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No, Messi. That doesn't work.
The point of on-touch encounters is that you can avoid them by running around them. If you are then given a second opportunity when they touch you, that is redundant and non-sensical. Unless it was a special ability of a character or item you have equipped, then maybe.
A quick-time event (QTE) for random encounters to be able to avoid them, or get a first-turn advantage, would work but it is so... fourth wall breaking. Any time a meter, bar, menu, etc. comes up you are ripping the player out of the game world. The reason that fully voiced games are such a rage right now is that you aren't breaking a fourth wall for dialogue sequences. The reason that a lot of the time HUDs also function as a menu, and are considered part of your first-person view visor, is so that you aren't breaking a fourth wall for menus.
Obviously this isn't always the case but this is the direction RPGs are going in, and with huge success. Immersion in RPGs is at an all time high, for sure, and QTEs have always been met by harsh criticism. Either they are done too often, and are overly gimmicky and action-breaking (Force Unleashed is a good example of this,) or are done so infrequently that you almost always fuck it up the first time round (Bayonetta is a good example of this.) God of War/Darksiders do QTEs fairly well, but they are still considered taboo and a low point in the game's design.
In terms of features that I think every game should have.. well. I'm in agreement with a few other people in this thread.
Nothing.
These features and 'systems' and what not should always be game specific. They should always be tailored to the game.
Save Anywhere works great in games where the content isn't designed to be repeated, or where the gameplay isn't fun enough to be worth playing through twice. Pokemon is like this, because the content isn't as important as the progress. On the other side, Resident Evil needs save points because the game wouldn't feel dangerous or tense if you saved after every corner you turned.
Random Encounters/Not Random Encounters again, completely tailored to the game. If your game has lots of narrow corridors, and the movement system isn't quick and responsive (like many early jRPGs), touch encounters just do not work. However, if you have freedom of movement and can manoeuvre in interesting ways, then by all means don't use random encounters. Citing Pokemon, their game needed Random Encounters and Touch Encounters, but both are not done in the classic way and are tailored to the game itself. Random Encounters are usually not forced, or if they are, just for a small amount of time (and there are ways around it.) However, Touch Encounters are usually forced, but some can be avoided so you don't feel forced to do too much. The Random Encounters work the way that they do because their primary purpose is to find and catch Pokemon, which is something you would be doing by choice. Touch Encounters work the way that they do, because you can't always not be fighting and the premise of Pokemon is people train these little monsters to fight for them.. Of course people are going to be looking for a fight all the time.
Linear/Non-Linear Story, again; if your game calls for them then use them. The classic jRPG style of game doesn't use non-linear story telling because there is one ultimate goal. Most wRPGs use Non-Linear story so that you can build and mould your character in your image or the way you want. The lines here are blurred, lately, but the premise is still the same. If your characters have set personalities, set backgrounds, and their motifs are defined and solid; why should your characters be able to make choices that aren't their own? If your characters are blank canvases to build how you see fit, why should they ever not have choices for you to make for them?
Reused Graphics.. well. It really depends on certain things. I mean, region graphics (tilesets, environmental effects, etc.) will end up being consistent if the regions are consistent. If all the towns have the same architecture, why would you use different town graphics? If all the forests have the same trees, why would you use different trees? Hell, even character sprites. Fashion has always been a staple in modern AND ancient civilization. People wear what is in Fashion. Two people wearing the same clothes? Completely normal and believable. Some games even use the exact same sprite to indicate the function of the character. Neko in Secret of Mana, Nurse Joy in Pokemon, etc. They have a specific function and by making them look the same, the player can identify them easily.
Skillsets and Abilities are definitely on a game-to-game basis. I will beat a dead horse here, but Pokemon! Every Pokemon game has had the exact same set of abilities. The specific moves/actions that a Pokemon can perform: they aren't any different from the skills that a character can learn in a Final Fantasy game, they aren't any different from the Magic I learn in Baldur's Gate, there is nothing different about it. Using the same terminology (Magic, Skills, Abilities, Moves, etc.) is so that a player can start playing your game and know instantly what something is. How you make them unique to your game is up to you, but the premise is still the same. For example, in a game idea I was recently working on, Elemental skills cost MP while physical skills cost Stamina (or more specifically, increase exhaustion.) Yet every character had a unique ability that cost nothing that gave them something extra (Steal, Blue Magic, that type of stuff.)
Could a game exist without skills, magic, etc? Sure, but it would probably be boring. Even if you made a game set in the historically accurate Middle/Dark Ages, the different fighting styles of particular groups.. access to different levels of technology, etc. would end up being a skill system of some sort.
