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Guardian Frontier
An RPG with classic-style gameplay and a non-classic premise, inspired by the history of exploration and colonialism of the 19th century.
An RPG with classic-style gameplay and a non-classic premise, inspired by the history of exploration and colonialism of the 19th century.
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Third Content Update: Hope you like NPCs
If you want an extra way to interact with NPCs that's not strictly necessary, you could try deciphering this update's Gudyushika dialogue.
I tried to put in enough clues and cues to make it possible to work out a lot of the vocabulary from context. There are absolutely no rewards in gameplay for figuring any of this out, just a bunch of extra dialogue hidden behind a language barrier. The sentence structure is mostly the same as English, if anyone wants to take a stab at it. That's not just to make things easier on players, I am not an expert conlanger, so if I tried to make the process more complicated I'd never have been able to get it all done. It was fun to experiment with, but let's just say putting it all in didn't exactly help me get the release out faster, so this is not a challenge I'm likely to return to for later updates.
I tried to put in enough clues and cues to make it possible to work out a lot of the vocabulary from context. There are absolutely no rewards in gameplay for figuring any of this out, just a bunch of extra dialogue hidden behind a language barrier. The sentence structure is mostly the same as English, if anyone wants to take a stab at it. That's not just to make things easier on players, I am not an expert conlanger, so if I tried to make the process more complicated I'd never have been able to get it all done. It was fun to experiment with, but let's just say putting it all in didn't exactly help me get the release out faster, so this is not a challenge I'm likely to return to for later updates.
Wrapping Up Major Milestones
You can definitely do multiple platform releases. Hell, I've actually bought the same game on two different platforms when I had technical problems with one, to support a creator I'm a patron of.
Steam has by far the largest audience, but their submission standards can be erratic and inconsistently applied. I don't think there's any reason they'd be likely not to accept your game though.
Steam has by far the largest audience, but their submission standards can be erratic and inconsistently applied. I don't think there's any reason they'd be likely not to accept your game though.
Taking a Break
Personally, I tend to strongly prefer games which use gameplay to enhance and illustrate a story, rather than using the story as a framework to present the gameplay. I feel like, if your game contains an uninterrupted progression of gameplay where you're constantly fighting increasingly stronger enemies, solving puzzles, etc. with the plot always coming in the same measured doses, then either you've come up with a story that lends itself extraordinarily well to that sort of fixed structure, or, much more likely, you're delivering that content at the expense of the story.
I recently re-played Breath of Fire III, and while that game does have plenty of virtues, I spent a lot of the time pissed off at its insistence on constantly shoehorning in doses of gameplay in a way that I thought seriously hampered the delivery of the plot.
I recently re-played Breath of Fire III, and while that game does have plenty of virtues, I spent a lot of the time pissed off at its insistence on constantly shoehorning in doses of gameplay in a way that I thought seriously hampered the delivery of the plot.
Prequel or Sequel? The answer may depend on YOU!
author=Dyhalto
Desertopa is loitering around. I think he's waiting for some kind of invitation. And if it sounds like it'll be something awesome, I'll pitch in too.
I'm actually working on my own game now, but writing/editing is a pretty fast process for me, so I should have time for side projects. I wouldn't mind reprising my role.
Prequel or Sequel? The answer may depend on YOU!
Personally, I'm still partial to the idea of a sequel which spins off from
I think a prequel would probably be limited by the fact that so many of the key plot points were already revealed in CoT. There's a lot less room for the sort of big surprises CoT featured. I think something along the lines of Corfaisus' idea is good (although personally I prefer to devote full scenes, or at least NPC dialogue, to that sort of plot and backstory development, rather than item interaction.) You can have flashbacks, historical documents, discussions, etc. in a sequel which reveal information from the past, like we did in CoT, and that can be used to cover information which didn't make it into the previous game. That way, the narrative can explore some of the juicier bits from the backstory, without giving away how the plot will develop in advance.
the alternate ending where Celes lets Veryl absorb her power and become a god.
I think a prequel would probably be limited by the fact that so many of the key plot points were already revealed in CoT. There's a lot less room for the sort of big surprises CoT featured. I think something along the lines of Corfaisus' idea is good (although personally I prefer to devote full scenes, or at least NPC dialogue, to that sort of plot and backstory development, rather than item interaction.) You can have flashbacks, historical documents, discussions, etc. in a sequel which reveal information from the past, like we did in CoT, and that can be used to cover information which didn't make it into the previous game. That way, the narrative can explore some of the juicier bits from the backstory, without giving away how the plot will develop in advance.
Flavor Text and Dirty Jokes (Thanks, Ruby)
This is the kind of stuff I like. Both of these things. Both of these things are the kind of stuff I like.
