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Writing Stories: How to even go about it?
Here are my two cents on story writing.
First of all: create a world in a sentence. It will help you create the raw outlines of the genre, the limitations and possibilities of characters. In the beginning, the world was empty and void... Nah, don't go for history. Just describe the fictional world, for yourself. Remember, you are the writer, therefor you have the power to change the world at anytime you see fit.
Secondly - it will be more than often that you will refactor your story; your first try out will take at least some drafts; that's why I advise you go always back to creating that world in a sentence.
Stories have certain points, milestones. Like a game of chess, they start somewhere, the have midsection and the grand finale. Start with your story midsection; just a paragraph. You do not need to create the characters yet. Working back from the end, will block you in many ways and working from the very beginning will most likely make you write cliche archetypes. If you are writing a story for a game, you have to remember that such narrative is not similar like a movie or book plot.
Events will drive your story; things will happen. For designing events just answer the following: when, where, who, what, why. Don't write out the outcome, but the cause. Try to have only 3 to 5 major events in a whole story; and use plot devices to support those events, like subquests for a campaign. Once you have three to five larger goals, objectives will be far more easier to write.
Characters are story-centric, in order to develop, you have to only need an outline. A good start is not just focus on that old D&D character sheet, but like a facebook profile. How do they look like (appearance), where are they from (culture), what do they like (skills)? Give each character a five-line description that covers these things. The idea is that the player controls their development throughout the story; unless they are a plot-device. In that case you just list out what they will do in the game, when they will appear and if they will disappear.
Time to write the main character; just like all characters, but this time add their unique advantages or experience. Why would this character be able to overcome the obstacles thrown at him/her/it? Don't fill in too much details.
Now, once you have these setup - place your main character into your fictional created world and make them journey to reach the objectives in mid-section all the way to grand finale. Then you can edit your story and add detail or side threads.
When your character is moving through your plot, use emotional impressions from how you would look at the behavior of the character (good, evil, in between) and use that as a guidance to make characters inside that dialog respond.
Get inspired. Watch a movie or play a game now and again. Dedicate yourself to write two pages a day, until you reach page 100. Yes, I said it. A good story will cost you at least 50 days to create. And most likely, the double of that time. You could do it in less than a week if you use sitcom style and instead of a brainstorm team use a simple plot generator.
http://writingexercises.co.uk/plotgenerator.php
(or watch every episode of the Simpsons, and make notes)
Happy writing!
First of all: create a world in a sentence. It will help you create the raw outlines of the genre, the limitations and possibilities of characters. In the beginning, the world was empty and void... Nah, don't go for history. Just describe the fictional world, for yourself. Remember, you are the writer, therefor you have the power to change the world at anytime you see fit.
Secondly - it will be more than often that you will refactor your story; your first try out will take at least some drafts; that's why I advise you go always back to creating that world in a sentence.
Stories have certain points, milestones. Like a game of chess, they start somewhere, the have midsection and the grand finale. Start with your story midsection; just a paragraph. You do not need to create the characters yet. Working back from the end, will block you in many ways and working from the very beginning will most likely make you write cliche archetypes. If you are writing a story for a game, you have to remember that such narrative is not similar like a movie or book plot.
Events will drive your story; things will happen. For designing events just answer the following: when, where, who, what, why. Don't write out the outcome, but the cause. Try to have only 3 to 5 major events in a whole story; and use plot devices to support those events, like subquests for a campaign. Once you have three to five larger goals, objectives will be far more easier to write.
Characters are story-centric, in order to develop, you have to only need an outline. A good start is not just focus on that old D&D character sheet, but like a facebook profile. How do they look like (appearance), where are they from (culture), what do they like (skills)? Give each character a five-line description that covers these things. The idea is that the player controls their development throughout the story; unless they are a plot-device. In that case you just list out what they will do in the game, when they will appear and if they will disappear.
Time to write the main character; just like all characters, but this time add their unique advantages or experience. Why would this character be able to overcome the obstacles thrown at him/her/it? Don't fill in too much details.
Now, once you have these setup - place your main character into your fictional created world and make them journey to reach the objectives in mid-section all the way to grand finale. Then you can edit your story and add detail or side threads.
When your character is moving through your plot, use emotional impressions from how you would look at the behavior of the character (good, evil, in between) and use that as a guidance to make characters inside that dialog respond.