Fetch Quests and straying from action, well yeah. If you have the saviours of the world running errands all day the world probably won't get saved. But if a party member gets injured and you need to collect some hydra venom, a dragon's fang, and some behemoth's fur.. well. Fuck, either they die or you do it. Either way it progresses the story. I mean.. that's gameplay. That is RPG gameplay. That is how it works. If you want to have side quests where you have to collect items and just get gold/item/exp rewards, well, that's fine too. Those are side quests. If people want to do them, they can.
Hell, one of the most well received RPGs of our time (Skyrim) based an entire game off this. The main storyline specific quests are mostly fetch quests, and will run you maybe 8-12 hours gameplay. The other 300-400 hours of gameplay is 'pointless' side quests. You get rewards, but none of it is necessary at all. Yet its one of the most played RPGs and its part of a series where the last 3 games have all been massive successes based on the exact same model.
Optional Mini-Games only for fucks sake NO. The Snowboard and Motorcycle mini-games were absolutely necessary for me to complete Final Fantasy 7. There are literally two kinetic gameplay aspects to that game. Combat, and walking. GIVE ME MINI-GAMES AND GIVE ME LOTS.
Avoid Grinding EXP... Do I need to mention Pokemon again? The point of that game is to grind EXP. You can plow right to the end of the storyline with a handful of Pokemon and just doing the mandatory fights, but its impossible to complete your PokeDex without grinding EXP to level your Pokemon.
AND SO ON.
Different strokes, different folks. Make the game that your game has to be.
The point of on-touch encounters is that you can avoid them by running around them. If you are then given a second opportunity when they touch you, that is redundant and non-sensical. Unless it was a special ability of a character or item you have equipped, then maybe.
A quick-time event (QTE) for random encounters to be able to avoid them, or get a first-turn advantage, would work but it is so... fourth wall breaking. Any time a meter, bar, menu, etc. comes up you are ripping the player out of the game world. The reason that fully voiced games are such a rage right now is that you aren't breaking a fourth wall for dialogue sequences. The reason that a lot of the time HUDs also function as a menu, and are considered part of your first-person view visor, is so that you aren't breaking a fourth wall for menus.
Obviously this isn't always the case but this is the direction RPGs are going in, and with huge success. Immersion in RPGs is at an all time high, for sure, and QTEs have always been met by harsh criticism. Either they are done too often, and are overly gimmicky and action-breaking (Force Unleashed is a good example of this,) or are done so infrequently that you almost always fuck it up the first time round (Bayonetta is a good example of this.) God of War/Darksiders do QTEs fairly well, but they are still considered taboo and a low point in the game's design.
In terms of features that I think every game should have.. well. I'm in agreement with a few other people in this thread.
Nothing.
These features and 'systems' and what not should always be game specific. They should always be tailored to the game.
Save Anywhere works great in games where the content isn't designed to be repeated, or where the gameplay isn't fun enough to be worth playing through twice. Pokemon is like this, because the content isn't as important as the progress. On the other side, Resident Evil needs save points because the game wouldn't feel dangerous or tense if you saved after every corner you turned.
Random Encounters/Not Random Encounters again, completely tailored to the game. If your game has lots of narrow corridors, and the movement system isn't quick and responsive (like many early jRPGs), touch encounters just do not work. However, if you have freedom of movement and can manoeuvre in interesting ways, then by all means don't use random encounters. Citing Pokemon, their game needed Random Encounters and Touch Encounters, but both are not done in the classic way and are tailored to the game itself. Random Encounters are usually not forced, or if they are, just for a small amount of time (and there are ways around it.) However, Touch Encounters are usually forced, but some can be avoided so you don't feel forced to do too much. The Random Encounters work the way that they do because their primary purpose is to find and catch Pokemon, which is something you would be doing by choice. Touch Encounters work the way that they do, because you can't always not be fighting and the premise of Pokemon is people train these little monsters to fight for them.. Of course people are going to be looking for a fight all the time.
Linear/Non-Linear Story, again; if your game calls for them then use them. The classic jRPG style of game doesn't use non-linear story telling because there is one ultimate goal. Most wRPGs use Non-Linear story so that you can build and mould your character in your image or the way you want. The lines here are blurred, lately, but the premise is still the same. If your characters have set personalities, set backgrounds, and their motifs are defined and solid; why should your characters be able to make choices that aren't their own? If your characters are blank canvases to build how you see fit, why should they ever not have choices for you to make for them?
