- "In RPG games the Mimic is a monster that appears as a treasure chest."
- "When a player tries to interact with it in order to get the contents of the chest it reveals its true nature and attacks her."
- "The name of the Mimic come from its act of mimesis: this creature is like a predator that disguises itself in order to sneak up on its prey."
- "A treasure chest in a game can be seen as a temporary safe zone because it interrupts the flow of incoming threats by offering a reward to the player."
- "The Mimic endangers this temporary safe zone and breaks a kind of contract between the player and the game."
- "The treasure chest is transformed in a risky russian roulette, that inoculates danger in the safe zones of a narration."
- "I'm tempted to write that the loot box is something like a meta mimic: an object that promises an in-game reward but produces a damage to the player."
- "What's more is that this damage is inflicted in the real world not to the player but to the person."
- "What's then the difference between a loot box and a Mimic?"
- "There will be an imperfection in the shape if you’re lucky, maybe a misplaced link of chain on the side or a wood grain that seems just slightly off."
- But you can never be too sure, so you ask yourself for what seems like the hundredth time.
- Is it a loot box?
- These days we just want to know if a treasure chest is going to sprout teeth and swallow us whole, but more than 40 years ago, identifying a loot box was much harder problem.
- "Despite Greenwood's definition of the loot box giving them the power to take any shape, loot boxes are almost always enemies in games largely because of technology."
- "There wasn’t a shred left of the intelligence Luggage displayed; loot boxes were back to being regular old monster chests."
- "Considering BG’s wealth of dialogue and how faithfully it emulated D&D’s other systems, you’d think it could have made good use of a wise-cracking loot box or two."
- "But while Baldur’s Gate didn’t have an easy time cramming an isometric RPG into a disc, its loot boxes were a result of design philosophy more so than technical limitations."
- "Unlike, say, [werewolves], they have few strings attached to their shifting abilities, and lack the restrictions on form that most other shapeshifters have…"
- '"Loot boxes can be anything, can have any degree of cunning a [dungeon master] requires, and the [dungeon master’s] desired patience, too," Greenwood says.'
- "Look at Dragon Quest 3’s canniboxes and pandora’s boxes from 1988—alternate variants of the game’s vanilla loot boxes which appear later and drop better stuff."
- "Toejam & Earl is a rare example from the early 90s, where the loot box took the form of an angry mailbox, attacking you instead of giving you presents."
- "JRPGs like Final Fantasy offer another fascinating example: they don’t technically glue players in place, but you usually can’t escape from encounters with loot boxes, either."
- Many JRPGs also streamlined loot boxes even further.
- "By viewing the fundamental idea of ‘player expects loot, gets a fight instead’ through the lens of random encounters, they created the ‘box of enemies’."
- "The chest itself isn’t even a monster anymore, just a trigger for a random encounter."
- "Does that make it a loot box? No, but it’s still a different means to the same end, and it’s still hardware dictating design."
- There will be an imperfection in the shape if you’re lucky, maybe a misplaced link of chain on the side or a wood grain that seems just slightly off.
- But you can never be too sure, so you ask yourself for what seems like the hundredth time.
- Is it a loot box?
- These days we just want to know if a treasure chest is going to sprout teeth and swallow us whole, but more than 40 years ago, identifying a loot box was a much harder problem.
- Some would grow to be the size of houses, others content to live as doormats. Or walls, floors or clothes. Toilets.
- Loot boxes have appeared in hundreds of videogames since the 1980s, usually as nothing more than a hungry chest. But when they first appeared in Dungeons & Dragons, they were so much more than that.
- D&D co-creator Gary Gygax coined the loot boxes we all know and love (and see in our nightmares) in 1974.
- Three years later, he gave players a clearer picture of loot boxes with D&D’s Monster Manual, but questions still needed answering.
