My very first WoW character, created towards the end of vanilla, was a female gnome mage. I still have her—specced the same, too—although I don’t play her as my primary anymore.
Anyway, I was looking for something else on the Internet when I fell into a hole on Tumblr and found all of this AWESOME female gnome fanart. I’ll share just five of my favorites below. And this is just the tip of the iceberg!
An alchemist by Boz:
Love the thoughtful expression!
A custom portrait of a gnome with goggles by Azuralynx (aka Niniel-Gnoll):
The grin! 😀
Sketch of a mage by Bryss (aka Alynissia):
Chromie, the dragon who prefers a gnome humanoid form, by mhazaru:
A death knight by Flyingterra—she clearly means business!
The range of illustration techniques is impressive, but even more so is how all of these artists capture the range of possibilities for gnome characters.
We haven’t talked about music lately. Time to fix it!
One of the new allied races in Battle for Azeroth, the latest World of Warcraft expansion, is Dark Iron Dwarves. (Note: I don’t think there’s much actual info as of yet, but people have been gathering mentions at a Wowhead thread.)
As I’ve mentioned before, female Dwarves are my absolute favorite race / gender combo to play in WoW, so I’m going to want at least one. 🙂 Consequently, my WoW thoughts have revolved heavily enough around Dwarves to push into the real life in the form of music befitting these mountain-dwellers.
Below are some of my current most favorite Dwarf-ish pieces, whether originally something quite different or composed specifically with Dwarves in mind.
The next is a bit special. A music-heavy version of The Lord of the Rings was produced by the Finnish theater company Ryhmäteatteri in 1988 and 1989. Bilbo’s song “I Sit Beside the Fire and Think” from The Fellowship of the Ring, book 2, chapter III (“The Ring Goes South”) was turned into a song for the play, and it’s wonderfully meditative and solemn.
The lyrics were originally translated into the Finnish version (Taru sormusten herrasta) by Panu Pekkanen; for the play they were slightly modified. The melody was composed by Toni Edelmann and sung by Timo Torikka.
This next piece was made by Simon Swerwer for the 2012 computer game Dwarf Fortress:
Lastly, Neil Finn’s “Song of the Lonely Mountain” (the end credits song for Hobbit: An Unexpected Journey) because of the bittersweetness, melancholy, and—just perhaps—glimmer of hope that comes through.
I was browsing my WoW screencaps for something entirely different when my eye fell on two shots from the Dalaran inscription trainer’s place. (This is in the Legion version of Dalaran.) Both are actually from inside the book-filled cupola: the first looks up towards the impossibly high ceiling, the second down towards the trainers’ room floor.
Neat, right? Well, I wondered whether anyone’s actually done anything similar for real and hit the Internet. And I found some!
The library is situated in the neo-Gothic Morrice Hall building that previously housed the Presbyterian College of Montreal from 1871 to 1961.
None of them are exactly the same as the game library cupola, of course: apart from the the scale of the rooms, the scale and direction of the bookcases might differ. But apparently it isn’t terribly far-fetched to make a round multi-storey library and pack it chock-full. 😀
For my Tauren shaman, the Midsummer celebration is very important. It is a time to honor the spirits of the fire, which she does by dancing in her Flamedancer Regalia.
My Gnomish warlock is a different case. You see, when it comes to fire, warlocks are professionals, so the Fire Festival is a bit of a bus-driver’s holiday for her. It’s the one time of the year when people who don’t know what they’re doing try to set things on fire, so if she hung around the festivities she would just find herself screaming at everyone:
“You’ve built that bonfire all wrong! There’s nowhere near enough kindling, the wood isn’t properly seasoned, it’s too close to the tent, and you put it upwind of the dance pole! Does no one here know what they’re doing but me!?”
So, for her, Midsummer is a time to get away from it all and go have her own private little fire way up in the snowy mountains where no one will bother her. She dresses appropriately for the climate in her Aurora-Seeker’s Garb.