Reused Graphics.. well. It really depends on certain things. I mean, region graphics (tilesets, environmental effects, etc.) will end up being consistent if the regions are consistent. If all the towns have the same architecture, why would you use different town graphics? If all the forests have the same trees, why would you use different trees? Hell, even character sprites. Fashion has always been a staple in modern AND ancient civilization. People wear what is in Fashion. Two people wearing the same clothes? Completely normal and believable. Some games even use the exact same sprite to indicate the function of the character. Neko in Secret of Mana, Nurse Joy in Pokemon, etc. They have a specific function and by making them look the same, the player can identify them easily.
Skillsets and Abilities are definitely on a game-to-game basis. I will beat a dead horse here, but Pokemon! Every Pokemon game has had the exact same set of abilities. The specific moves/actions that a Pokemon can perform: they aren't any different from the skills that a character can learn in a Final Fantasy game, they aren't any different from the Magic I learn in Baldur's Gate, there is nothing different about it. Using the same terminology (Magic, Skills, Abilities, Moves, etc.) is so that a player can start playing your game and know instantly what something is. How you make them unique to your game is up to you, but the premise is still the same. For example, in a game idea I was recently working on, Elemental skills cost MP while physical skills cost Stamina (or more specifically, increase exhaustion.) Yet every character had a unique ability that cost nothing that gave them something extra (Steal, Blue Magic, that type of stuff.)
Could a game exist without skills, magic, etc? Sure, but it would probably be boring. Even if you made a game set in the historically accurate Middle/Dark Ages, the different fighting styles of particular groups.. access to different levels of technology, etc. would end up being a skill system of some sort.
Fetch Quests and straying from action, well yeah. If you have the saviours of the world running errands all day the world probably won't get saved. But if a party member gets injured and you need to collect some hydra venom, a dragon's fang, and some behemoth's fur.. well. Fuck, either they die or you do it. Either way it progresses the story. I mean.. that's gameplay. That is RPG gameplay. That is how it works. If you want to have side quests where you have to collect items and just get gold/item/exp rewards, well, that's fine too. Those are side quests. If people want to do them, they can.
Hell, one of the most well received RPGs of our time (Skyrim) based an entire game off this. The main storyline specific quests are mostly fetch quests, and will run you maybe 8-12 hours gameplay. The other 300-400 hours of gameplay is 'pointless' side quests. You get rewards, but none of it is necessary at all. Yet its one of the most played RPGs and its part of a series where the last 3 games have all been massive successes based on the exact same model.
Optional Mini-Games only for fucks sake NO. The Snowboard and Motorcycle mini-games were absolutely necessary for me to complete Final Fantasy 7. There are literally two kinetic gameplay aspects to that game. Combat, and walking. GIVE ME MINI-GAMES AND GIVE ME LOTS.
Avoid Grinding EXP... Do I need to mention Pokemon again? The point of that game is to grind EXP. You can plow right to the end of the storyline with a handful of Pokemon and just doing the mandatory fights, but its impossible to complete your PokeDex without grinding EXP to level your Pokemon.
AND SO ON.
Different strokes, different folks. Make the game that your game has to be.
Another leveling system where you don´t level
This is similar to the way I had planned to have "Levelling" work in a project I am not bothering with for the moment.
Essentially, Gear was the only way you customized your characters. Mainly due to special effects, too. Stat increases were minimal and usually percentage based.
Some weapons would give you access to certain skills, elemental damage, chance to inflict status, etc. Armors would give you various defenses, bonuses to stats, bonus to after combat spoils (items, etc.) or the effectiveness of magic/items, and so forth.
You would, however, gain a "Level" every time you encountered a certain point in the story. I think I called them growth points (but not at all like that other guy's system with the spendable points) which didn't necessarily mean a boss fight, but most often a boss would cause it. Occasionally it would occur after clearing a dungeon, or whatever. The growth would increase your stats so that the percentage bonuses would be higher, give you access to new skills, and remove restrictions on certain gear and items.
This way, I knew exactly how powerful the player was, and could balance my fights and bosses appropriately. The player was then charged to think about his equipment and the combinations in order to defeat challenges.
Unfortunately, I realized it would be a pain if you forgot to change your equipment and found yourself in a random encounter you couldn't beat, but then I thought about not having random encounters, then I realized that there would still need to be fights between bosses and events otherwise what is the point of all those stats and skills and what have you.
It's a system that can work, but it doesn't work in the standard basic RPG.
Essentially, Gear was the only way you customized your characters. Mainly due to special effects, too. Stat increases were minimal and usually percentage based.
