Plus sérieusement, tu ne voudrais pas nous en dire plus, nous faire une petite présentation plus détaillée ? ( C'est un ordre déguisé ) Depuis que tu l'as acheté tout de même, tu as dû avoir le temps de le feuilleter abondamment.24
Moi je sait comment un jeu de rôle pourra retranscrire tout l'univers de Jordan ! Il sortira tout simplement une flopée de supléments plus ou moins cher car, forcément (le marketing..) le jeu de base ne contiendra pas tous les détails... Mais j'ai peut être tort et Zeb nous dira ca la semaine prochaine ! 
Dagor Aglareb :hat
Dagor Aglareb :hat25
Est-ce toi sur la photo Zébulon ? 
En tous cas, il y a du nouveau sur le site de Wizards of the Coast, un écran de veille notamment. http://www.wizards.com/wheeloftime/main.as...asp?x=welcome,3 
Et le premier supplément/scénario aussi. Moi, j'ai cru que c'était le tome 10 au début...
26
Je crois qu'il est à remercier, puisque c'est apparemment très réussi pour la majeure partie. Wizards of the Coast: This game is based on Robert Jordan's bestselling Wheel of Time fiction series. For those unfamiliar with the novels, can you briefly describe the setting? What's the premise? Charles Ryan: Robert Jordan created an immensely detailed world that falls somewhere between medieval and renaissance fantasy. This world is populated by a number of highly developed cultures and backed up by a rich and storied history. Key to the concept of the novel series is the idea that great Ages come and go in a never-ending cycle; that the current age is in some ways a reflection of past ages and ages yet to come; and that the heroes of past ages take form in the heroes of this day. Another key theme is that at our hearts, we are each somewhat unknowable to one another -- this is especially represented in the tensions between men and women, in social and political roles, and particularly in the use of magic. Men and women use magic differently, calling upon two separate aspects of the One Power. No man can ever tap into saidar, the magical force women use, and no woman can ever use saidin, which powers men's magic. The last great age -- the Age of Legends -- ended in worldwide cataclysm, and the world has seen two millennia of what might be similar to our historical dark ages. The cataclysm followed a protracted war against the forces of the Dark One, who had been imprisoned since the time of creation but was escaping his bonds. In the effort to seal the Dark One's prison, saidin, that male half of the One Power, was somehow tainted, and all male channelers (magic users) were driven insane. Their maddened unleashing of the One Power upon the earth literally reshaped continents, destroying the whole of civilization and bringing the Age of Legends to an end. Since that time there have been no male channelers -- those who develop the power are driven insane by the taint or are destroyed. But as the Wheel of Time turns, ages come and go, and the current Age is close to turning. The central character of the novels is Rand al'Thor, a young man who can channel, a man who is a reflection of past heroes, who has been picked out by destiny to fight a new battle against the Dark One. As this man struggles to stave off the madness that reaches for him, to fight back the myriad forces arrayed against him, he prepares for the coming of a great battle against evil -- and along the way, perhaps, bridges some of the gulfs that stretch between each of us. Wizards: What was your role in the game's development? Charles: I was the lead designer and lead editor for the project. I did most of the design work for the core systems of the game, or at least those systems that differ from the standard d20 game engine: the magic system, the Lost Talents. Wizards: Who else made major contributions, and what were they? Charles: I worked closely with designers Steve Long and Owen Stephens on the design of the character classes and backgrounds, the monster descriptions and writeups of key characters from the novels. Other important contributors included writer Christian Moore, Art Director Robert Raper (who went to great length to give this book the incredible look it has), Creative Director Thomas Reid and his successor, Chris Perkins, as well as the artists, graphic designers, editors, and production managers who dedicated their talents to making this a truly standout roleplaying game. Wizards: How familiar were you with The Wheel of Time series before you were assigned to work on the roleplaying game? What preparation did you do before starting on it? Charles: Honestly, I was not familiar at all with the series. I spent the first eight weeks pouring myself into the novels and the world, reading them cover to cover, taking notes, and going to every ancillary source I could come up with (like The Wheel of Time encyclopedia, and the many Wheel of Time websites out there). Once I and the other designers had immersed ourselves in this world, we sat down and discussed what makes this setting what it is -- what elements make it unique; what aspects we wanted to reflect in the game. Wizards: The game is approved by Robert Jordan, and includes a foreword by him. To what extent was he involved in the development process? What was it like to work with him? Charles: Robert Jordan is a very hands-on person -- he