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About Norin

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  1. Title for game? [Solved]

    Simbiome (a portmanteau of simulation and biome)   Animal Instincts   Faunatics (a portmanteau of Fauna and fanatics)
  2. I'm working on a game (working title is Blade's Edge) which is a tactical RPG in the style of Shining Force, Fire Emblem, or FF Tactics. This is a mostly linear story, with just enough choice to keep the world from being stifling.  By focusing on a linear story with 2D retro graphics, I'm hoping to actually be able to make this game once the writing is done. I would love comments on the game approach as well as the creation myth included below. BLADE'S EDGE is a psychodrama about kinship and self-sufficiency against overwhelming odds and entrenched mentalities, particularly when there is no reason left to fight. The core story takes place in the mind of a boy who is found in a catatonic state by a hunting party. Village seers connect with his mind to learn what is coming towards the village. It is a race to learn the truth before the danger arrives.     The story begins in the middle. The past catches up to the present when the hero wakes up. Then the story unfolds in real time.   The hook is that the cute, retro, anime-like game sequences reveal the basics of the story, but the true meaning of these sequences is revealed in cutscenes afterward. For example, in the game scenes a character might stub his toe and spew exclamation points as he hops away. But later you will learn that he was maimed with his leg broken, barely crawling out with his life intact, screaming in vain for aid. This interplay of cartoonish symbolism against actual events will set up a constant dread/reveal cycle throughout the game.     The main threats in this game, aside from the people who reject changes to the status quo, are a trio of giants. Below is the creation myth.  I'd like to know if you find it compelling or trite, well-written or cludgy... basically, does this creation myth have enough verisimilitude to base a world upon.     The Legend of the Three Mauraders     It is said that a fierce band of giants once roamed the face of Æronthrall, when the world was still one land surrounded by the sea. The giants were named Chalcedon, Rubis, and Lucuul.   Chalcedon was white as snow with eyes of quicksilver. His legs were mountains and his fists were hills. Chalcedon wielded a hammer. Its dark iron was matte but its faces gleamed like obsidian, polished through æons of shattering earth. Its dual heads were inscribed with primitive runes of strength and precision. Chalcedon was methodical; his mind was not easily swayed and his course could nay be wrested. Chalcedon's wit was consumed by stone, consequence, cold, and inevitability. His coming was foretold by crazed beasts fleeing the impending storm, tremors deep in the ground, and a wall of gray cloud that consumed the land in writhing, bitter winds. Those who spied him became mute and listless, eventually succumbing to apathy. Those who heard the fall of his hammer became deaf, and thereafter attuned only to the world beyond the veil.   Where Chalcedon was white, his brother Rubis was dark. His eyes burned red and he had no hair at all, merely flame and ember that writhed around his head. Rubis was mercurial, changing direction at a whim. Rubis' wit dwelled in lust, anger, laughter, and instigation. Although slow to start, his ire could quickly consume everything. In fact Rubis defined consumption; he burned through ideas, resources, and towns, discarding their smoldering shells in his wake. Rubis wielded a great gleaming sickle. Its edge never dulled. Aught in its path would cleave before its will. His coming was foretold by a red sky, the stench of slag and char, and an arid heat that turned everything within sight to mirage. Those who spied him became blind and spastic, thrashing about in throes of ecstasy. Those who heard him thereafter spake in tongues, crying out in frenzy.   When in full muster, Rubis could only be calmed by Chalcedon, just as Chalcedon could only be riled by Rubis. Yet those interactions were rare. More often, both of them spoke through their sister, Lucuul. In comparison to the shattering strength of Chalcedon and the destructive fury of Rubis, Lucuul was subtle. She saw without seeing and heard without hearing. Her wit consumed all. Lucuul wielded a sling, which she used to strike from afar. She used the sling also to draw the afar into her. Not only things, but ideas, and minds, and hearts. Nothing foretold her coming, and few spied or heard her.   Lucuul knew that deep in his heart, Chalcedon longed to quench Rubis. She perceived that Rubis would consume Chalcedon as the ultimate test of mettle. Ever logical, Lucuul tested these perceptions. Unbeknownst to Chalcedon, she allowed Rubis to come into her and she spawned his sons and daughters. Unbeknownst to Rubis she seduced Chalcedon, likewise bearing his scions. Lucuul observed as her brothers enacted their subsumed wrath on each other's children.   The time came when the descendants of their children's descendants tired of being besieged and sought retribution against Rubis and Chalcedon. These diminished creatures banded against the mighty giants and provoked their wrath. Rubis and Chalcedon united, and entreated their sister to band with them. The three mauraded across the face of Æronthrall. They toppled cities and razed great civilizations. They turned mountains to valleys and lakes to ash.   The people of Æronthrall had no hope to defeat the Three Marauders, which the giants knew well. In their certainty they failed to glean the true purpose of the people, which was not to defeat the mauraders, but to nullify them. The people baited Lucuul by creating an enormous jeweled egg and hiding inside it. When she became curious and ensnared it in her sling, the people swarmed out and wrested the sling from her grasp. They used the sling in turn to wrest the sickle from Rubis and the hammer from Chalcedon. These they flung into the heavens.   Bereft of the protective magics of their weapons, the three giants succumbed to reductive magic. The people of Æronthrall slung Chalcedon to one corner of the world, and Rubis to another. Lucuul they could not sling for fear of rejoining her with her weapon, so they bound her and hid the sling.   It is said that the force of the falling brothers begat the rending of the earth. It is said that the falling of the weapons warped the purity of magic. It is said that the wind is the whisper of Lucuul, ever in search of her sling. Never said is what became of the people who walked Æronthrall in those times. No one is left to speak for them. They are known now only as the elderkin. Their legacy is fallen towers, broken machines, cryptic artworks -- and silence.
  3. Voxel Sandbox Creature Name Ideas?

