The Necromancer's Tale cover
The Necromancer's Tale screenshot
Genre: Adventure, Indie

The Necromancer's Tale

Combat in The Necromancer's Tale

In The Necromancer’s Tale you will be involved in various combats – including early-game fisticuffs, skirmishes with the city guards, wild animals, ambushes from unsavory creatures such as gūls which haunt places of death – and some more magical foes. You’ll be supported by various undead minions as well as some mortal allies – depending on your choices in the game.



Combat is turn-based and both sequencing and the number of action points available to a combatant is based on their Agility. The combat system draws on our own award-winning tactical combat game Darkwind: War on Wheels, as well as on our other prototype (unreleased) games and ultimately an Amiga game called Critical Hit which I released back in 1995. The combat system is simple and quick, yet nuanced and augmented by a critical hits system which adds a lot of descriptive flavor along with mechanical effects.



Energy and Activity

Energy and Activity are two very important ratings related to health, which every character has. Each is displayed as a percentage (0% – 100%).

Energy refers to the amount of stamina which a character has remaining. Being hit in combat reduces this, and mortal characters regain energy as time passes. When energy drops to zero, a character falls unconscious. An unconscious character is not necessarily in imminent danger of death, but significant continued damage beyond this may kill them. Certain injuries cause bleeding (unless the character cannot bleed), which causes a continuous loss of Energy as time passes. Without bandaging or rest, a bleeding character will die.

Activity refers to the ability of the character to move about and fight. It is temporarily reduced by certain critical hits (e.g. a broken leg) and by being stunned. When activity drops to zero, a character falls unconscious. When a character’s activity is less than 100%, every physical action they perform (e.g. attacking, defending, or moving – as well as their number of action points) is reduced in proportion. Thus, being stunned can seriously impact a combatant for a few turns.

Energy reduces through physical exertion and becoming tired, while Activity reduces through more serious injury such as broken bones, torn flesh, or concussion.

Weapons

Melee weapons (such as swords or halberds, fists or teeth) are those which are used to physically hit an opponent (at a distance of 1 or 2 hex tiles depending on length of reach), while ranged weapons (such as crossbows and muskets) are used to attack from a distance.

When a combat starts, all ranged weapons are considered to be loaded. After firing in combat, they must be reloaded. The time taken to reload depends on the type of weapon. Muskets, for example, while being the most powerful weapon in the game, are very slow to reload – they take several turns of uninterrupted attention. The game does not track ammunition: a character never runs out of it.

To-Hit Rolls

To hit an opponent, the attacker must have a line of sight that is not blocked by obstacles. The following factors determine how likely an attack is to strike its target:
– The base ‘to hit’ chance of the weapon.
– The distance between attacker and defender (ranged weapons only)- this is moderated by the distance accuracy of the weapon: some weapons are excellent at short range but terrible at long range, while others retain their accuracy at distance better.
– The agility and activity ratings of both the attacker and the defender. The agility factor is more important for ranged weapons than for melee, and beyond 12 metres range this importance increases (essentially, at longer ranges it becomes possible for an agile target to dodge a missile attack or for an agile shooter to counteract that or anticipate it).
– The body size of the defender (i.e. a tiny creature is harder to hit than a huge one)
– A hit is much more likely if the defender is unconscious and close to the attacker

Combat Damage, Critical Hits and Injuries

An ineffective strike will merely cause a small Energy reduction to the defender. An effective strike may also cause one of over 330 different Critical Hits, which include such injuries as broken bones, stun effects, ripped flesh and torn muscles. Critical Hits typically cause both Energy and Activity reduction. These effects will be for a limited time duration, ranging from a couple of combat turns (mild stunning) to several days (broken bones). Some injuries recover in steps: for example, broken ribs will become bruised ribs after some time, with a lesser Activity penalty.



For melee weapons and some ranged weapons, the amount of damage caused is also affected by the Strength of the attacker. If the defender has high Constitution, all damage received is reduced.

Weapon and Armor Types

Each weapon is classified by the type of injuries it causes, as well as its relative effectiveness against unarmored opponents or those wearing leather or metal armor. For example, edged weapons are good against leather but poor against metal, while blunt weapons are moderately good against each.

The types of injury are: bashing, explosion, fire, piercing, and slicing. Bashing weapons will for example tend to cause more broken bones while slicing weapons will tend to cause more bleeding.

The spellbook

In The Necromancer's Tale an ancient spellbook comes into your possession. Its pages, filled with rituals and witchcraft, must be translated from their ancient scripts before they can be mastered.

How to kill your friends and alienate people

The Necromancer’s Tale is a dark, narrative driven game which follows the descent of an (initially) upstanding minor noble in 1733 – as he/she taps into powerful forces in a quest for power and revenge. What starts out as a simple investigation into your father’s suspicious death spirals into a web of secrecy, black magic, killing the innocent, and raising them again to do your bidding.

Since my last update, we’ve been making good progress on a number of fronts. From a narrative point of view, the text for the game’s prologue is fairly complete – in which we use an interactive-fiction/’choose your own adventure’ style process for player character customisation. The prologue covers the events from a few years before the player’s birth, through to their 19th birthday. This material is presented in an animated book, with pencil sketches scattered throughout. The player chooses from three main career paths, and makes numerous other choices which affect their physical, mental, and social stats.



We have also almost completed a first draft of two chapters of the main game itself, in which the player discovers and tries out the first spell from a mysterious book. We’re generally keeping it tight and not putting in pointless time-filler side-quests, with the aim being that players can actually expect to finish the game in a reasonable number of hours, and enjoy the art, narrative, investigation and tactical-combat joys that it has to offer (rather than getting bored and giving up while hunting for 10 wolf hides to help a local farmer).

As well as putting a lot of effort into map editing we have been busying ourselves with programming all of the core systems needed by an RPG.. inventory, combat, AI behaviours, save+load, crafting. Integrating the code with the structured narrative information exported by Articy was a bit of fun, which basically involved having a 4MB massively-nested JSON file land on my hard drive and figuring out what it meant. We have also put together a cutscene-editing system which gives low-level control of character movements and animations, as well as control of the camera and other objects in the world during a pre-scripted cutscene.



The game will have 150+ NPC who you can meet and interact with, each with unique portraits and in-game 3D characters. Here's Klaus the coachman, Albrecht the family butler, and Juliana, the troubled mother of the player - the first three characters who you will meet.