keeps a very close eye on his fictional world, and everything anyone else does with it. That's great; it's wonderful to work with someone who has such a consistent view of how his universe should work. Robert read every word of the book, and provided a lot of great information, lots of little details to help flesh it out and keep it 100% accurate. There are still several more novels to come in this series, so we had to be careful that nothing we presented would contradict future information from Robert Jordan in his novels. Wizards: What were the design team's goals for the RPG at the outset? Charles: It was critical to us that we really emulate the feel of The Wheel of Time world; that we reflect in the game those aspects of the world that make it what it is, that separate it from any other fantasy milieu. We wanted a game that lets people play adventures and campaigns on the scale of the events in the novels, and that lets them tap in to the compelling issues and conflicts of the books. We wanted fans of the books to feel that they were getting right into their favorite story world, and hardcore gamers to feel that they were playing something unique and different. Wizards: What challenges did the design team face in translating Jordan's world into d20 game mechanics? Charles: The d20 system is remarkably flexible, and we really had no trouble at all fitting it to this game setting (and I want to emphasize: We fit the game to the world, not the world to the game). I think the most immediate and remarkable difference between the assumptions underlying D&D and The Wheel of Time universe is in the magic system, so we build a whole new system for the One Power. Many basic elements of that system will be familiar to D&D players, but the way those elements come together, the way the system is used, is completely new. We also faced some different arcane abilities in The Wheel of Time world: the Lost Talents of Dreamwalking, Viewing, Sniffing, Foretelling, and Treesinging. These, we discovered, were easily emulated through the d20 system's tool of feats. Other challenges included differences in character generation, classes and prestige classes, magic items (items called angreal and ter'angreal in The Wheel of Time world, which are much rarer -- and often much more powerful -- than typical magic items in D&D), and the cosmology of The Wheel of Time, which includes the dreamworld Tel'aran'rhiod, the mirror worlds, and many extradimensional spaces like The Ways. Wizards: How closely does the finished game stick to the novel series? What elements from the books can readers look forward to experiencing as roleplayers? Charles: I think the final game is very, very close to the novel series; I think we did very well in meeting our goals and presenting a game that captures both the scope and the heart of The Wheel of Time world. Readers will find that this game lets them experience practically any adventure they can imagine in this setting. Wizards: Have you added anything new to The Wheel of Time world, material that doesn't appear in the novels? Charles: There are many, many details that are added, expanded, or clarified. There are no huge new revelations, though. We set the game against the first five or six novels in the series. Players can, of course, set their adventures at any point in time -- later in the series, in the Age of Legends, or even on a mirror world where things are very different. But most of the information we presented focuses on the world as it is between the opening of the first novel and about the time of the Battle of Dumai's Wells. We're not revealing any great secrets about that span of time, but we do flesh out a lot of topics that are touched on piecemeal in the novels. Remember that there are still novels to come in this series. Robert Jordan didn't want to give away new information that would spoil those books, and he was very helpful in ensuring that we didn't put any speculation in the game that would prove to be false later on. Wizards: What's appealing about this game for roleplayers who aren't necessarily fans of the novels, but are looking for a new RPG to try? Charles: The same factors that make the novels so appealing apply equally to the game. The Wheel of Time novels are set against a fantasy world unlike any other. As I mentioned earlier, they're based around an intriguing set of themes and conflicts. And the game presents a really unique set of character options and powers, from channeling the One Power to dreamwalking in Tel'aran'rhiod. I think any fantasy gamer, regardless of his or her experience with the novels, will find this a very cool game. Wizards: What is your favorite aspect of the game? Charles: Wow. There are many cool aspects of this game. I think, perhaps, that my favorite is the channeling system, the system for using the One Power (what would be called magic in other settings). It has a degree of power and flexibility you don't find in most games. Weaves (spells) can be cast at varying levels for different effects, or degrees of effect. Channelers can link, or overchannel, to increase their abilities or go beyond their normal allotment of weaves. The system really makes the One Power into a living force, a force channelers tap into for wondrous effects. Wizards: What are you working on now? Charles: I'm finishing up the editing of Prophecies of the Dragon, the mega-adventure for The Wheel of Time Roleplaying Game. This 192-page book presents a six-adventure campaign that meshes with the events in the first five novels. The heroes are faced with a Darkfriend plot that will destroy Rand al'Thor, the Dragon Reborn, unless they can prevent it. It's going to be a great companion to the roleplaying game. www.wizards.com/wheelofti...x20011115a
