what style of c/c you receive. Out of every ten people who read your work, about one or two are going to really, really get you. They will seem to really understand what you are trying to do. These are the people that will be most important to you, and these are the ones you should pay close attention to what they have to say. In simple terms, they are your target audience.
The author has the luxury of taking some, all, or none of the advice given. I always keep this in mind when I offer a critique, so that I can feel free to say whatever I want. I dont blow in to critique someones work to try to show people how awesome I think I am at the expense of someones ego. The real secret is I critique others works because it helps me. It helps me to better identify what I feel works and what dont work. The more critiques I do, the clearer my own identity becomes. This helps me play on my own strengths while I work on my weaknesses.
The c/c you really have to take with a grain of salt are the ones that say nothing more than Thats great! or It sucks! because it offers no insight. Heck, you cant even be sure that they read it! What you want to know is why they think its great, or why they think its bad.
With all that said, I understand that this forum sort of straddles the line between a workshop and a vanity site. Some people post looking for feedback. Others post looking for help with a school assignment. Still, others post just to share and have fun. Unless the author specifically tells you what they are looking for, it can be tricky to know what kind of feedback to leave. The atmosphere in this forum is relatively polite, and that can make it quite inviting and refreshing to come here. In the real world, you are going to run into a lot of know-it-all smartasses who want to tear you down. It forces you to develop a thick skin about your own writing.
As a suggestion, for every one poem or story you post you should consider leaving 2 critiques for someone else. There are two reasons for this. The first is to help you get comfortable on learning how to critique as I outlined above. The second reason is its the polite thing to do. If you expect someone to read your work, then you should be willing to return the favor. If you are unsure of how to start critiquing, start by giving your interpretation of the poem or story, and mention anything that you liked or didnt understand.[/hide]
[hide=response to archimage]In a prose environment, this would be a matter of character development versus plot development. Both qualities are essential in my opinion. Typically, I wont read past the first 50-100 pages of a book if I dont care about the characters. If I dont care about the characters, then that means Im not going to care what will happen to them.
The flip-side to this is that if the plot isnt moving along then Im going to get bored really easy. Charles [bleep]ens would have a harder time publishing a novel like Great Expectations in this century, because we dont want to read about somebodys entire life from birth to death. We want to jump right to the action. As a result, we as writers are forced to begin our stories right when disaster strikes our protagonist, and do our best to fill in the background as we go.
Shakespeare and the Greek plays used to develop their characters with soliloquies because they had to overcompensate for what they lacked in effects. It was important that the audience could understand what was going through the characters head. Were not going to see Bruce Wayne in the next Batman movie step up to the front of the camera and deliver a four-page monologue on what he is feeling to the audience. It would bog down the plot movement.
What you gave was a good example of a character development exercise. It gives you, the author, a better understanding of the nature of your character, and how he might think and feel in certain situations. It is important to find the background of your character, however it runs the risk of slowing your story down and making it boring.
Im more of a plot-driven fan. Its good to know what your characters are thinking, but you dont want to drown out your entire scene with it. This process is called character internalization. Its important to remain focused on whats happening on the stage, and that means outside of your characters head. Your story should flow something like this: Something happens/Your character reacts/Your character internalizes what just happened, Something happens/Your character reacts/Your character internalizes what just happened.
The list of character traits you provided at the end are indeed valuable though. These are details you can throw in to flesh out your character as the story progresses.
Overall, I agree with your idea of writing constructively. Exercises such as these will help you better understand the details of your character and setting, and help you create a more vivid world.[/hide]
Very good guide, deffinately what I was looking for when I got the idea for the Coffee Shoppe. I might need to do something with it now that it has been rediscovered from the depths of the second page.I think it is a great idea, and you should do something with it. Maybe it could become a subforum? That way discussion threads won't drown out people wanting to post their work. Whatever you choose to do, I'll be interested in seeing it.
