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The rope winds from the clouds like the long-dried trail of a giant's tear. It whips in the arid wind, down the birdless sky, and into the open mouth of the ravine that splits the dead land. Down and down it goes, the sky darkening to a pinpoint of light above it. This is the sky that Ivy knows.

Ivy and her sister, Mint, peer further into the ravine. It has been one day since their father stopped moving. A dandelion sprouts from the parched earth like hands clasped together in prayer. It is the only living thing they've seen in this dead world. A growl echoes off the cliff walls. Maybe not the only thing.

Sometimes Ivy dreams of a sky that covers everything. When she awakes, she hates herself for still having the dreams of a child. She's fourteen, now, her sister twelve. The rope stretches up above them, up, up, up, further than young eyes can see.

Features:
-Character-centric storyline
-50+ hours of gameplay
-Challenging boss battles
-Original music
-Different equipment sets that modify the ways characters play
-A crafting system featuring over 100 pieces of unique equipment
-LOTS of side quests
-Puzzles that spice up dungeon design
-Recruit an odd assortment of townspeople and pass legislation to develop your own village
-Raise a pig to compete in the Pig Arena and win prizes
-New game+ feature that includes multiple bonus endings--a mechanic I blatantly stole from Chrono Trigger

Latest Blog

Major Update

I've been hinting here and there about wanting to update A Very Long Rope, and I finally got off my ass and did it. I made quite a few changes, and I'll list them below, but I want to talk about the most major one in depth. When I made A Very Long Rope, my goal was to make a game with a strong story, and a lot of the other aspects got brushed aside. This was going to be my way to segue into the community and hopefully find some other people interested in working together. Since then, I've shifted my perspective and focused more on things like design and aesthetics, which this game doesn't really care much about, unfortunately.

So, the update. The chief annoyance I've been hearing about A Very Long Rope is the dungeon design--mainly, levels are way too big, and the random encounters serve to make things worse. So, this update adds an item to your inventory that toggles enemy encounters. This item was available in the game before, but the only way to get it was to beat the game (players who have done this know I'm talking about the saecelium shield). Now, this item is given to the player at the very beginning, meaning you don't have to fight a single random encounter anymore.

Of course, since bosses exist, you'll still need to gain experience. In order to incentivize getting a good amount of experience before each boss, I've made several treasure chests need a currency called "victory points" in order to open them. Basically, you get a single victory point for every enemy you defeat in a battle (other than bosses). Victory points are dependent based on the dungeon, so the ones you earn in the first dungeon will only work in that dungeon. The cost of opening chests is higher depending on what's inside the chest, so you might need to spend between 2-6 points in order to open each of these special chests.

I've also doubled the experience, gold, and item drops from monsters. The net effect here is that if you open every single locked chest, you'll end up fighting about half of the encounters that you would have if you just left random encounters on. I did a full playthrough and felt that these locked chests provided short-term goals that kept me more interested while exploring; I hope they do that for you, too!

Here's the full list of changes:

-Reduced crit damage from triple to double
-Stat cap increased to 9999 (will mainly affect buff stacking)
-Berserk no longer sucks
-One-touch Sprint
-First agricultural upgrade requires three people instead of five.
-Escape rate now a flat 60%
-Added a way to get out of the Goddess Tower if you don't have a portable transceiver
-Fixed a few typos/graphical glitches/small things I don't remember
-Rare drop rates have been increased significantly
-Gold/XP/Drop Rates doubled
-Findable equipment that could be used in recipes is now sold as recipes in your town along with the regular recipes.
-Saecelium Shield now added at the beginning of the game. Players can use their old data and find a Saeclium Shield in a number of places within a blue chest (such as the entrance to your town, on the world map, or next to the save point in Old Town); the blue chests will disappear upon opening one.
-Most chests are now "locked." Gain Victory Points from defeating random mobs in a dungeon to open locked chests. Victory Points are specific to each dungeon.
-Locked chests are weighted based on how good the item is. 2 VP is a potion, 3 VP is gold, a good potion, or monster mats, 4 VP are great potions and large sums of gold, 5 VP are stat-boosting items or rare monster mats, 6 VP are equipment.
-Chests that aren't near easy grinding spots (e.g. chests in certain puzzles, chests in towns) will never be locked. Several other random chests in dungeons will also not be locked.
-Arena fights now give experience
-Can now use saecelium shield during soul tear scenes
-Only need to find the wolf four times instead of nine (what was I thinking?!) in Marina's soul tear scene.


That's it! Oh, and make sure to subscribe to my new project: Jimmy and the Pulsating Mass.
  • Completed
  • Housekeeping
  • RPG Maker VX
  • RPG
  • 11/26/2013 04:56 PM
  • 04/18/2024 04:57 PM
  • 12/01/2013
  • 530031
  • 48
  • 5086

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One thing I've always wondered about was what the soul tears are - some are found, some materialize out of thoughts, others are given willingly - sometimes by people who actually sound like they know what they do.

Given the pond's nature, I see two options:
1) Saecelium crystals storing a person's memories instead of a window in time - the vast capacity is outweighed by them falling apart after a single use.
2) Artifacts of a different nature entirely that coincidentally work as catalysts for the pond.