Wizards of the Coast: This game is based on Robert Jordan's bestselling Wheel of Time fiction series. For those unfamiliar with the novels, can you briefly describe the setting? What's the premise? Charles Ryan: Robert Jordan created an immensely detailed world that falls somewhere between medieval and renaissance fantasy. This world is populated by a number of highly developed cultures and backed up by a rich and storied history. Key to the concept of the novel series is the idea that great Ages come and go in a never-ending cycle; that the current age is in some ways a reflection of past ages and ages yet to come; and that the heroes of past ages take form in the heroes of this day. Another key theme is that at our hearts, we are each somewhat unknowable to one another -- this is especially represented in the tensions between men and women, in social and political roles, and particularly in the use of magic. Men and women use magic differently, calling upon two separate aspects of the One Power. No man can ever tap into saidar, the magical force women use, and no woman can ever use saidin, which powers men's magic. The last great age -- the Age of Legends -- ended in worldwide cataclysm, and the world has seen two millennia of what might be similar to our historical dark ages. The cataclysm followed a protracted war against the forces of the Dark One, who had been imprisoned since the time of creation but was escaping his bonds. In the effort to seal the Dark One's prison, saidin, that male half of the One Power, was somehow tainted, and all male channelers (magic users) were driven insane. Their maddened unleashing of the One Power upon the earth literally reshaped continents, destroying the whole of civilization and bringing the Age of Legends to an end. Since that time there have been no male channelers -- those who develop the power are driven insane by the taint or are destroyed. But as the Wheel of Time turns, ages come and go, and the current Age is close to turning. The central character of the novels is Rand al'Thor, a young man who can channel, a man who is a reflection of past heroes, who has been picked out by destiny to fight a new battle against the Dark One. As this man struggles to stave off the madness that reaches for him, to fight back the myriad forces arrayed against him, he prepares for the coming of a great battle against evil -- and along the way, perhaps, bridges some of the gulfs that stretch between each of us. Wizards: What was your role in the game's development? Charles: I was the lead designer and lead editor for the project. I did most of the design work for the core systems of the game, or at least those systems that differ from the standard d20 game engine: the magic system, the Lost Talents. Wizards: Who else made major contributions, and what were they? Charles: I worked closely with designers Steve Long and Owen Stephens on the design of the character classes and backgrounds, the monster descriptions and writeups of key characters from the novels. Other important contributors included writer Christian Moore, Art Director Robert Raper (who went to great length to give this book the incredible look it has), Creative Director Thomas Reid and his successor, Chris Perkins, as well as the artists, graphic designers, editors, and production managers who dedicated their talents to making this a truly standout roleplaying game. Wizards: How familiar were you with The Wheel of Time series before you were assigned to work on the roleplaying game? What preparation did you do before starting on it? Charles: Honestly, I was not familiar at all with the series. I spent the first eight weeks pouring myself into the novels and the world, reading them cover to cover, taking notes, and going to every ancillary source I could come up with (like The Wheel of Time encyclopedia, and the many Wheel of Time websites out there). Once I and the other designers had immersed ourselves in this world, we sat down and discussed what makes this setting what it is -- what elements make it unique; what aspects we wanted to reflect in the game. Wizards: The game is approved by Robert Jordan, and includes a foreword by him. To what extent was he involved in the development process? What was it like to work with him? Charles: Robert Jordan is a very hands-on person -- he keeps a very close eye on his fictional world, and everything anyone else does with it. That's great; it's wonderful to work with someone who has such a consistent view of how his universe should work. Robert read every word of the book, and provided a lot of great information, lots of little details to help flesh it out and keep it 100% accurate. There are still several more novels to come in this series, so we had to be careful that nothing we presented would contradict