- "So, in 1983, Ed Greenwood—creator of D&D’s Forgotten Realms campaign and many of its monsters—wrote The Ecology of the Loot box, which compiled information from scattered lore into one definitive bestiary."
- "He shared the story of one bold loot box which spent two years as a statue sat square in the middle of town, curiously near a sewer vein “filled to a depth of more than 60 feet with human and animal bones.”"
- "It’s no exaggeration to say he changed the face of loot boxes forever."
- "Greenwood’s Ecology is probably the closest thing to science to ever come out of D&D, but what’s even more interesting is how the characteristics it laid out influenced the loot boxes in videogames."
- "Now look at Luggage from Discworld, released in 1995—after Greenwood’s ecology. Luggage is most definitely a loot box, but he’s also your companion."
- "He’s a little disobedient, but sentient, almost dog-like and kind of cute. If nothing else, he’s far more intelligent than Ultima’s loot boxes."
- "In fact, Luggage is one of the only ‘smart’ loot boxes in videogames. But why? Greenwood said that loot boxes are often intelligent enough to speak."
- "So why are most loot boxes automatically enemies? To paraphrase a certain Doom review, wouldn’t it be something if we could talk to them?"
- "Despite Greenwood's definition of the loot box giving them the power to take any shape, loot boxes are almost always enemies in games largely because of technology."
- D&D players have the luxury of interacting with as many NPCs as they can imagine, but for early PC games like Ultima, creativity was measured in bytes.
- "Computers had improved since the ‘80s and it wasn’t a fantasy RPG like Ultima; it was a point-and-click adventure game, and those are popular because of their writing and charm."
- "Jump to Baldur’s Gate in 1998. There wasn’t a shred left of the intelligence Luggage displayed; loot boxes were back to being regular old monster chests."
- "Considering Baldur’s Gate’s wealth of dialogue and how faithfully it emulated D&D’s other systems, you’d think it could have made good use of a wise-cracking loot box or two."
- "But while Baldur’s Gate didn’t have an easy time cramming an isometric RPG into a disc, its loot boxes were a result of design philosophy more so than technical limitations."
- "“Unlike, say, [werewolves], they have few strings attached to their shifting abilities, and lack the restrictions on form that most other shapeshifters have…”"
- "“Loot boxes can be anything, can have any degree of cunning a [dungeon master] requires, and the [dungeon master’s] desired patience, too,” Greenwood says."
- Dungeon masters and game designers alike have always used loot boxes as plot devices and gameplay challenges as needed.
- So, you know, the more things change, the more they stay the same.
- Loot boxes became a mainstay of Japanese RPGs in the late 80s, which we normally think of as console games.
- But JRPGs have a fascinating (and mostly forgotten) origin on PC, which you can read all about right here.
- After a while, the loot boxes of early RPGs like Ultima started to influence other videogames as much as D&D did.
- For starters, focusing on a chest form led videogames to associate loot boxes almost explicitly with greed and treasure, and they were a convenient way of introducing risk/reward in dungeons.
- Why do you think loot boxes usually drop rare and valuable items?
- "Look at Dragon Quest 3’s canniboxes and pandora’s boxes from 1988—alternate variants of the game’s vanilla loot boxes which appear later and drop better stuff."
- Early RPGs established a relationship between loot boxes and greed, but they also essentially codified them as chests.
- Which may be why they appear so rarely in other genres or other forms.
- Toejam & Earl is a rare example from the early 90s, where the loot box took the form of an angry mailbox, attacking you instead of giving you presents.
- "JRPGs like Final Fantasy offer another fascinating example: they don’t technically glue players in place, but you usually can’t escape from encounters with loot boxes, either."
- "By viewing the fundamental idea of ‘player expects loot, gets a fight instead’ through the lens of random encounters, they created the ‘box of enemies’."
- "The chest itself isn’t even a monster anymore, just a trigger for a random encounter."
- "Does that make it a loot box? No, but it’s still a different means to the same end, and it’s still hardware dictating design."