The second curious thing is how the pond's very room exactly fits the amount of tears you can get, as if it was originally designed to view exactly those tears from the very beginning - I will admit this one's probably just a gameplay mechanic or simplification and that's perfectly fine, but the first question could have some nice backstory. ^^
I am forced to walk to the right all the time. :( Like, I can't go left, it's like my right arrow key is stuck (which it isn't) I've completed the game once, was cleaning up things before NG+ and was doing Brunhilde's soul tear. Oddly enough, this seems to affect some other RPG maker games as well now (I went on Aetherion and Touhou - wondering souls, both RPG maker VX games. On Aetherion, I was walking right all the time on that as well, but it didn't happen for Touhou - wondering souls. I also went on Jojo's bizarre adventure - the 7th stand user (a RPG maker 2000 game) and I was walking right all the time on that too) This is really weird and I registered an account just to address this issue to you. :D

... That's what I would've said, but I looked around a bit first, saw a solution from Cherry and it worked. :D http://rpgmaker.net/forums/topics/10970/

P.S. Really good game here, and I like that you're still responding to posts to this day. Just wish people would ask more questions on Ask Mint. (must think of questions)
@Suus: Woah! What a wonky issue--glad Cherry had a fix for it! And glad you like the game!

@Furipu:
Like anything, I didn't directly address how soul tears are made, so standard disclaimer that ANY explanation is really valid. From my perspective, the soul tears were a gameplay/character consideration more than anything. I originally had a class system in mind that I was too green to get working at the time, and the soul tears would have let you play as the different class masters so you could get a feel for the entire skill sets of those classes. That's still present to a degree, but, yeah, it's not a clear-cut class system and you're really only seeing one move that you automatically get when the scene is over anyway. But, I still liked the character/worldbuilding it let me do, and the Raccoon scene was incredibly important.

The actual reasoning behind soul tears existing is a question that I didn't think through all the way. The idea was that it's a stone that has recorded a person's memory/timeline, which is fine, but Raccoon's was given via a dream, so there's a weird metaphysical quality to them. I thought that fit with their actual utility, so I left it unexplained. There's probably not a clear way to explain them, which is kind of fitting but probably just me being lazy.
Fair enough, haha! Honestly I kind of figured that would be the case, but something about the world you portray just tempts to ask these things - which in my opinion shows the people's interest in the world as more than just the game's setting, which I believe to be no mean feat! ^^
Thanks! I'm still pretty proud of A Very Long Rope, but, hopefully, I'll get to make better and better games from now on. Jimmy and the Pulsating Mass is already going to be such a big step up from A Very Long Rope--God, sometimes I just get really excited about game dev!
unity
You're magical to me.
12540
Hehehe. I'm sooooo looking forward to Jummy and the Pulsating Mass myself ^_____^
Asking a generalized version of the question of how Somnians and Lydians can communicate even though they've been utterly/semi-seperate for a long time...

Here

But, in my speculation, I thought to ask you, Housekeeping, if are there other human settlements outside the Desert Under The Floating Continents, and the Continents themselves?

Or are the humans settlements that we see, basically all the humans in the world of Rope...Top...Sky?
@Malandy:

It's reasonable to expect that there are other Somnian nomads wandering around since Gram's old group left him. As for Lydians, that's about all you see.


Interesting question about the languages. Since the languages shared an origin, I guess they'd probably have their own slang, additional vocabulary, and dialects, but would it be crazy to think that they'd still be mutually intelligible? Or does language in this kind of situation naturally evolve to different languages altogether as opposed to different dialects? I'm afraid I've only taken one linguistics course, and this kind of thing wasn't covered, haha.
Honestly, if I consider the lore perhaps the better question to ask would be how
the current residents can so easily understand ancient Lydian (records, time loop rooms, Sylvia and Solomon...), considering that both races were pulled from a time of partial coexistence long before that dialect would have even developed.

EDIT: Come to think of it, the Somnians make references to God's Eye... Did they find records of their ancestors as well, or am I missing something?
@Furipu:
I don't think they reference the God's Eye by that name, though. If they did, it's a flub on my part. What they did do is reference the event that destroyed the world with some fear and reverence, which I wanted seen as their own historical reimagining of what went down--sort of a historical game of telephone that starts with mutual warfare and ends with divine retribution.

To answer your first question, remember that Weiss was essentially their god and established the dominant religion for the new era, so I think that language transmission would come naturally with that. Probably not 100%, but, yeah.
@Housekeeping
Certainly not by that name, no, but it did sound like something they witnessed themselves - even if many generations ago. I suppose the divine retribution reimagining works if they saw them as angels though.

As for Weiss, that's an excellent point - one could even argue that Ivy had caught on enough of the nuances by the time the records are encountered simply by being constantly surrounded by the language. I can't see Weiss being a patient or thorough teacher either, so the language would most likely end up as a crossover between the original and something that would let the Lydians understand their god's will.
Hey, how did you come up with the name for God's Eye? 'Cause I just found El-Hazard's Eye of God, a similarly named similar thing.
That one came to me pretty quickly, but the phrase "God's Eye" was probably in my subconscious from memories of Methodist summer camp.
Hey, guys, not sure if this is the right place, but I'm having issues navigating the fifth gate in Brunhilde's mansion. I got enemies tracking me down, i can't form a coherent idea of the maze or where the actual end point is.
I figure the easiest way to explain is to just give you a bird's eye view:


S = Start
E = End

For that one, I think you're meant to draw a map and slowly scout out the area through multiple runs. That's how I did it, anyway.
navigating that maze is next to impossible for me, and having all those ghosts blindside me at every turn makes it incredibly frustrating.
I have to agree that the fifth gate can be difficult, and perhaps the most random out of them all because of the patrols. However, with the map you should be able to find a basic path to follow, and then a few alternatives around the various loops if your path is suddenly blocked.
The only real issues are getting sandwiched with no way out, or getting blocked on one of the non-looping sections. Don't stress yourself about a few seconds lost to avoid a fight entirely, even if it means you won't beat the one at the end - once you get that far the first time, it should be easier from that attempt on.
Yeah, there is a specific route you have to take to avoid the monsters. The only one I remember is that you have to go up and around the loop at the start.