Some weapons would give you access to certain skills, elemental damage, chance to inflict status, etc. Armors would give you various defenses, bonuses to stats, bonus to after combat spoils (items, etc.) or the effectiveness of magic/items, and so forth.
You would, however, gain a "Level" every time you encountered a certain point in the story. I think I called them growth points (but not at all like that other guy's system with the spendable points) which didn't necessarily mean a boss fight, but most often a boss would cause it. Occasionally it would occur after clearing a dungeon, or whatever. The growth would increase your stats so that the percentage bonuses would be higher, give you access to new skills, and remove restrictions on certain gear and items.
This way, I knew exactly how powerful the player was, and could balance my fights and bosses appropriately. The player was then charged to think about his equipment and the combinations in order to defeat challenges.
Unfortunately, I realized it would be a pain if you forgot to change your equipment and found yourself in a random encounter you couldn't beat, but then I thought about not having random encounters, then I realized that there would still need to be fights between bosses and events otherwise what is the point of all those stats and skills and what have you.
It's a system that can work, but it doesn't work in the standard basic RPG.
I'd like outside opinion on the merits of somethings
I was hoping that I could get some additional feedback on this. Even minor comments, questions, criticisms. I am seriously considering utilizing at the very least some of this work and would love some more discussion on it to help me get thinking.
No music with 2k Games
author=Avee
Music won't play for me sometimes when the songs are MIDIs, regardless of the engine (2k, 2k3, XP or VX).
I fix this by opening one of the game's MIDIs in Windows Media Player and clicking stop, but keep WMP open and loaded with the song. I then restart the game and the music now plays.
There surely is a better way but this works for me.
This sounds like your Midi Drivers aren't being initialized, and RM* isn't doing it for you. I'd look into matching your soundcard and operating system and seeing if there are any updated drivers, or support topics online regarding it.
I can totally see why new PCs might decide not to initialize midi drivers since midi is barely used anymore, but it should be something you can change.
No music with 2k Games
Games that nobody remember?
I'd like outside opinion on the merits of somethings
LockeZ: I think for Item Users, they will have a selection of utility skills that use Adrenaline as their fuel exclusively. They would have flat Adrenaline costs, and some would be able to be augmented by adding additional adrenaline to the attack. I actually am not sure what I was thinking when I was designing this, having item users have no skills! What a silly idea.
I couldn't have the characters switch between classes. Magic is an innate ability, not something that anyone can learn.
I appreciate the comments about the story ^^; I had help working on it from another RM user (ValentineEnigma at the time) and an RL friend. I think you are right, though, LockeZ. Even if I just make a playable demo/proof of concept that plays through the back story and then make the long epic storyline afterwards.
Dudesoft: Those Domain Effects are rough outlines, just based off what I could do with the Domain Effects script I made for RMXP. They definitely need revision. There isn't even one that makes Fire skills any better.. although that was likely on purpose I have always felt Fire Magic is slightly overpowered and doesn't need much more powering (that is a game-specific generalization though of course.)
I couldn't have the characters switch between classes. Magic is an innate ability, not something that anyone can learn.
I appreciate the comments about the story ^^; I had help working on it from another RM user (ValentineEnigma at the time) and an RL friend. I think you are right, though, LockeZ. Even if I just make a playable demo/proof of concept that plays through the back story and then make the long epic storyline afterwards.
Dudesoft: Those Domain Effects are rough outlines, just based off what I could do with the Domain Effects script I made for RMXP. They definitely need revision. There isn't even one that makes Fire skills any better.. although that was likely on purpose I have always felt Fire Magic is slightly overpowered and doesn't need much more powering (that is a game-specific generalization though of course.)
I'd like outside opinion on the merits of somethings
I was writing some story and working on a game for RMXP several years ago (I believe it was roughly 7-8 years ago.) I lost the work I put into the game, but I managed to keep a rough introduction to the storyline and an outline of some of the combat engine intact. I wanted to post it here to get feedback on the ideas and their validity, to see if they are worth pursuing or using again in another project.
Storyline
Combat
Any thoughts on the matter, and such, would be greatly appreciated. I remember having the story written out to being what I figured would end up as a massive scale RPG. I remember vague bits of it but not enough to be able to remember exactly how it went. Anything beyond the premise and what is written would likely have to be re-written from scratch.
The Combat System I think is neat. The Adrenaline system could easily be replaced with the TP system in VX Ace, with a few modifications. The Item User/Magic User distinction would require some work but not too much. I think it has a lot going for it, but Item Users would need to be balanced to shit because not having a lot of skills (they'd likely at least get one battle command other than Fight) they would get boring and likely be really underpowered. I'm sure that could use some work.