future information from Robert Jordan in his novels. Wizards: What were the design team's goals for the RPG at the outset? Charles: It was critical to us that we really emulate the feel of The Wheel of Time world; that we reflect in the game those aspects of the world that make it what it is, that separate it from any other fantasy milieu. We wanted a game that lets people play adventures and campaigns on the scale of the events in the novels, and that lets them tap in to the compelling issues and conflicts of the books. We wanted fans of the books to feel that they were getting right into their favorite story world, and hardcore gamers to feel that they were playing something unique and different. Wizards: What challenges did the design team face in translating Jordan's world into d20 game mechanics? Charles: The d20 system is remarkably flexible, and we really had no trouble at all fitting it to this game setting (and I want to emphasize: We fit the game to the world, not the world to the game). I think the most immediate and remarkable difference between the assumptions underlying D&D and The Wheel of Time universe is in the magic system, so we build a whole new system for the One Power. Many basic elements of that system will be familiar to D&D players, but the way those elements come together, the way the system is used, is completely new. We also faced some different arcane abilities in The Wheel of Time world: the Lost Talents of Dreamwalking, Viewing, Sniffing, Foretelling, and Treesinging. These, we discovered, were easily emulated through the d20 system's tool of feats. Other challenges included differences in character generation, classes and prestige classes, magic items (items called angreal and ter'angreal in The Wheel of Time world, which are much rarer -- and often much more powerful -- than typical magic items in D&D), and the cosmology of The Wheel of Time, which includes the dreamworld Tel'aran'rhiod, the mirror worlds, and many extradimensional spaces like The Ways. Wizards: How closely does the finished game stick to the novel series? What elements from the books can readers look forward to experiencing as roleplayers? Charles: I think the final game is very, very close to the novel series; I think we did very well in meeting our goals and presenting a game that captures both the scope and the heart of The Wheel of Time world. Readers will find that this game lets them experience practically any adventure they can imagine in this setting. Wizards: Have you added anything new to The Wheel of Time world, material that doesn't appear in the novels? Charles: There are many, many details that are added, expanded, or clarified. There are no huge new revelations, though. We set the game against the first five or six novels in the series. Players can, of course, set their adventures at any point in time -- later in the series, in the Age of Legends, or even on a mirror world where things are very different. But most of the information we presented focuses on the world as it is between the opening of the first novel and about the time of the Battle of Dumai's Wells. We're not revealing any great secrets about that span of time, but we do flesh out a lot of topics that are touched on piecemeal in the novels. Remember that there are still novels to come in this series. Robert Jordan didn't want to give away new information that would spoil those books, and he was very helpful in ensuring that we didn't put any speculation in the game that would prove to be false later on. Wizards: What's appealing about this game for roleplayers who aren't necessarily fans of the novels, but are looking for a new RPG to try? Charles: The same factors that make the novels so appealing apply equally to the game. The Wheel of Time novels are set against a fantasy world unlike any other. As I mentioned earlier, they're based around an intriguing set of themes and conflicts. And the game presents a really unique set of character options and powers, from channeling the One Power to dreamwalking in Tel'aran'rhiod. I think any fantasy gamer, regardless of his or her experience with the novels, will find this a very cool game. Wizards: What is your favorite aspect of the game? Charles: Wow. There are many cool aspects of this game. I think, perhaps, that my favorite is the channeling system, the system for using the One Power (what would be called magic in other settings). It has a degree of power and flexibility you don't find in most games. Weaves (spells) can be cast at varying levels for different effects, or degrees of effect. Channelers can link, or overchannel, to increase their abilities or go beyond their normal allotment of weaves. The system really makes the One Power into a living force, a force channelers tap into for wondrous effects. Wizards: What are you working on now? Charles: I'm finishing up the editing of Prophecies of the Dragon, the mega-adventure for The Wheel of Time Roleplaying Game. This 192-page book presents a six-adventure campaign that meshes with the events in the first five novels. The heroes are faced with a Darkfriend plot that will destroy Rand al'Thor, the Dragon Reborn, unless they can prevent it. It's going to be a great companion to the roleplaying game. www.wizards.com/wheelofti...x20011115a
