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An Idea For A Final Fantasy Styled Game

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The main character's name means good light, he is against evil light on his planet. The cover art for this game would be the protagonist in a calm blue to depict forethought, and in black the antagonist with with two handguns. They cross each other.
 
The main character is a tactician, he leads a hero character in sepia, greyscale, blue and red, and two in black. These are all the hero characters in the game, some come later.
 
The antagonist is in command of the speed of light, he has two handguns that orbit him at the speed of light. Magic in this game is based on the speed of light, and some characters are not effected. The main character, sepia and greyscale character's are not effected.
 
The sepia character is a super solider in sepia coloured advanced armour with headgear.
 
The greyscale character is a spy, in dark and light grey espionage gear.
 
The main character is tactician, but also a marksman holding one handgun...
 
The antagonist is the depiction of War, and all hero characters including the protagonist are reflections of War, to varied degrees.
 
The protagonist is humane, he shouts orders and is an influential character. He speaks profoundly and has a great heart. He represents what's nearest to good light, while the antagonist is what's against good light.
 
Enemies in the game are abstractions of weaponry, dimensional creatures or other humans.
 
The protagonist makes a promise to his planet, that he will make the light good. The lore of the speed of light is that it's irreversible but it was discovered by the antagonist.
 
The human body is effected by evil light, some can harness it's power and use it for good, and they are called magic artists. Their art is volatile, and they do not have full control, rather, they are skilled enough to manipulate evil light.
 
Some are physically immune, some are diseased or abstracted by evil light. The premise is that evil light effects all, but the effect has spread, with different velocity. For the protagonist, the effect is only the experience of the story.
 
Magic is as you would expect in a final fantasy styled game; the elements, time, space, etc. In this game, magic is speed of light themed; and there would be new magic unthought of: dimensional magic; manipulating universal forces; evil magic; manipulating individual forces. 
 
Evil magic and dimensional magic are scarce, they are signs in the story, of how it could end in a good or evil light.
 
Evil magic is what it is, an evil, black substance. Dimensional magic is of an epic nature, starry and swirling. It's the possibility of dimensional magic that guides the protagonist and his friends, and evil magic is opposed.
 
I theorize that these special types of magic are event-driven, appearing as 'combo-breaks', 'limit-breaks' or 'special-events'.
 
Sepia and Greyscale characters are male and female, fatherly and motherly, partners. They both make a sacrifice – she puts herself in danger, and he conquers the danger. 
 
The Red and Blue characters are a white mage and black mage; Blue is attuned with water, and Red is attuned with fire. They are magic artists, and thus have harnessed evil light.
 
The additional two Black characters represent disease and abstraction. They are superficial Sepia and Greyscale characters, formed out of evil light. They are event-driven but with constant use – successful combos allow for more advanced than Sepia and Greyscale commands.
 
There are battles all over the world, but the theme is more orientated around a utopia and a dystopia side – opposed desert and flourishing conditions with areas of transition.
 
In the end, the protagonist defeats the antagonist, and evil light is conquered. The main character dies in the final battle, and the universe becomes attuned with dimensional magic.
Edited by m0nk3y

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This is not an idea for a game, this is an idea for the setting of a game. Moving you to the writing forum.

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You are correct, I'm new.

 

For the record, I would like to discuss the visual side and new concepts I have outlined in the original post; evil light, the concept of a great harmony of characters, dimensional and evil magic, are points of my interest. Any additional criticisms are welcomed.

 

I can come up with new concepts fluently.

I'm a skilled writer, scientist and philosopher, and [deleted by moderator]

Edited by Tom Sloper
classified verbiage

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*headscratch*  Well, the use of colors is interesting, and I'm generally a fan of Final Fantasy type things.  But I don't really understand what this magic light is.  (Also guns, ew.)

 

Maybe I interpreted it wrong, but is the protagonist actually a gunman who is exterminating the source of magic?  Because thematically, that seems backwards.

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*headscratch*  Well, the use of colors is interesting, and I'm generally a fan of Final Fantasy type things.  But I don't really understand what this magic light is.  (Also guns, ew.)

 

Maybe I interpreted it wrong, but is the protagonist actually a gunman who is exterminating the source of magic?  Because thematically, that seems backwards.

The protagonist is a marksman but moreover a tactician; he is the depiction of good light, against the antagonist's evil light, which is also the source of magic.

 

No, magic is not evil. However, the state of magic in the story is lesser than it would be if it was the protagonist that discovered how to harness the speed of light.