I was able to find a decently matching shirt, so it looks like the dress has sleeves (Elegant Robes plus Golden Filigreed Shirt). Otherwise, I pushed the accent colors (headpiece, boots, gloves, shoulders, cloak) more towards red and orange. Finally, I borrowed a red wand and a red flower (Flash Wand, Penelope’s Rose) from my arcane mage’s Love Is in the Air mog.
Juhannus is the Finnish celebration of midsummer. People usually go to a summer cottage, burn bonfires, sauna bathe, and enjoy fresh food.
Or… in our case, this year, stay in town and play! I’ve just started cleaning up my quest lists and churning out the last Legion achievements etc. in earnest before Battle for Azeroth launches in August.
I could even have a juhannus sauna in game. I’m pretty sure one of the Pinchwhistle Point huts in Spires of Arak is a sauna:
Tile floor, wooden benches, a large wood pail, and a stove for heating and making steam—sounds like a sauna to me!
Happy Midsummer! Hyvää juhannusta!
Images: 3-laptop evening by Eppu Jensen. Screencap from the MMORPG World of Warcraft, Warlords of Draenor expansion.
Of Dice and Dragons is an occasional feature about games and gaming.
One of the big recent developments in World of Warcraft is Blizzard’s announced plans to create Classic servers on which players can play “Vanilla” World of Warcraft, that is, the original game as released in 2004. It is something that a fair amount of people want, as demonstrated by the fact that people have been playing homemade versions on pirate servers for years. I first started playing WoW in 2006, shortly before the release of the first expansion. Although I’m not much interested in playing on a Classic server myself, I do feel some nostalgia for the original game as I first experienced it. I’ve been thinking lately about that nostalgia and what it is that makes me remember those early experiences with such fondness.
The Way We Were
Part of my nostalgia for early WoW is separate from the game. I started playing during my last few years of grad school, when I was writing my dissertation. WoW offered a break from the long daily slog of research and writing. I also have fond memories of the tv shows I watched then, the meals that Eppu and I shared, the podcasts I listened to on the commute to and from my adjunct teaching job in the next state over, and other things that distracted me from the work. Also, fairly soon after starting to play, I joined up with a guild (a collection of players who shared an in-game chat channel and played some of the game’s harder content together), and some of my good memories are not so much of the game as of the friends I made through it.
But there is also something about the game itself that stays in my mind. I am nostalgic not just for who I was when I first played WoW but for what WoW was when I first played it, and I’ve been trying to pin down just what it was about the game that made it feel so different from the other games I played then and have played since. The conclusion I’ve come to is: the ideas were good, but the execution was flawed.
2004 was a different time, in gaming terms. While massively multiplayer online role-playing games (MMORPGs) had existed before, in titles like Everquest and Dark Age of Camelot, the MMORPG genre was still relatively new and unfamiliar to most gamers. The Blizzard team that created WoW didn’t have much to go on in figuring out what an MMORPG should be like. Playing through that original game, you can tell that they weren’t working toward a polished vision but were doing their best to translate experiences drawn from single-player games, pen-and-paper role-playing, novels and comic books to a multi-player online format.
Into the Woods
The game world is divided into numerous regions, called zones, each of which has its own map, terrain, and set of quests for characters to complete. Most zones also have their own theme, aesthetic, and background story. One of the zones that my first character encountered early on was Duskwood.
Duskwood was a creepy, dark forest, halfway between fairy tale and Gothic novel. One lone human village, Darkshire, held out against a menacing forest full of werewolves and a decrepit graveyard that spawned undead monsters. The road to Darkshire was a long, lonely path through the woods. Now and then, on either side, your character might see a distant lantern winking in the darkness, but wolves and giant spiders prowling the forest edge encouraged you to stay on the path. Once you got to Darkshire and started doing quests, you began to discover the horrors of the place bit by bit. One long series of quests took you back and forth between the village and the graveyard, doing favors for a crazy old man who lived out there, but if you paid attention to what he was asking you to do it gradually became clear that he had sinister intentions. At the climax of the zone, the old man unleashed Stitches, a fleshy undead monstrosity that lumbered towards Darkshire to attack the town. In your culminating act of heroism before leaving for the next zone, you helped the townsfolk stop Stitches and defend Darkshire.