Would you consider writing another guide soon about writing this time? Like writing stories?I've thought about it after we finish this one. I would like these guides to become a collaborative project from all of us. Maybe archimage could help me write a prose guide. ;)
Nom, I do like the imagery in that stanza. I'll try to post something more about it later. I hope to finish this guide by tomorrow.
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Ratchet573 and the Coffee Shoppe inspired me to write this. I thought I would try my hand at offering a crash course on writing and reading poetry. Feel free to ask any questions, point out any flaws, offer any insight, or just discuss. Over the next several days I hope to update this with more information.
Update 1.1 = updated with the Rhyming guide, would like to revise this and add more to it later. feel free to post any comments or corrections needed
One of the most common questions I hear is, How can I become a better writer? The most common answer you will receive is, You need to read more. There is truth to this answer, but it still makes me cringe when I hear it. Its too vague and offers no direction for the writer to go. Its not just about reading, but learning how to read more effectively. In order to become a better writer, you have to learn how to think critically about what you are reading.
If you are reading this, I will assume that you already have an idea about what poetry is. This lesson will not be an attempt to teach you how to write poetry, but instead try to offer you some tools to help make your poetry better, and to help you read critically by recognizing what other authors are trying to do. Over time, reading more poetry will help you better identify your tastes. You will be able to see what works for you, and what doesnt work. This will help you apply those same principles to your own poetry.
[hide=What is Poetry?]What is Poetry
Its ironic how the simplest of questions can be the hardest to answer. This is something that cannot easily be summed up in this post. The problem is, for every definition you try to give there are ten examples that defy it. At the risk of sounding abstract, defining poetry is like defining beauty. We cant quite put our finger on it, but we recognize it when we see it.
What I do know is that poetry isnt a spurt of creativity. It is a craft. It can be learned and it takes practice to get better, just like in music, athletics, cooking, woodworking, potty-training, tying your shoes.almost anything. Talent will only take you so far without learning the fundamentals. On the surface we could say that understanding Literature is subjective, but on closer inspection one will find that patterns emerge through centuries of tried and proven experiments. In order to look to the future it is important to understand what has come before.[/hide]
[hide=Line Breaks, End-Stops, and Enjambment]Linebreaks
One recognizable trait of poetry is the tendency of line breaks. Line breaks are when a line in a poem ends, and a new line begins (sounds obvious, huh?). To illustrate this point, lets take a common poetic phrase. Where do you think the line break occurs in the following: roses are red, violets are blue? Most of us have probably heard this phrase before, and we would naturally see it written like this:
Roses are red,Violets are blue
Each line seems to contain an independent thought. There is no set guideline on where to put your line breaks in a poem. Ultimately, this is left up to the authors discretion. The author has to make the decision on where each line can be left to make the most sense for the reader, and deliver the best impact for each line. What if we chose to write the previous lines like this:
Roses areRed, violets
Are blue
Technically, if the above is read correctly, there is no difference in the poem, but visually we can see a huge difference in the dynamics. Something simple has now become a puzzle for the reader to solve. The first line leaves an incomplete thought for the reader. Roses are.what? The reader has to move to the second line to finish the message, but now the second line becomes tricky. We want to read the second line naturally as red violets. Its not until the third line that we can begin to make sense of it, but now we are forced to backtrack in the poem in order to mentally put it in order for us.
Sometimes choosing your line breaks is more than just making it coherent for the reader. Where you choose to end a line can have an impact on the tone of your poem. Consider if we began a poem with this line:
Daddy always hated seeing meThis line has already set a powerful mood with the reader. The reader is now speculating on the relationship between the narrator and her father. Now suppose the poem continued like this:
Daddy always hated seeing meRide my bike without a helmet.
The second line counters the mood the first line left. We have shifted from an unloving father to a concerned parent. Eventually, the reader will probably get the message, but the tone has already been set. Regardless of how the poem continues, the first line has already created a message to the reader. Your audience will be looking for evidence throughout the poem to support your first line. If your intentions were to subtly portray an estranged relationship with your father then this line break would be appropriate, but if you werent intending on painting Daddy in a negative light then we would have to consider a revision. We could even go so far as to say the first line would be a red herring, or something that can distract or mislead the reader.