Anything else?
Storyline
Introduction:
Elf kind began with a discussion about the perfect world; the two Gods – one for technology and the other for nature - had opposing views on what a flawless existence was. So a competition was proposed; the God most successful in physically creating a perfect world was the better God. When the Technological God’s world failed, in His rage and bitterness, His presence began to leak into the other world. Though at first His presence was minor; creatures becoming more violent, volcanoes appearing, people rebelling, His influence becomes more and more evident as time wears on, mainly in the form of an Empire based on amassing wealth which has expanded over centuries. In their culture to date, there is a prophesy that the Gods will soon appear as elf and fight for the fate of all.
Story So Far:
Once in a happy marriage, the irresponsible Brocc? n changes after being plagued with money problems. Seeing a way out, he becomes a pirate and not only turns into a criminal but also a bitter, volatile man. Being away at seas for months or even years at a time, and acting crudely the short time he is home drives his wife, who is in solitude since Sìleans despise pirates, into an affair that leaves her with twins Aislinn and Risteard. She is deathly afraid of his reaction should he come home so she plans her escape to the mainland, waiting for the day that news of his return reaches her. After eight years, reports of his ship coming to port are heard, but money problems have continued throughout his absence and she can not leave with both children. In desperation, she gives Risteard up to the Chief of SÃleas who recently lost his son and flees to the continent with Aislinn.
The ship, however, is poorly maintained and the unsanitary conditions kill Aislinn’s mother only a few days into the voyage. Even more unfortunate is that the seas are plagued with pirates and the ship is taken over, its supplies stolen and everyone killed with the exception of Aislinn who is taken under the wing of the rogue pirates because she is so young. Although crude and vulgar, they try their best to raise Aislinn, but she is still shielded from them and the more serious actions they commit by Donahue, the youngest of the rogue pirates who, fifteen at the time, teaches her the skills and the morals she will need one day to leave and start a proper life on land. After ten years the pirates are getting older and decide to set up a home base, finding themselves at SÃleas, although Aislinn does not remember it.
Here, the rogue pirates are outcasts and have minimal contact with the townspeople, so they live on the outskirts of SÃleas, left awed at the SÃlean’s mighty magical abilities. Aislinn almost has immunity to the pirate treatment though because the townspeople see her innocence and are afflicted by their decision to not help a woman that was trapped in a marriage to a pirate many years before. Because of this and the fact her pirate family leave for journeys without her now, she finds herself growing apart from them and spends her time studying magic, geography and languages and wandering all over the island with a dream of traveling again on her own accord.
One day the rogue pirates are approached by the SÃleans and are asked to help stop the industrialization of the island. Apparently the Chief of SÃleas signed a document that sold the rights of the island to Emperor Raghnall of the capital city, Elgin, on the mainland. For exchange of a lot money the pirates promise to protect the island from incoming ships from the mainland, but they then also demand to be taught magic. Before they agree to this, the villagers also ask them to send someone to Elgin to try and reason with the Emperor; Aislinn jumps at the chance because she sees her opportunity to start her journey to find her brother. Donahue agrees to join her - the safest thing to do since he is still young and unknown to the Emperor’s fleet.
As they leave, they are befriended by the Chief’s son, Risteard, who also wants to join them. He expresses his disgust at his father for taking the island for granted and his desire to set things right, so the three of them head to the mainland and towards Elgin.
Along the way, it’s established that Risteard is not much of a fighter; he’s actually a bit of a coward and relies on Donahue and Aislinn to defend him. But there’s something the Chief’s son is hiding, he acts slightly suspicious, but it’s something neither of them can quite pin, although they don’t spend a lot of time trying to figure it out between fights with local creatures. Also on their trip, Aislinn notices the ever expanding gap between the once inseparably close relationship with Donahue which hurts dearly because she thinks she loves him.
It’s when they arrive in Elgin that things get interesting. Risteard leaves them right away without telling them why, and Donahue and Aislinn are left to try and to get an audience with the emperor. It happens to be easy to see the emperor; when they state their place of origin, they are immediately met by Emperor Raghnall’s consul who lets them stay in the castle until the emperor can see them.
The Emperor takes days to see them though, and Risteard has been missing since they arrived in Elgin so Donahue and Aislinn are left confused and speculating.