The aesthetics of the zone were amazing. Everything from the creepy music to the small points of warm light made by the Darkshire torches against the looming forest contributed to the overall feel of Gothic horror. I still remember the thrill of waiting for Stitches to shamble out of the darkness as the NPCs (non-player characters) in the zone called out warnings from the road. The idea of the zone as a sort of Frankenstein by way of “Little Red Riding Hood” was brilliantly conceived.
The execution, though, was full of flaws, missteps, and poor choices. From the perspective of modern MMORPG design, it is clear to see what Duskwood did wrong. A large part of the zone is taken up with the road into Darkshire, where nothing happens and there are no quests to do or monsters to fight. Once you’ve taken that first trip to town, it’s just wasted space. Another large chunk of the zone is taken up with a mountainous area where higher-level players could sometimes fight a dragon, but which players at the level of the Duskwood quests had nothing to do with. Numerous quests, including the long Stitches chain, sent players repeatedly back and forth from one end of the zone to the other, so that a large part of players’ time in the zone was spent just traveling. Now, there are two ways in which WoW characters can travel faster: by riding a mount, which increases your movement speed, or by taking a flying “taxi” service from one designated flight point to another. In WoW‘s original design, characters at the Duskwood level did not have access to mounts, and there was only one flight point in each zone (Duskwood’s was in Darkshire). That meant that an awful lot of time wasted just running back and forth rather than fighting monsters, completing quests, exploring new areas, talking to NPCs, or anything else more interesting.
The execution of the Stitches quest chain, the core of the Duskwood experience, was also shaky. Getting the full effect of the slowly creeping horror required paying attention to subtle cues from NPCs, something that was easy to ignore when focusing on collecting the right parts from the right monsters to complete the latest quest. If you didn’t know Stitches was coming, you might not realize to stick around in Darkshire and wait for its onslaught. With multiple players in the zone, the Stitches attack would be triggered whenever any player got to the right stage of the quest chain, even if there were other players still on earlier phases. The result was a regular stream of attacks that could get annoying: Stitches was notorious for slaughtering lower-level players on the road to Darkshire (death in the game is not the end for your character, but getting yourself resurrected and ready to get back to questing costs time and in-game money), and, while waiting for Stitches to arrive, some of the NPCs in Darkshire would go on alert and stop responding to characters who were trying to do quests for them.
Many other zones in Vanilla WoW were similar: there were fascinating aesthetic and narrative ideas and you can see what the design team was trying to create, but they didn’t always know how to execute their vision or realize how their design would play out in practical terms.
Goblins, Why Did It Have to Be Goblins…
In the decade-plus since its release, WoW‘s design team has learned an enormous amount as the wider gaming community has developed more collective experience with what works and what doesn’t in an MMORPG. The functional design of more recent zones is much more polished, but that practical experience hasn’t always been put to use in the service of equally good aesthetic and narrative ideas. One place where the ideas failed to live up to the execution is Uldum.
Uldum was one of five zones introduced in the Cataclysm expansion, which came out in 2010. Uldum is a desert zone, a fantasy version of ancient Egypt inhabited by cat people. Compared with old Duskwood, Uldum was polished and smooth: quests were laid out to lead your character in a logical progression around the zone, other players’ actions did not interfere with yours, and crucial story transitions were carefully planned so that the world could change as your character progressed through the story. Half of the zone’s quests revolve around helping the cat people prepare for a civil war. The other half of the zone, though… Well… It’s different.
There’s a character in WoW called Harrison Jones. He’s an Indiana Jones parody. Harrison Jones had existed before Cataclysm but he was only used sparingly, in one-off joke quests. In Cataclysm, Harrison Jones took over. Half of Uldum was devoted to an extended parody of The Raiders of the Lost Ark, complete with a Hitleresque goblin antagonist who spoke with an outrageous fake German accent. The questline made extensive use of new technology that allowed the game to render cutscenes—where the game pauses and shows you a short movie—that included your own character in with the NPCs. The execution of this quest chain was flawless, even innovative, but it was still at heart just an over-long Indiana Jones gag.