Another point I would like to make considering is what word to end your line with. A line break can serve as a quick mental pause while reading, and ending your lines with simple words like a, an, the, or, for, etc. can leave the strength of your line limp. Consider a bigger word that could leave more impact. Some examples could be, fire, murder, holy, etc.
In the end, it is the authors choice on where he chooses to break his lines. This article should help you make better decisions on how to improve your poetry, one line at a time.
End-Stops and Enjambent
A common mistake among many beginner poets is trying to end every line with an end-stop. Though having every line an end-stop is not incorrect, the beginner poet tends to want to force an end on every line. This can create comma splices, sentence fragments, and awkward phrases in the false hope of meeting some requirement.
End-stopping is ending the meaning of a line with the last word, usually marked by punctuation. The opposite of this effect is enjambment, which carries the flow of the meaning from one line to the next without an artificial pause. Though poetry is typically observed as abstract it is still essential to do your best to follow the rules of grammar. Yes, there are exceptions to this (e.e. cummings), but it would be wise to demonstrate a mastery of the rules before making artistic choices to break them. (An important tip for all of the aspiring students out there to remember is that in a classroom environment, proper grammar will always score points with your professor.)
Before we continue, lets take a look at an example of each technique. Each of the following are from Shakespeare, borrowed from Wikipedia:
A glooming peace this morning with it brings.The sun for sorrow will not show his head.
Go hence, to have more talk of these sad things.
Some shall be pardond, and some punished.
I am not prone to weeping, as our sexCommonly are; the want of which vain dew
Perchance shall dry your pities; but I have
That honourable grief lodged here which burns
Worse than tears drown.
The first example demonstrates complete end-stops on each line. Every line completes its thought with a period. The second passage shows an example of enjambed lines. Notice how the thought flows from one line to the next. Even though we are aware of where each line ends, the correct way to read poetry is to follow the punctuation, which is why proper grammar can be important. The reader should be able to write your poem out in sentence structure and still see a coherent text.
The choice of end-stops and enjambment are the authors choice. Usually, a balanced mix of both seems fine. Whatever method you choose, consider this:
It is not necessary,to finish every line,
with a comma.
Try practicing your line breaks, end-stops, and enjambments. Hopefully, you will be able to avoid mistakes like the above quote.[/hide]
[hide=Imagery]Imagery
Imagery is one of the most important tools in the craft of writing, yet one of the most overlooked by the novice. While imagery is important in prose, it is nearly vital in poetry. As writers, we have a tendency to want to speak from the inside. We internalize, and therefore look to express ourselves through emotion. While this is an important quality, it should be secondary to the imagery presented. Using imagery in your writing will help connect your readers to the story.
What is imagery? Imagery is using descriptive language that invokes one of the five basic senses: sight, sound, touch, smell, and taste. It is important to remember that imagery expresses outside experiences. It can be the bitter taste of hot coffee, and how it warms your belly. It can be the think, black smoke billowing from a factory fire and tightening in your lungs. It can be the creamy, smooth skin of a lover. It can be the golden flakes cast on an ocean from a setting sun. When reading, you should ask yourself the following questions:
What do I see?
What do I hear?
What do I feel?
What do I smell?
What do I taste?
You may not find an answer to all of the questions; its not necessary that a poem addresses all five senses, but you should find a clear example of at least one or two in the poem. See if you can spot the imagery in a famous poem by Langston Hughes:
What happens to a dream deferred?Does it dry up
Like a raisin in the sun?
Or fester like a sore--
And then run?
Does it stink like rotten meat?
Or crust and sugar over--
like a syrupy sweet?
Maybe it just sags
like a heavy load.
Or does it explode?
In this poem, Hughes makes use of effective imagery with the use of similes and metaphors. Fester like a sore offers a sense of touch while stink like rotten meat creates a sense of smell. Crust and sugar overlike a syrupy sweet has both a sense of sight and taste.