    Cubans?   Oh, wait... :0   I like Blockles from your list, and also like Voxims.   I was thinking Blicks or Blixx.  There is also the unofficial name for Carassone markers, "Meeples."
  4. Handling time travel from faster-than-light travel

    I faced similar questions for a storyline I made up awhile ago. Here is the way I proposed "plausible" solutions to the problems, which is essentially pushing the implausibility around:   1) There was a discovery of matter with negative mass. These negative mass bodies offset the mass of whatever is traveling through space/time and make the calculations much more reasonable. Positive matter weight in the ship is very important, so essentially the ships weight nothing.   2) Ion drives, made possible by shielded magnetic cores at almost 0 degrees Kelvin, allow these physical ships to travel near light speed. An additional field around the ship moves space/time past the ship in a doughnut, which makes the perceived travel time FTL.   3) Communication is instantaneous across any space/time gulf because the ships all have crystals that have been quantum entangled. "Whatever happened to one particle would thus immediately affect the other particle, wherever in the universe it may be. Einstein called this "Spooky action at a distance." Amir D. Aczel, Entanglement, The Greatest Mystery In Physics   In my world, one massive crystal was created by millions of lasers firing into Beta Barium Borate, and the entangled photons were siphoned off into smaller crystals, and those crystals were further entangled, until the entire crystal was one entangled unit.  It was then shattered and the shards embedded into each ship with a lazer matrix around it which converts light and sound into light and transmits it to the other crystals simultaneously.  Communication is thus a cacaphony of entangled information, and two-way conversations consist of selectively filtering signals.   4) Stable wormholes can only be created by other quantum entangled "endpoints" which have to be physically delivered.  When man and the silicates wanted to explore the stars, they sent scouting ships ahead whose goal was to get as far as they could in space time, then drop their endpoints. Since the endpoints were quantum entangled with earth, it *mumbled scientific explanation* and created stable wormholes.  Back on earth, the wormholes just started popping up with huge gates in space like airport terminals. But for the scouting ships, the creation of a wormhole represented its life's work, hundreds or even thousands of years worth of FTL travel.   I made a rough-cut trailer for it, and I'll provide you the link, even though I pretty much suck at video editing (hence the term 'rough cut'):
  5. Adam, from my experience writers write because they have to.  Artists paint because they have to.  Coders code because they have to.  They are driven by an innate creative spark.  The number of people who actually get financial benefit from writing/painting is small. Coders fare better.   If you want to get into the game industry, start somewhere.  Playtesting.  Making mods.  Something to get your foot in the door.  I can almost guarantee you that 3D modeling, C programming, or vector design will get you a foot in the door somewhere.   FWIW I agree with Tom that writing may not be your strength based on the original post. That doesn't mean you can't find a fit in the video game industry.
  6. Victorian era province names