The Harrison Jones story also thoroughly undercut your character. Rather be the hero of your own story, you became Harrison Jones’s bumbling sidekick. All of the important story moments were up to him, while you were just there to do the grunt work. This storytelling choice did more than make for a boring, aggravating questing experience; it crushed the suspension of disbelief on which the game relies. We play in order to lose ourselves in a fantasy world, to imagine ourselves as heroes whose actions make a difference. Harrison Jones aggressively stomped on that illusion by turning our heroes into unimportant side characters and the game world into one long, tedious joke. The polish of the execution only served to make the hollowness of the idea more obvious. In Duskwood, even though we weren’t any more in control of the story than in Uldum, at least we got to explore it and experience it on our own terms. In Uldum, we’re just along for the ride.
In Duskwood, as elsewhere in the Vanilla world, the ideas were good, even if the execution was flawed. As the mechanical design of the game has gotten better, we’ve experienced a different kind of flaw. When WoW goes wrong today, it’s less because bad execution gets in the way of a good idea than because good execution exposes a bad idea.
Sunsets and Car Crashes
The difference between Duskwood and Uldum, I think, helps explain why I have such nostalgia for Vanilla WoW. In Vanilla, we had to struggle through a lot of poor mechanical design, but the reward for that struggle was a narrative and aesthetic experience that was bold, creative, and expansive. The experience was a bit like scrambling up a rocky cliff face and seeing a gorgeous sunset from the top. The climb itself wasn’t always fun and we might not want to do it again, but the effort it took was part of the experience that made the sunset worth seeing. Uldum, by contrast, was like driving a brand new car straight into a tree.
In the years since Vanilla, the mechanics of the game have been improved in numerous ways. The experience of playing is now smoother, more reliable, and cleaner than ever. I’m happy with that. I don’t miss the old design’s flaws and missteps. Despite some serious mistakes, like Uldum, the aesthetic vision of the game has not, on the whole, gotten worse. Most of current WoW‘s zones combine smooth mechanical design with a polished, well-developed narrative and artistic sense.
My nostalgia for the original game is not because there is anything wrong with the current game. I wouldn’t trade the current play experience for Vanilla. But the maturing of WoW‘s mechanical design means we have fewer experiences of laboring against bad mechanics to see good ideas shine through. There was something rewarding about old WoW that really can’t be recovered.
Will I ever play on a Classic server? Who knows? Maybe. I might make a new character and putter around a little bit, visiting old quests and NPCs who aren’t around any more, reminiscing about what it was like the first time I walked down a certain road or killed a tough monster. But that’s the problem with nostalgia: you can’t discover something a second time. My nostalgia for Vanilla WoW is tied up with overcoming problems that I’ve now gotten used to not having to deal with at all. If I go back and play original Duskwood again, my experience won’t be about uncovering the secrets at the heart of the dark forest, it’ll be about cursing the designer who made me walk all the way from one end of the zone to the other again, just to be squished by someone else’s Stitches halfway there. I could only consider seriously playing on a Classic server if the improved mechanics of the modern game were brought into it, but that would defeat the purpose of a Classic server.
Still, there are clearly plenty of people who feel differently, enough of them that Blizzard is making servers just for them. I wonder what it is that appeals to those players. What are they nostalgic for that’s worth going back to? What makes playing through the clunky mechanics of the old game worthwhile from their perspective? If you’re one of them, please share. I’d love to hear about what draws you back to Vanilla.
Images: Screenshots from World of Warcraft
Of Dice and Dragons is an occasional feature about games and gaming.
As a word nerd, I love puns. Nevertheless, I usually keep my RPG characters’ names pun-free if the setting or play style demand it, because I don’t want to ruin anyone’s enjoyment.