It is important to not solely focus on the emotional nature of your characters. Using imagery can be a clever way to create an active scene for your readers to follow while hinting at the internal emotions of your characters. Suppose you wanted to describe a battle scene. There would be plenty of stimuli to choose from to make your point without succumbing to an exposition of how your character is feeling inside. Heres my attempt off the top of my head:
I could hear the brutish warcryof our enemy through the thick haze of smoke
that choked my lungs and burned my eyes.
A copper taste of blood filled the air
with bodies stacked on the ground.
I grasped the hilt of my sword and thrust it into the belly
of a warrior crossing my path.
A shocked look appeared in his eyes.
Why is this happening to me,
he wanted to ask.
I had no answer for my brother of war,
Lines were drawn at birth to decide
Who will live, and who must die.
Okay, its not a masterpiece, but it demonstrates the use of imagery. Instead of explaining my characters feelings of war, I attempted to show the reader with an active scene. The hope is that the reader can use his imagination to picture a real battle scene. This would help draw the reader into the world I created, and thus have more sympathy for the characters within and the message I want to convey.
The tricky part is that people could interpret my character in several different ways. A general rule is that once you unleash your writing into the world, then the meaning of it no longer belongs to you. Therefore, it is the writers responsibility to ensure that as much of that meaning will remain intact when it reaches the hands of your audience. Using imagery to create a specific setting will help your readers step into your world. Generally, the more specific you can be, the better.
Another point Id like to make is when you choose to use descriptive language, be careful not place such a heavy emphasis on adverbs and adjectives to do all of the describing for you. Well-chosen nouns and verbs can help eliminate unnecessary words and create a clearer image. Suppose I wrote, The man died. Although the sentence may be grammatically correct, its dull and wooden. Instead, what if I chose to write, The man was murdered. Now we have something interesting! What if I took it a step further and wrote, The priest was murdered. I took one sentence, changed the noun and verb, and made if far more intriguing without having to add anything.
When you are reading, try to identify any imagery the author uses. Examine how your favorite authors choose to describe something. And when writing, remember that imagery and the use of descriptive language can be the bridge between your imagination and your readers.[/hide]
[hide=Rhyming, Alliteration, and other Phonetic Techniques]Its important to reflect on some of the history of poetry, and its ancient purposes before discussing this section. Some historians theorize that poetry is older than the written word, perhaps even as old as language itself. Some of the oldest known literary works are epic poems, the oldest being Gilgamesh. The prehistoric poet served as a storyteller to their tribe, passing down their stories from generation to generation. Without written word, it was vital that stories were preserved in memory. The real king Gilgamesh is believed to have lived centuries before the oldest tablets discovered were written. Scholars believe the Iliad may have been recited for centuries before the art of writing came to Greece. Thus, poetry began as an art of spoken word.
Poems are composed for memorization through the use of rhythm, repetition, and other sound devices. The rhythm represents the meter (among other things) in a poem, which we will discuss in the next lesson. Repetition is the repeated use of phonic sounds.
Everybody understands the general concept of rhyming words. Rhymes are the most recognizable traits of poetry today. Rhyming is using words that sound similar (ex. boy, toy; cat, bat). In poetry, there are numerous rhymes, and numerous ways to use a rhyme.
The end rhyme is the most common form of rhyming in poetry. This method uses the last word in a line of poetry to rhyme with the last word in a different line. An example would be in the final two lines of Dylan Thomass Do not go gentle into that good night:
Do not go gentle into that good night.Rage, rage against the dying of the light.
In the above couplet, night and light are used at the end of each line to form an end rhyme. Many verse forms employ a rhyming scheme, such as the sonnet.
Internal rhyming is using a rhyme within the same line. An example would be in Percy Bysshe Shelleys poem, The Cloud:
I bring fresh showers, for the thirsting flowers,From the seas and the streams;
I bear light shade for the leaves when laid
In their noonday dreams.
In the above example, we see the first and third lines contain internal rhymes (marked in bold), while the second and fourth lines contain an end rhyme.
