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Lowering your standards and finishing your game
post=LockeZ
So you think it would be ideal if there were no video games in existance right now?
Because that is how many games have successfully ended up exactly how the designer originally imagined.
No. I can't even locate where I may have suggested that. I said that it is a larger problem to rush through a game for the sake of completing it, than to actually focus on your original standard for the game. This is why so many games have no identity, especially in RPGMaker communities. It's one thing that most people do not finish their games, it's another having a roster of finished games that are so identical to one another that it is too tedious to select a single one to play.
That Final Stretch
The final "dungeon" is the climax of the game, like the climax in a story. It should be a culmination of all the emotions that led up to that point, and like most final dungeons, that lingering question of "when do I fight the ACTUAL last boss?" stays with you the entire time. The more immersive the game's story and characters(particularly the relation between the hero(es) and the villain(s), the more the creator can take advantage of the emotions the player experiences as he ventures through the fateful final dungeon. When it comes down to it, you have to make sure your players are interested to be in the final dungeon, and to thoroughly enjoy it and play through it. I realized that if a game reveals too much before the climax, I feel I am rushing through the final dungeon because I am too bored by everything around me and must beat the game to get it over with. There should always be secrets left over.
Dialogue, Characters, and You.
Mother games should absolutely be looked to, in terms of good, quirky, dialogue that just catches one's attention. When it comes to actually considering a game where I ENJOY going around talking to every NPC, Earthbound is one of them, Mario RPG is another, and Pokemon is another.
--Earthbound is quirky, as said, and plain interesting. Everyone says different strange things that don't relate to each other. It's in its own category.
--Mario RPG was just plain fun. Not as quirky or unexpected as Earthbound, but it was enjoyable to go around talking to everybody, especially considering you were in control of a cast of famous first party characers.
--Pokemon's is good because you're speaking with NPCs which casually discuss the world around you. I mentioned Pokemon for that reason over the others, since I am interested in the world of Pokemon more-so than that of other games, and talking to the NPCs actually intrigues me.
In terms of drop-dead boring and amateur writing, Breath of Fire takes the cake. It's a good game besides, but the dialogue is so lacking character and definition that it does not reach out to me. It would have been a favorite, HAD its dialogue actually been at least good. That's how important dialogue can be.
I noticed with RPGMaker games and the like, the creators fill dialogue boxes with long, verbose, self-indulgent drivel which carries no interest to the reader no matter how pretentious he be. Aside from that, you have the to-the-point, boring, mediocre mess that has no ounce of value to it at all. Both are great aspects of games-I-don't-want-to-play.
Good dialogue and good conversations comes from having well-defined characters and adversaries, so that in turn NPCs have more interesting things about which to talk. It's all connected.
--Earthbound is quirky, as said, and plain interesting. Everyone says different strange things that don't relate to each other. It's in its own category.
--Mario RPG was just plain fun. Not as quirky or unexpected as Earthbound, but it was enjoyable to go around talking to everybody, especially considering you were in control of a cast of famous first party characers.
--Pokemon's is good because you're speaking with NPCs which casually discuss the world around you. I mentioned Pokemon for that reason over the others, since I am interested in the world of Pokemon more-so than that of other games, and talking to the NPCs actually intrigues me.
In terms of drop-dead boring and amateur writing, Breath of Fire takes the cake. It's a good game besides, but the dialogue is so lacking character and definition that it does not reach out to me. It would have been a favorite, HAD its dialogue actually been at least good. That's how important dialogue can be.
I noticed with RPGMaker games and the like, the creators fill dialogue boxes with long, verbose, self-indulgent drivel which carries no interest to the reader no matter how pretentious he be. Aside from that, you have the to-the-point, boring, mediocre mess that has no ounce of value to it at all. Both are great aspects of games-I-don't-want-to-play.
Good dialogue and good conversations comes from having well-defined characters and adversaries, so that in turn NPCs have more interesting things about which to talk. It's all connected.
How long should a game take to make?