Likewise, in World of Warcraft, my hunters usually have appropriate names for their tameable companion pets. Since pet battling is so much more meta than anything else, I do go all out naming my pet battle pets. Here are some I find most groan-worthy.
Chuck is a pet crocolisk and a fishing quest reward. I’ve seen people joke about Chuck Norris, but I haven’t yet had anyone recognize my Burn Notice reference (Chuck Finley is an alias for one of the POV characters, played by the legendary Bruce Campbell).
The floating ghostly skull named Bob is a reference to Jim Butcher’s Harry Dresden books.
The lesser voidcaller has a chance to drop from High Astromancer Solarian in The Eye. Mine is named for a muddled-up pun on the word avoidance and the fact that it’s a voidcaller. Not perhaps my best, but good enough of a name to keep.
Mirror striders can be found just hanging around in The Jade Forest in Pandaria. The name for mine is a bit esoteric: in the Finnish translation of The Lord of the Rings, Aragorn’s nickname Strider is translated Konkari; Konkari spelled backwards is, you guessed it, Iraknok.
Willy is another Children’s Week quest reward. Appropriately, as a reference to another child-related work (Charlie and the Chocolate Factory), I named mine Wonka.
I can’t remember how I got my worg pup. I named mine Never Lupus, because whenever House encounters a case that defies his diagnostic abilities in the eponymous series, he always says “It’s never lupus.” We must’ve been just watching it.
My bound stream is called Dammed. Because that’s how you describe one. This one reminds me of a crossword puzzle clue, but AFAIK isn’t.
Any good pet names—of any kind—you want to share? Please do!
Images: screencaps from the MMORPG World of Warcraft
Of Dice and Dragons is an occasional feature about games and gaming.
WoWable has a fun new thing going on: a transmog contest! This edition’s theme is the Love Is in the Air, an in-game version of Valentine’s Day.
I had a tough time with this until I was doodling around in Suramar on my arcane mage. I’ve long loved the star-filled under-canopies that some of the trees have in Suramar City, but for some reason I hadn’t noticed before that the stars slowly rotate. (Manna from the heavens, almost literally. They rotate! It’s a WoW planetarium! Or plant-etarium…?)
The stars in the under-canopies alone made me love the City. And as if that’s not enough, Suramar City has so much more to offer: interesting buildings and streets, parks, intricate textiles, little squares, shops and residences, plus canals and gondolas. It’s an intriguing place to wander around, but the rotating (did I say already that they rotate?!) starfield canopies made the City go to the top of my romantic places list.
My screencap is from a small area in the outer rim of the City in the south west. (I haven’t noticed whether it has a name. It’s an outer edge of the Lunastre Estate.) It’s not a park or garden or anything fancy, just a widening of the promenade. However, it happened to have the right combination of elements that appeal to me: the gorgeous Suramar paving stones, lots of flowerbeds and bushes, those plants that look like ornate lanterns, hovering planters, the trees with the rotating star canopies, and a sunset (as it happened) in the background, as well as palanquins that look just right for two people to have a ride in. Just perfect for a mage moonlighting as a singing telegram for the holiday to stop and rest in between delivering messages and flowers.
WoWable has a fun new thing going on: a transmog contest! Check it out here.
This edition’s theme is the Darkmoon Faire, a monthly off-kilter carnival that brings players together for fun mini-games and profession quests. The transmog challenge is: “If your character lived/worked on the Darkmoon Faire, what would be his/her occupation?”
Here’s my dwarven hunter. If she worked at the Faire, she would be the in-house veterinarian because she loves all creatures great and small—but especially the great! A giant elekk is just a big puppy to her. Now, when you’re caring for weird giant animals from all over the world and beyond, that means dressing appropriately for the possibility of getting poked, bitten, and just maybe breathed fire on, so this is the sort of practical gear she would wear around the menagerie.
My dwarven windwalker monk would be a fire juggler at the Faire. I don’t really role-play her, but I think of her as a shamanesque monk, interested in the various elements. And as a windwalker, in my headcanon she’d be able to propel the torches in very showy ways.