All these kinds of things are going on with your character or team of characters, and we just wanted to get right to smashing the skeletons and getting the loot. A lot of RPGs at the time - the Ultimas and Might and Magics - there was a lot about, you know, you’d make your character and it’d ask you all sorts of questions, and then you’d get this background, and there’d be this big adventure story. It wasn’t about story or anything like that. Get the MP3 here, and check out an excerpt below.ĭavid: I think that, when we set out to make Diablo, it was - not really much of a surprise here - all about the loot.
I wish I could tell you it’s not literal, but well, it is. In our last segment, Fahey uses a very bad game called Loot Box Simulator to crack open a couple loot boxes for us. So far, no game has figured out a way to overcome the problem that’s not at least a little unsatisfying. In the era of forever genres like MMOs and looter shooters, even the shiniest, hardest-won items have an expiration date. We all arrive at the conclusion that loot, a system originally created for a finite game, is now trapped in an endless cycle of boom and bust. Then, for our second segment, we fire off our spiciest loot-flavored takes. Where did those colours come from? How did they engineer loot to be so diabolically compulsive to collect? What do they think about how incredibly pervasive - for good and for ill - their system has become? Ash Parrish, Mike Fahey, and I begin this week’s loot-focused episode by grilling them about the process of pioneering loot as we know it today. David Brevik and Erich Schaefer were two of the principle designers of Diablo and Diablo II.
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