There are more sound devices than just rhyming though:
Alliteration is the repetition of the initial sounds in words. Most say only consonant sounds, but I tend to define it as either vowel or consonant sounds (ex. The fool flipped when he found the fire.).
Assonation is the repetitive of vowel sounds in words, such as date and fade.
Consonance is the repetition of consonant sounds in words, such as twinkle and bunker.
See if you can spot the alliteration, assonance, and consonance in this poem by Theodore Roethke:
Root CellarNothing would sleep in that cellar, dank as a ditch,
Bulbs broke out of boxes hunting for [racist term]s in the dark,
Shoots dangled and drooped,
Lolling obscenely from mildewed crates,
Hung down long yellow evil necks, like tropical snakes.
And what a congress of stinks!
Roots ripe as old bait,
Pulpy stems, rank, silo-rich,
Leaf-mold, manure, lime, piled against slippery planks.
Nothing would give up life:
Even the dirt kept breathing a small breath.
These are a few of the basic sound devices poets use to create a melodic flow in their poetry. It is not a complete list, but it should help you identify some of the basic structures found in poetry, and assist you in applying some of those same structures to your own work.[/hide]
Still to come:
[hide=Meter]Coming soon[/hide]
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...authors can get together and talk about writing in general, perhaps write tutorials on writing...
If nobody objects, I wouldn't mind posting something like this to get a discussion rolling.
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There was a time when the KBD was the big man in town. Then came along Jad and the Kalphite Queen. Since then, more and more big-named monsters have been moving in and looking for some elbow room. So heres the question, who do you think could cut the mustard as Runescapes final boss? Is it in the GWD? The Corporeal Beast? Or is it one of the old-school favorites? Or is it catching a KO of a famous player?
Post here who you think has what it takes to be the Final Boss. Feel free to share your stories of your best (or worst) kills.
Edit: Somehow this got interpreted as a Questionnaire, so I guess that means DON'T share your stories or give any discussion, but just answer the question and move on. :wall:
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I think it came with the introduction of slayer points.
Used to be you cannot get 2 tasks in a row, ever since Smoking Kills you can. It can be good or be bad.
I could've swore I remember always doing consecutive Hellhound tasks before Smoking Kills. Am I remembering wrong? Are you SURE about this?
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Nvm. I just answered my own question. Thanks anyways. Can be locked now.
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This is a joke. A merry jest. The writer is PRETENDING to be a PARENT. A technology fearing parent.
QFT
I hate to say it, but y'alls replyin to a troll blog.
Hey, whatever gets the post count up.
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Dammit, I've played Runescape for quite a long time, when am I going to be fat!?
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:sigh: What happened to the good old days when video games made you kill people?
On a serious note, while this blogger may have a few things accurate, they obviously don't know much about psychology. Hopefully, by the time a child begins playing a game like Runescape, they're psyche is already pretty well developed to be able to distinguish things like this:
They can suddenly be brainwashed that eating immense amounts of food can help them live longer or heal faster from a simple cut or bruise. And that 'brain stamp' the game causes can harm their lives, making them obese and shunned by society for it.or this...
And parents, get your child off Runescape before you see him wolfing down ten steaks with the excuse that the dog bite nearly made him respawn in Lumbridge, save him before the damage is really done!!!!What one person sees as 'mindless clicking' another sees an enriching and fun place.
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I have a simple question.
Where is this notion coming from that the moment F2P players enter the forums that it is going to be spammed like crazy?
Maybe I'm the only one who has noticed this but ALL of the spam in the RSOF is from PAYING MEMBERS.
How can anyone make such an assumption and judgement, saying that members are far superior to free players, when they really have no clue?
Everyone at some point was a free player. So when do you go from being useless to superior? The moment you pay 5 bucks? Gimme a break!
It doesn't matter if you dish out 5 bucks or not because, like in any grouping of people found around the world, you are always going to have a minority of smart people and a majority of dumb people. This can be seen now with a few members posting sensible topics and the majority of them whining about non-sensible stuff. With 250,000 more players joining the forums, I'd think that ratio is not going to change one bit.
