And thatís why I ended up leading a group of monsters into the marketplace, watching the vendors flee in terror even as the guards drew their weapons and prepared to fight. I look forward to advancing my character, building a personality and gathering loot when I play the game in the discomfort of my home, but on that day I was more interested in seeing just how much Original Sinís world would stretch and engage with my efforts to play. I wasnít disappointed. Original Sin may have clever co-op conversations and a huge open world but itís also a game that has been built to be broken.
Rather than providing specific stage directions for every eventuality, Larian tag and code their world and its inhabitants, instructing every element how to react to the playersí presence and actions. Thatís why itís not only possible to ignore the main quest and head into the wilds, itís also possible to involve NPCs in your own subplots, simply by having the systems that drive them collide and intertwine. The reactions to the situations you concoct may be less perfectly executed than a cutscene containing a motion captured and fully-voiced argument involving Ian McKellen and Patrick Stewart, but Robert Zemeckis will be bringing that to the cinema in his take on Don Quixote (Stewart is the windmill). Original Sin isnít about perfect execution, itís about a world that reacts, providing all manner of possibilities, from tactical use of artificial behaviour to accidental farce and disaster.