Edited by m0nk3y

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My point is that if the protagonist succeeds at eliminating evil light, that will eliminate magic from the universe.  Players seems likely to hate this.

The discovery of the speed of light power [the antagonist's discovery], is irreversible; but, when evil light is conquered, it crosses with good light.

 

Magic is more an affliction whilst evil light exists, when evil light is conquered, it becomes more of a nature - which is fine, because the game would have ended at this point, leaving peers with a free imagination.

Edited by m0nk3y

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Final Concept

 

The story is of a war of good light and evil light.

 

Good light and evil light are dual concepts. The good of the matter is the sensory aspect, and evil is what's against it.

 

The cover art would be the antagonist in cutting-edge black crossing the calm blue face of protagonist in two places, with dual handguns.

 

The protagonist's temple and mouth are crossed.

 

The protagonist's expression is to depict knowledge of the antagonist.

 

The protagonist must cross the antagonist with forethought – the antagonist is to be depicted wrathful. This shows the antagonist's knowledge of the protagonist.

 

On the protagonist's expression, because of his knowledge of the antagonist, he is depicted to counter the crossings naturally. The protagonist's eyes are to register the antagonist, and his mouth is to react to the entirety.

 

He looks focused on the thought of the antagonist, his mouth straightened. A mark on the antagonist's gun draws half a sad expression.

 

To conclude on the cover art, the visual side has the capacity for a story, fine details of the crossing are symbolic of the cohesive art. It explains the concept, but not the story.

The antagonist, evil light, has harnessed the speed of light, but the technology is for himself. Nature, in turn, becomes abstracted and diseased by the antagonist's power, but some nature is apt enough to fight it.

 

The speed of light is the theme to all stylistic aspects, and is the source of the super-natural.

 

The protagonist, good light, is at the forefront of war.

 

He is not diseased or abstracted, but he is aware of the danger. The protagonist is sad, but his sadness is a mystery.

 

Magic artists are those who had an alternate reaction to the antagonist's power. A magic artist is stricken by nature, and is immune to evil light. Magic artists are unstable, but great in war.

 

The protagonist is a tactician and marksman, with one handgun. He commands six characters all symbolic of colours: a super-solider symbolic of Sepia, a spy symbolic of Grey, a duo of magic artists symbolic of Red and Blue, and an abstract character and a diseased character symbolic of Black.

 

The super-solider and spy are in a relationship; the super-solider is the strengths, and the spy, the weaknesses. There is duality, and they support each other. The super-solider is fatherly and the spy is motherly.

 

The duo of magic artists are opposed in character, and they are related on this basis. The Blue magic artist is defensive, and stricken by water. The Red magic artist is offensive, and stricken by fire. The dual personalities reflect their art, and the instability of magic.

 

The abstract and diseased characters, are an alternate super-solider and spy. The way that they differentiate is the absolution of their personality. Their strengths are stronger, and weaknesses, weaker, but overall less strengths and weaknesses.

 

The seven heroes can win the war, but only in unity.

 

The antagonist is the depiction of war, and the heroes reflect the antagonist – they are the depiction of peace, together.

 

The story revolves around the antagonist, and the protagonist is a symbol of this revolution. The story is the protagonist's revolution of the antagonist, therefore, the protagonist is the story.

 

Worldly events are to depict aspects of the protagonist's revolution.

 

In reference to the conceptual cover art, the details symbolic of the cohesive concept define the limits of these events.

 

Remember the protagonist's expression, the antagonist's crossing and more, but forget not the protagonist, nor antagonist. The 'thought of the antagonist', that's depicted by the protagonist, can be expressed again and again.

 

Where the cover art shows the protagonist's thought of the antagonist, there could be an event that is symbolic – this event is one of numerous key events.

 

The thought of the antagonist was stimulated by the crossing at the temple.

 

A scene: the protagonist crosses the temple of the antagonist, to pacify his own thoughts.

 

Another scene: the antagonist first crosses the protagonist's temple, leading to his thought of the antagonist.

 

These are key beginning and end events, and are scarce; however, the passage from beginning to end is worldly.

 

Any normal event is limited by key events, and is symbolic of the story.

 

The world is divided into places that symbolize key events of the concept. A place that's like the crossed temple, and a place like the crossed mouth; a good climate and a bad climate, are the most significant environments, and then the additional transitional environments.

 

There are four types of magic: white, black, dimension and evil. White and black are unchanged.

 

Dimension magic is swirling and is a sign of good.

 

Evil magic is singular, and is a sign of evil. A black substance.

 

The finale is when dimension magic conquers the evil magic, and the universe becomes heavenly.

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