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Member Since 23 Sep 2009
Offline Last Active Nov 24 2013 03:05 PM

Posts I've Made

In Topic: Handling time travel from faster-than-light travel

15 November 2013 - 03:28 AM

I wouldn't exactly call FTL travel a sci-fi plot device, especially in space based video games.  it's more of an in general simple explanation for traveling long distances really quickly.  In fact, most games tend to just gloss over the exact science of space travel, using travel animatics simply as a make shift loading screen.


If you're not going to make the passage of time (real time, not story time) an integral game mechanic, i'd avoid trying to go into crazy depth with the methods in which your character travel.  Hell It may even be worth coming up with your own outlandish technology.

In Topic: Need Help Writing A Storyline For My Game (Stuck)

14 October 2012 - 02:35 PM

Do you have any concept art or anything drawn out or some sort of story skeleton? Are there any particular archetypes you want to see in the game? sometimes when you're stuck it helps to type cast your characters. You're not gonna get a lot of usable ideas if the only information you're providing is an arbitrary number of fighters with a vague goal. You could try working backwards, come up with the villain's story and circumstances, creating characters that would logically fit. The vast majority of classic fighting games rely on the tried and true tournament story where the final boss is a person of power that

A. is the tournaments super champion
B. Is some kind of crime boss someone wants revenge on
C. Is some crazy terrorist
D. Kidnapped a butt load of people slapped them on and island and forced them to fight
E. Promising to grant a wish upon victory


Then there are the franchise vs franchise games, where you're pitted against heroes and villains from opposing franchises, ultimately culminating in a battle against a mega villain alla green laughing slime guy, onslaught, galactus, etc.

Just remember to keep it simple, people aren't playing a fighting game for a convoluted story, unless you want to make a game like no more heroes haha

In Topic: Romance options/Story branching

14 October 2012 - 01:58 PM

The ar tonelico series has always had a girl selection system. the second of the trilogy was probably the peak of the system. While the girl you chose did not directly effect large portions of the games story, it did effect the final outcome, the ending you got, and a lot of the conversation topics and/or girl related events. pretty fun series to play with a fairly decent replay value.

Fable touches on the romance aspect, although it's done in a very sandboxy after-thought where the women you pick have very very very little consequence on anything, other than being quest rewards and/or providing familial rewards and bonuses.

Overlord, the campy series about being an overlord, gives you several options of mistresses on varying sides of the karmic spectrum. the mistress you pick effects certain gameplay mechanics, quests, and, if i remember correctly, certain parts of the story. Oh, you can also decorate your lair based on your mistresses tastes.

There's also that atlus game Record of Agarest War that has basically completely integrated the romance aspect into huge chunks of the game. You pick from several types of girls with varying personalities, woo the one of your choosing, eventually completing that ages storyline, which continues with your offspring who then himself picks a new mate, rinse and repeat. There are like 3 or 4 generations you can play through. There's also a sequal to the game.

Ar tonelico is by faaaaaaaaaaaaaaaar my favorite. the story is engaging, and the way you interact with the love interests is by diving into their souls and learning personal truths about them, helping them overcome whatever problems they are facing on that particular soul level. Plus they have really cute mechanics that are different for every girl, such as the crafting aspect. One recipe will yield a different item for every girl, usually resulting in an amusing scene about how they came up with that item.

In Topic: Suicide as a major subject in my games. What do you think?

14 October 2012 - 01:35 PM

You could also use suicide as a sort of game mechanic, you could play with the idea of rebirth, or if you're so inclined you could have each death strengthening the madness or depression of the character

In Topic: Suicide as a major subject in my games. What do you think?

14 October 2012 - 01:20 PM

You have to remember that successful stories are formulaic. there can be no action without conflict. if suicide is the action, what exactly is the conflict? what is happening that is causing the depression? As other people above have already stated, a world where people are recreationally committing suicide is not relatable. It would help if you provided some context to the story. One of the biggest factors that effects the tone of the story is the setting. Is it a dystopic world? a world full of poverty and disease? is there a virus running rampant or a crazy abusive dictatorship? Even if you are on a completely foreign planet where the aliens walk with their hair and feed on gas produced by toxic rivers of mercury, the setting is still important.

As crazy as it sounds, suicide is actually a very dynamic plot device. Suicide is often used as a form of self-sacrifice, however i'm guessing that's not exactly what you had in mind. It can also be used to enforce a point or to slam an exclamation point on a story arc. As referenced by Bioshock, Andrew Ryan's "would you kindly" sequence, while it was technically an assisted suicide, it was a hugely successful plot twist, because the action dramatically shifted your perception of the story. Another form of suicide is the ever popular "going down with guns blazing" where the protagonist knowingly faces unbeatable odds fully knowing he has no chance. It's part of the "die on my feet rather then live on my knees" or the "i know i'm going down, so i'm gonna take as many of you with me" mentality. As referenced by the end of the anime Cowboy Bebop.

I am a very strong advocate of killing off my characters in very dramatic ways, however i live by the philosophy that no death is wasted. when a named character is killed, or dies purely for the sake of gratuitous death, the action is empty and has no power. As mentioned above by another poster, the suicide should have some sort of consequence to give it any meaning. Or if you choose not to go down that path, you need to make the suicide so memorable that the player is the one that needs to feel something. You could make the game about the player interacting with a physical manifestation of it's depression eventually leading to suicide, in which case the depression itself is the conflict, rather than the result of it's surroundings.

some food for thought.