That Final Stretch
Elemental Weaknesses (and battles that make you think)
As a note, Pokemon deals with the Elemental Weakness concept on an entirely different level.
This thread sounds like a pot of differing opinions. Elemental Weaknesses, even on the simplest of levels, I have always found to be an alluring part to any game.
This thread sounds like a pot of differing opinions. Elemental Weaknesses, even on the simplest of levels, I have always found to be an alluring part to any game.
A question in terms of fan games.
I have less respect for someone who steals a game's story, and therefore less motivation to play the game. Everything adds up.
>New Game
post=Lennon
I agree for the most part, only I think that in some very rare cases, slow openings can be pulled off well. The thing is, slow openings can't also be long ones, cause that's when problems arise. I also don't think the main character needs to have a reason for being there right from the start. Sometimes it's better to have the player and the character learn why at the same time and pace.
There are exceptions to every rule. About the questions that we subconsciously ask of the hero and his role in the story, some answers may come early, some may come late. I think the synergy between the hero and A villain needs to be established early in the game as well.
>New Game
- Always include a dynamic opening cutscene that introduces the game's conflict or a portion of the conflict. Leave some mystery about the conflict so your game is interesting leading up.
- Make sure that the main hero is promptly introduced. As well, have the answers to these questions about the main hero (or heroes) addressed in one way or another, but never directly -
How do they connect to the story?
What can they do to stop the conflict?
Why them?
How are they affected by the conflict?
What does solving the world's greatest problem do for them?
- What is important is that the game be exciting AT the start, not FROM the start. There need always be that calm after the start.
- Make sure that any opening cutscene is not long. People get bored fast and want to indulge in gameplay.
What not to do-
- Do not begin a game with a calm boring start, unless you have a big bad cutscene soon to follow.
- Do not have a lot of dialogue. As a side note, do not begin a game with verbosity. So many games do both of these, and I am instantly turned off.
- Do not have a long, lagging cutscene that is self-indulgent and may confuse/bore the player out of inquiring as to what your game is about.
- Do not tutor the player before the game's story is introduced. Tutorials can be tactfully placed after the cutscene.
- Make sure that the main hero is promptly introduced. As well, have the answers to these questions about the main hero (or heroes) addressed in one way or another, but never directly -
How do they connect to the story?
What can they do to stop the conflict?
Why them?
How are they affected by the conflict?
What does solving the world's greatest problem do for them?
- What is important is that the game be exciting AT the start, not FROM the start. There need always be that calm after the start.
- Make sure that any opening cutscene is not long. People get bored fast and want to indulge in gameplay.
What not to do-
- Do not begin a game with a calm boring start, unless you have a big bad cutscene soon to follow.
- Do not have a lot of dialogue. As a side note, do not begin a game with verbosity. So many games do both of these, and I am instantly turned off.
- Do not have a long, lagging cutscene that is self-indulgent and may confuse/bore the player out of inquiring as to what your game is about.
- Do not tutor the player before the game's story is introduced. Tutorials can be tactfully placed after the cutscene.
A question in terms of fan games.
Fan-games require much less effort in terms of ideas, since you're piggy-backing on another game and stealing from its entire story archive. However, coding everything to meet the standards of the game from which you're stealing is harder.
As with any game, or almost any form of art, the execution is more significant than the concept. For example, some might dislike the concept of somebody's fan-game, but perhaps that fan-game is the most well-made game in the entire community. I think fan-games are a good way to execute someone's first game, as well it would help him take baby-steps in the direction of story-writing and plot-designing for future game ideas.
But you're just plain unoriginal if you are making or made a Final Fantasy fan-game.
As with any game, or almost any form of art, the execution is more significant than the concept. For example, some might dislike the concept of somebody's fan-game, but perhaps that fan-game is the most well-made game in the entire community. I think fan-games are a good way to execute someone's first game, as well it would help him take baby-steps in the direction of story-writing and plot-designing for future game ideas.
But you're just plain unoriginal if you are making or made a Final Fantasy fan-game.
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