    I have done something similar recently for a game, and also for a story.  It is not easy as you have found.   What I did to create the game world was to create an origin legend which is the basis for everything. It was 1-2 pages, nothing massive, just enough to really nail down the vibe of the story.   Then I based the main land masses on characters in the story, and based some some cities and mountain ranges on it too.   Then, and here is the key to both my game and story worlds, I found a public domain source to seed the vibe of the names. For the story I used wikipedia entries about Middle ages Bohemia and tweaked some of the names and storylines. For the game I used this:   and combined some of the words to make archaic sounding place names.   Here is an interesting seed possibility for you with a built-in joke: Place names around Victoria, Australia: You could warp most of these pretty easily.   Or perhaps think about an alternate past, maybe a reduction in birth rates from some calamity, or the crimean war turning out differently, and incorporate that into existing place names.
  7. Name for slot machine game

    SlotBot Slot Wizard The Slot Thickens Smokin' Tokens
  8. Silentcupidz, I'm going to be honest and say that I have a hard time following the train of thought you laid down.  There just isn't enough fleshed out to critique.  *However* I like the basics of your idea and it seems like you have the creative wheels turning.  Take these random thoughts for what they are worth.   You're looking to mix JRPG and western.  To me, that points to a Trigun/Cowboy Bebop/Vampire Hunter D vibe (yes, I tknow that's three different vibes, but kinda the same.) :) There's an iPad game which recently hit that same groove called Squids:   What all of these have in common is that they are not primarily Modern/political/War, which is the first line in your description.  The western genre only seems to make sense when based in the distant past or the distant future (ie, not modern).  "Western" says to me "frontier, outlaws, lack of structure, on your own, very scant law enforcement."  War says to me "one or more strong sides in opposition, moving armies around."   So to start, I think you need to really nail down the vibe you are looking for and write some world setting backstory.  Describe the lands, the people, the political factions, until it becomes real in your mind. Then go back and throw away the stuff that doesn't fit.   If the idea above is in a Western setting, it seems to me you are working a Homecoming plot line.  That is, someone with position, authority, or capability who loses everything, is left for dead, and comes back to correct the system from a new perspective.  Movies in that vein include Clint Eastwood's Man With No Name trilogy, The Sword with No Name, The Man From Nowhere (not a western, though), and The Warrior's Way. In most of these cases, the exile is self-imposed or mutual.  It is also typical that the society the protaganist finds himself in must remain unaware of his background. This is how the rpg vibe of starting from nothing is maintained. If the character reveals x, these y people will revolt/try to kill him/etc. So in essence the character begins from square one.   The explanation of why they don't just kill him is too convoluted. It is much simpler to simply show a few beats in the backstory:   1) MC finds out truth. 2) Government finds out MC knows truth. 3) Sham trial.  "Guilty. Sentenced to banishment." 4) In the truck out of town, higher up says "Make sure the banishment is permanent."  MC is shot and left for dead, rescued by a passerby, and healed up.  --or-- there is some transparency, such as a news crew following the story, which prevents MC from being killed.   The rest of the story is MC fighting his way back in a race against time.