Characters
> Aislinn Sileas
A gifted and highly intuitive mage, she has a natural connection to the planet. With a strong desire to find her lost brother, she travels the world with a band of pirates whom adopted her in her infancy. Her growing feelings for one of the rogues, Donahue, keeps her close to the repulsive gang. Distrustful and occassionally violent, Aislinn proves qualities of intelligence and leadership.
> Donahue Morgan
A traditional man. Fifteen at the time of Aislinn's arrival, he is now ready to settle down at the age of twenty five and marry. He sees Aislinn as a little sister, or even the daughter he plans to have. He is willfully blind of Aislinn's crush on him, yet maintains a close relationship. He has a strong sense of duty and obeys the laws of chivilry to the finest detail.
> Risteard Mael-Duin
Convinced he was abandoned by his mother, Risteard uses his bitterness to fuel his ambitions of power. Growing up in nobility gave Risteard access to high education, although it is apparent at an early age that he has qualities far beyond his age: Charisma that could charm a God, and a third eye that can pierce centuries forward into the technological future.
> Aegean Muiredach
To restore the reputation and assets of his noble heritage, Aegean strives and succeeds in being recruited as a Knight of Airgialla; an elite, highly-trained assemblage that serves only the empire and protects it and its people from any threats, including the Emperor. Against his upbringing, Aegean is always conscientious of how poor his family is. Stemming from that the girl he has feelings for is looking for only a wealthy suitor, and that society is obsessed with wealth. He's an emotional, romantic type. Looking for an idealistic, no-matter-the-cost love that's faithful until death. Despite the fact his head is usually in the clouds, Aegean knows how to be seriously bad ass; his abilities extend beyond his training due to his natural talent with in combat.
Elf kind began with a discussion about the perfect world; the two Gods – one for technology and the other for nature - had opposing views on what a flawless existence was. So a competition was proposed; the God most successful in physically creating a perfect world was the better God. When the Technological God’s world failed, in His rage and bitterness, His presence began to leak into the other world. Though at first His presence was minor; creatures becoming more violent, volcanoes appearing, people rebelling, His influence becomes more and more evident as time wears on, mainly in the form of an Empire based on amassing wealth which has expanded over centuries. In their culture to date, there is a prophesy that the Gods will soon appear as elf and fight for the fate of all.
Story So Far:
Once in a happy marriage, the irresponsible Brocc? n changes after being plagued with money problems. Seeing a way out, he becomes a pirate and not only turns into a criminal but also a bitter, volatile man. Being away at seas for months or even years at a time, and acting crudely the short time he is home drives his wife, who is in solitude since Sìleans despise pirates, into an affair that leaves her with twins Aislinn and Risteard. She is deathly afraid of his reaction should he come home so she plans her escape to the mainland, waiting for the day that news of his return reaches her. After eight years, reports of his ship coming to port are heard, but money problems have continued throughout his absence and she can not leave with both children. In desperation, she gives Risteard up to the Chief of SÃleas who recently lost his son and flees to the continent with Aislinn.
The ship, however, is poorly maintained and the unsanitary conditions kill Aislinn’s mother only a few days into the voyage. Even more unfortunate is that the seas are plagued with pirates and the ship is taken over, its supplies stolen and everyone killed with the exception of Aislinn who is taken under the wing of the rogue pirates because she is so young. Although crude and vulgar, they try their best to raise Aislinn, but she is still shielded from them and the more serious actions they commit by Donahue, the youngest of the rogue pirates who, fifteen at the time, teaches her the skills and the morals she will need one day to leave and start a proper life on land. After ten years the pirates are getting older and decide to set up a home base, finding themselves at SÃleas, although Aislinn does not remember it.
Here, the rogue pirates are outcasts and have minimal contact with the townspeople, so they live on the outskirts of SÃleas, left awed at the SÃlean’s mighty magical abilities. Aislinn almost has immunity to the pirate treatment though because the townspeople see her innocence and are afflicted by their decision to not help a woman that was trapped in a marriage to a pirate many years before. Because of this and the fact her pirate family leave for journeys without her now, she finds herself growing apart from them and spends her time studying magic, geography and languages and wandering all over the island with a dream of traveling again on her own accord.
One day the rogue pirates are approached by the SÃleans and are asked to help stop the industrialization of the island. Apparently the Chief of SÃleas signed a document that sold the rights of the island to Emperor Raghnall of the capital city, Elgin, on the mainland. For exchange of a lot money the pirates promise to protect the island from incoming ships from the mainland, but they then also demand to be taught magic. Before they agree to this, the villagers also ask them to send someone to Elgin to try and reason with the Emperor; Aislinn jumps at the chance because she sees her opportunity to start her journey to find her brother. Donahue agrees to join her - the safest thing to do since he is still young and unknown to the Emperor’s fleet.