The sooner people realize this, the better!
You are right in that respect. Every group is made up of a few winners and a whole bunch of losers. However, they aren't making decisions of your maturity based on your total levels. Jagex is assuming that being a "high-level" player will mean that you have more to lose. This means they hope you will consider not risking your account getting banned by spamming their forums. Spam may seem bad now, but if they opened their forums to everybody you would see them burn. Ex-players with a grudge, bots, advertisers, anything you can think of, just because they could keep making lvl 3 throw-away accounts.
Personally, I used to think it was fair for forums to be members-only, but the RSOF have gotten so ridiculous that I rarely travel there anymore, especially since the GE.
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I've forgotten all those and more:
Forgot my spade in lvl 50 wildy while doing a clue.
Forgot my antifire shield when going to fight dragons.
Forgot to bring teleport spells at all sorts of places. (Thank you hometeleport!)
Forgot to recharge prayer before heading to battle.
Forgot to eat and restock my low hp before heading to battle. (Fun to arrive at GWD or Mith Dragons and realize you have 20 hp.)
Forgot my charms while training Summoning.
Forgot my bones while training Prayer.
Forgot my essence or to fill my pouches while RCing.
I have about a dozen tinderboxes because I would keep forgetting them.
I'm sure the list goes on. Great thread. I love laughing about the foolish things I do. :lol:
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This is a paragraph from an article I wrote for the Tip.It Times a couple of months ago. This paragraph talks about Hunter. It was meant to be a joke, but wouldn't it be cool to see in the game? :P
[hide=]Right out of the gates in 2006, I have to admit the skill always felt unpolished. Even the skillcape emote felt like a letdown. This was the first skillcape and emote released since their inception. I was anticipating an awe inspiring theatric performance. Maybe it could start out hiding in a bush, only a pair of eyes blinking and waiting patiently for my prey. A hapless unicorn strolls by in search of a lush patch of grass to graze on. Suddenly, I jump out from the bush armed with a buck knife and a loud war cry. I bring the unicorn down with a series of thrusts before slitting its throat. Blood spurts in a fountain over my naked body as I lift my hands in the air in a display of carnage and triumph. Now thats an emote! Needless to say, I felt disappointed in the end.[/hide]
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What would you suggest for some alternate emotes? What I'm getting at is a lot of emotes are the only possible emotes, any others would not make any sense.
Prayer - would you suggest burying a bone? LOL
Ranging - shooting an arrow, yup that about sums up the skill.
Fletching - making a bow... hmmm...
Thieving - sneaking... what else could it be?
Smithing - making various smithing items.... what else?
Herblore - making a potion... how could that be replaced?
Farming - growing flowers... irreplaceable IMO
Woodcutting - what else do you do in the skill besides cutting trees?
All of those skills would be nearly impossible to find an alternate idea for.
Boy, you have no imagination, do you? He's not demanding new emotes...he's asking what would you like to see your character do alternatively. People want to shut down everything, and be like "you can't do it." Here's an old proverb for you: "Those who say it cannot be done should not interrupt the people doing it."
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The Times is what drew me to Tip.It. It gives me something to internalize for the rest of the week. They are often insightful and thoughtful, and at times can even be controversial. Everything you want in a discussion.
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If you look at the combat spells, even fire spells require more air runes to cast.
Water runes are needed for Ancient spells.
What about Earth runes? Well, like others have pointed out, Fire runes are one of the most common rune drops in the game.
Also, Fire runes ARE one of the quickest runes to craft. It's just that most people choose profit instead when it comes to RCing.
Jagex & Tip.It Interview discussion thread!
in General Discussion
Posted
ok...umm...well...
Thank you Tip.It for working hard to put together such a great interview. I only wish Jagex could've been a little more forthcoming in certain areas. They certainly play their cards close to their chest.
Still, some questions bore a few interesting responses, and I hope this is the beginning of things to come.
My question for Tip.It: What do YOU hope to gain from this partnership? In other words, what kind of support will you be interested in?