Ask us ANYTHING! (Celebrating 1000 downloads and Featured Game status)
I forgot to mention this before when we were discussing after-the-fact reveals for the game, but I'm curious whether anyone noticed that the Three Kings' dialogue at the end is all written in iambic pentameter. I wanted to come up with some manner of speech which reflected their status as deities, other than just bright capital letters. When I wrote their dialogue, I imagined them as not physically speaking at all. The knowledge they transmit is interpreted by their human listeners as verse because it's expressed with a kind of poetic certainty, as if the conversation is fated and they've had forever to think of what they're going to say.
Since there's no voice acting to accompany it, I wasn't sure if anyone would notice, but it was some of the most interesting dialogue for me to write.
Celes' dialogue at the end is also written in iambic pentameter, but it's done according to a reading of the syllables which doesn't match a natural pattern of speech. Her verse adjusts towards the end to reflect a more natural pattern of speech, reflecting her rapidly adapting to her new position as a deity.
Since there's no voice acting to accompany it, I wasn't sure if anyone would notice, but it was some of the most interesting dialogue for me to write.
Ask us ANYTHING! (Celebrating 1000 downloads and Featured Game status)
Actually, my preference as a writer tends towards distinctly non-subtle romance, but Ephiam's vision was to keep the signs of their feelings to hints.
Here's another tidbit. When Lifa says in the scene with Baolovar in Old Yurudos that "we've learned a thing or two here anyway," rather than the revelations about Veryl, she's mainly thinking of the discovery that Sando will prioritize her safety over getting an edge on Veryl.
Also, for another note on something that readers would be even less likely to infer from the dialogue. When Lifa says in the Arvandi Woods that the throne "isn't worth having..." that wasn't the complete thought there which she trailed off at. What she was thinking, as I wrote it, was "It's not worth having your family die for." This is an allusion to her rarely mentioned older brother who died before the start of the story, leaving her next in line for the throne. So she's thinking about the contrast between Giruvega, who cursed his brother in order to get at the throne, whereas she loved her brother and as far as she's concerned becoming first in line to the throne has only made her life worse.
Of course, this is completely opaque from the dialogue I wrote, but I like to leave some stuff behind the scenes where it influences the characters' feelings and actions even if the player doesn't know about it.
Here's another tidbit. When Lifa says in the scene with Baolovar in Old Yurudos that "we've learned a thing or two here anyway," rather than the revelations about Veryl, she's mainly thinking of the discovery that Sando will prioritize her safety over getting an edge on Veryl.
Also, for another note on something that readers would be even less likely to infer from the dialogue. When Lifa says in the Arvandi Woods that the throne "isn't worth having..." that wasn't the complete thought there which she trailed off at. What she was thinking, as I wrote it, was "It's not worth having your family die for." This is an allusion to her rarely mentioned older brother who died before the start of the story, leaving her next in line for the throne. So she's thinking about the contrast between Giruvega, who cursed his brother in order to get at the throne, whereas she loved her brother and as far as she's concerned becoming first in line to the throne has only made her life worse.
Of course, this is completely opaque from the dialogue I wrote, but I like to leave some stuff behind the scenes where it influences the characters' feelings and actions even if the player doesn't know about it.
Ask us ANYTHING! (Celebrating 1000 downloads and Featured Game status)
author=Ephiam
-For a SUPER SECRET, and something that I'd have no reason to bring up within the actual game, is that I've always seen Celes as having an interest in women. Even though some people thought there was some semblance of a romantic spark between our heroine and Yoor, it sadly wasn't there. Or maybe if there was, perhaps now I should feel a little bad for Yoor? =P
For what it's worth, while a lot of players clearly see romantic tension between Celes and Yoor, while I was writing the dialogue I was always working from the perspective that while Lifa and Sando are romantically attracted (or at the very least simply attracted) to each other, Celes and Yoor's relationship is entirely platonic. But they have a lot in common, and Celes respects Yoor a lot as someone who's invested so much of his life into altruistic causes. And Yoor has a lot of personal investment in Celes since he sees her as someone whose role is to fix up the world, but it's not a romantic attachment.
Also, while the character art might not convey this, I always assumed Yoor was considerably older than Celes. Although I changed the dialogue from the original version where she explicitly states that she's twenty years old near the beginning of the game, as far as I was concerned that never stopped being her official age. On the other hand, I figured Yoor was older than that by the time he first became a qualified healer, and I'd peg his age during the game as somewhere from his mid to late thirties. Celes might be off the lower end of his strike range.
Review by the user Isaac3000 from Reddit (/r/rpgmaker)
Personally, I think it's a sensible way to save labor for the more important bits; being able to wander into random people's houses uninvited doesn't make that much sense, and you can build towns of more realistic-seeming size if you don't have to worry about mapping the building interiors also.
Being able to wander into NPCs houses is a genre convention, but it was always a kind of weird one.
Being able to wander into NPCs houses is a genre convention, but it was always a kind of weird one.
Games - Tester
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