As they leave, they are befriended by the Chief’s son, Risteard, who also wants to join them. He expresses his disgust at his father for taking the island for granted and his desire to set things right, so the three of them head to the mainland and towards Elgin.
Along the way, it’s established that Risteard is not much of a fighter; he’s actually a bit of a coward and relies on Donahue and Aislinn to defend him. But there’s something the Chief’s son is hiding, he acts slightly suspicious, but it’s something neither of them can quite pin, although they don’t spend a lot of time trying to figure it out between fights with local creatures. Also on their trip, Aislinn notices the ever expanding gap between the once inseparably close relationship with Donahue which hurts dearly because she thinks she loves him.
It’s when they arrive in Elgin that things get interesting. Risteard leaves them right away without telling them why, and Donahue and Aislinn are left to try and to get an audience with the emperor. It happens to be easy to see the emperor; when they state their place of origin, they are immediately met by Emperor Raghnall’s consul who lets them stay in the castle until the emperor can see them.
The Emperor takes days to see them though, and Risteard has been missing since they arrived in Elgin so Donahue and Aislinn are left confused and speculating.
Characters
> Aislinn Sileas
A gifted and highly intuitive mage, she has a natural connection to the planet. With a strong desire to find her lost brother, she travels the world with a band of pirates whom adopted her in her infancy. Her growing feelings for one of the rogues, Donahue, keeps her close to the repulsive gang. Distrustful and occassionally violent, Aislinn proves qualities of intelligence and leadership.
> Donahue Morgan
A traditional man. Fifteen at the time of Aislinn's arrival, he is now ready to settle down at the age of twenty five and marry. He sees Aislinn as a little sister, or even the daughter he plans to have. He is willfully blind of Aislinn's crush on him, yet maintains a close relationship. He has a strong sense of duty and obeys the laws of chivilry to the finest detail.
> Risteard Mael-Duin
Convinced he was abandoned by his mother, Risteard uses his bitterness to fuel his ambitions of power. Growing up in nobility gave Risteard access to high education, although it is apparent at an early age that he has qualities far beyond his age: Charisma that could charm a God, and a third eye that can pierce centuries forward into the technological future.
> Aegean Muiredach
To restore the reputation and assets of his noble heritage, Aegean strives and succeeds in being recruited as a Knight of Airgialla; an elite, highly-trained assemblage that serves only the empire and protects it and its people from any threats, including the Emperor. Against his upbringing, Aegean is always conscientious of how poor his family is. Stemming from that the girl he has feelings for is looking for only a wealthy suitor, and that society is obsessed with wealth. He's an emotional, romantic type. Looking for an idealistic, no-matter-the-cost love that's faithful until death. Despite the fact his head is usually in the clouds, Aegean knows how to be seriously bad ass; his abilities extend beyond his training due to his natural talent with in combat.
Combat
Adrenaline System:
Adrenaline gained by attacking
Adrenaline gained by being attacked
Decreases over time
Adrenaline Based Skills
Adrenaline Augmented Skills
Status Effects:
Adrenaline Lock (sets max adrenaline to value of adrenaline at the time of cast)
Adrenaline Zero (Adrenaline =0%)
Adrenaline Rush (Adrenaline +50%)
Adrenaline Calm (Adrenaline -50%)
Command Lock (Locks command options such as fight, defend, escape, item, skill)
Domain Effects:
Underwater (Fire damage nullified, lightning attacks all, water damage enhanced)
Swamp (Each turn chance to poison characters, air attacks chance to poison)
Mid-air (Air attacks chance to stun, earth attacks nullified)
Mountain (Earth attacks stronger, earth attacks chance to cause avalanche attacking all)
Seaside (Water attacks stronger, water attacks chance to cause wave attacking all)
Blessed Ground (Cures stronger, evil attacks nullified)
Magic Barrier (No magical attacks. Element damage nullified)
Night time (Enemies more vicious, stronger enemies)
Day time (More tame enemies, weaker.)
Enemy Intelligence:
Enemy group to attack based on character levels (Lv2 wolves won't attack Lv5 parties)
Makes areas continually difficult up to a point where enemies stop attacking.
Actors
Two "classes". One is Magic User one is Item User (determines battle commands).
Magic Users:
Have a set amount of Potential
Each skill requires a certain amount of Potential
Potential Limit increases as you level
Certain combinations of skills weild bonus skills
> Example; if Fire is equipped and Sword Cut is equipped, you can use Fire Sword.
Amount of Potential required is based on effectiveness of the spell, and its type.
Spell Types = Magical, Adrenal, and Augmentable.
Amount of AP goes in that order.
Item Users:
Have a set amount of items able to equip before battle (default = 3)
In menu you set which items you want to take with you into battle
You can set the same amount of items multiple times
> Example; Item Belt = Potion, Ether, and Elixir. It can also be Potion, Potion, Ether.
You only take one of each item into battle for each in belt.
If that item no longer exists in inventory (amount of Potions = 0), you will automatically take an extra of the next item in the list.
> Example; Item Belt = Potion, Ether, Elixir. If Potions = 0, then you'll take Ether, Ether, Elixir.
Some items can't be taken in battle (like Books and quest items)
Weapons/armor can be taken in battle. If they are, you can change your equipment by using them
> Example; Item Belt = Wood Sword, Helmet, Potion. If you select Wood Sword, you equip that and put your current weapon "Stick" onto the belt.
Adrenaline gained by attacking
Adrenaline gained by being attacked
Decreases over time
Adrenaline Based Skills
Adrenaline Augmented Skills
Status Effects:
Adrenaline Lock (sets max adrenaline to value of adrenaline at the time of cast)
Adrenaline Zero (Adrenaline =0%)
Adrenaline Rush (Adrenaline +50%)
Adrenaline Calm (Adrenaline -50%)
Command Lock (Locks command options such as fight, defend, escape, item, skill)
Domain Effects:
Underwater (Fire damage nullified, lightning attacks all, water damage enhanced)
Swamp (Each turn chance to poison characters, air attacks chance to poison)
Mid-air (Air attacks chance to stun, earth attacks nullified)
Mountain (Earth attacks stronger, earth attacks chance to cause avalanche attacking all)
Seaside (Water attacks stronger, water attacks chance to cause wave attacking all)
Blessed Ground (Cures stronger, evil attacks nullified)
Magic Barrier (No magical attacks. Element damage nullified)
Night time (Enemies more vicious, stronger enemies)
Day time (More tame enemies, weaker.)
Enemy Intelligence:
Enemy group to attack based on character levels (Lv2 wolves won't attack Lv5 parties)
Makes areas continually difficult up to a point where enemies stop attacking.
Actors
Two "classes". One is Magic User one is Item User (determines battle commands).
Magic Users:
Have a set amount of Potential
Each skill requires a certain amount of Potential
Potential Limit increases as you level
Certain combinations of skills weild bonus skills
> Example; if Fire is equipped and Sword Cut is equipped, you can use Fire Sword.
Amount of Potential required is based on effectiveness of the spell, and its type.
Spell Types = Magical, Adrenal, and Augmentable.
Amount of AP goes in that order.
Item Users:
Have a set amount of items able to equip before battle (default = 3)
In menu you set which items you want to take with you into battle
You can set the same amount of items multiple times
> Example; Item Belt = Potion, Ether, and Elixir. It can also be Potion, Potion, Ether.
You only take one of each item into battle for each in belt.
If that item no longer exists in inventory (amount of Potions = 0), you will automatically take an extra of the next item in the list.
> Example; Item Belt = Potion, Ether, Elixir. If Potions = 0, then you'll take Ether, Ether, Elixir.
Some items can't be taken in battle (like Books and quest items)
Weapons/armor can be taken in battle. If they are, you can change your equipment by using them
> Example; Item Belt = Wood Sword, Helmet, Potion. If you select Wood Sword, you equip that and put your current weapon "Stick" onto the belt.
Any thoughts on the matter, and such, would be greatly appreciated. I remember having the story written out to being what I figured would end up as a massive scale RPG. I remember vague bits of it but not enough to be able to remember exactly how it went. Anything beyond the premise and what is written would likely have to be re-written from scratch.
The Combat System I think is neat. The Adrenaline system could easily be replaced with the TP system in VX Ace, with a few modifications. The Item User/Magic User distinction would require some work but not too much. I think it has a lot going for it, but Item Users would need to be balanced to shit because not having a lot of skills (they'd likely at least get one battle command other than Fight) they would get boring and likely be really underpowered. I'm sure that could use some work.
Anything else?
Is there a way to raise max hp temporarily?
author=LockeZ
You can just make a status effect in RMXP that changes your max HP to 200%. When making a status effect, max hp is the third box on the top row of stat mods.
You can change attack and defense this way too.
I was under the impression XP couldn't do this, since he was asking. I assumed he would have looked in Status Effects first.
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