Get inspired. Watch a movie or play a game now and again. Dedicate yourself to write two pages a day, until you reach page 100. Yes, I said it. A good story will cost you at least 50 days to create. And most likely, the double of that time. You could do it in less than a week if you use sitcom style and instead of a brainstorm team use a simple plot generator.
http://writingexercises.co.uk/plotgenerator.php
(or watch every episode of the Simpsons, and make notes)
Happy writing!
KatanaHiroshi sings... :O
Couldn't get it played from your post - so had to find it on YT. Big kudo's, doing this around people :)
https://www.youtube.com/watch?v=fi39CEr6EjQ
https://www.youtube.com/watch?v=fi39CEr6EjQ
My first boss theme
I like it - but I work with the Sci-fi/Cyberpunk genre mostly.
I like the theme, but honestly - it doesn't give me the "Boss" feeling. It more sounds like the stage or the intermission prior the boss fight (unless there is a whole lot of avoiding and running away involved). Never the less, good work. I might not be a good judge when it comes if it is perfect or needs perfection in very specific areas; so I'll leave that to others. What I can say, from a personal perspective" is that music in a boss theme should give me a couple of emotions:
"I am facing a challenge larger than life"
"I feel the sense of urgency to defeat this opponent, before I get killed"
"I am giving it all I got"
What should make it "emotionally" perfect:
"I am the chosen fudging hero! The world depends on me!"
"I can't focus on what I am hearing, but it sounds I am doing something epic"
"Crap, the next round is coming up.. this battle isn't over."
Thank you for sharing! Keep it up, it surely sounds like you might be composing the perfect boss theme very soon :)
I like the theme, but honestly - it doesn't give me the "Boss" feeling. It more sounds like the stage or the intermission prior the boss fight (unless there is a whole lot of avoiding and running away involved). Never the less, good work. I might not be a good judge when it comes if it is perfect or needs perfection in very specific areas; so I'll leave that to others. What I can say, from a personal perspective" is that music in a boss theme should give me a couple of emotions:
"I am facing a challenge larger than life"
"I feel the sense of urgency to defeat this opponent, before I get killed"
"I am giving it all I got"
What should make it "emotionally" perfect:
"I am the chosen fudging hero! The world depends on me!"
"I can't focus on what I am hearing, but it sounds I am doing something epic"
"Crap, the next round is coming up.. this battle isn't over."
Thank you for sharing! Keep it up, it surely sounds like you might be composing the perfect boss theme very soon :)
[RMVX ACE] What makes a good description?
Let me add some pointers for you too. When it comes to writing a description - there are some simple rules:
1. Create a world in a single sentence. And use that sentence to write down a paragraph to highlight things that give good reasons to play the game.
2. Don't overkill with detail.
3. Less is more.
4. Don't oversell.
5. Use the second paragraph to elaborate on the plot and gameplay.
6. Finish with platforms you can play the game on, or technical details.
1. Create a world in a single sentence. And use that sentence to write down a paragraph to highlight things that give good reasons to play the game.
2. Don't overkill with detail.
3. Less is more.
4. Don't oversell.
5. Use the second paragraph to elaborate on the plot and gameplay.
6. Finish with platforms you can play the game on, or technical details.
KatanaHiroshi sings... :O
Sci-Fopera
author=Marrend
The concept of "making choices matter" is a matter of planning out what can be chosen, and probably needs ten times more playtesting than any other gameplay element. Like, it might be possible to predict what choices players can make, but, it largely depends on how the game allows choices to be made. If it's a matter of choosing an item from a list, that's one thing. If it's a matter of actions, what players can do in-game, that's the can of worms that you're talking about in regards to Skyrim.
Well, testing is a curse that comes with the territory. When it comes to choices that matter - it is not just about mind mapping all possible scenario's. I prefer to have 3 options (I am, after all, a simple mind): to do A, to do B or not to do (yes, no choice is still a choice). In my current game design, the world does not revolve around the player character - which makes this a lot easier to implement. Instead of the world playing against the character, the world has events which happens. For this to work well, I have to take a real big risk (which I won't bore you with). So what is a choice that does matter? Well, like the choice of the class the player has made. Certain events, and levels won't even come available - which determine somewhere on a "crossroad", a simple check will determine a certain outcome. You didn't decided to kill that dude earlier one? Well, a massacre occurred, he gains strength every day - until you face him again. Even though you gained a reputation of honorable in a galaxy for a short time for showing mercy, your reputation is heavily penalized if you visit that galaxy. It is tedious work - but, it is basically a script that works like a background turn-based game without the user.
Choices that matter are in-game actions that have influence on world events. Perhaps not always big ones, but the ones made should be noticeable.
Reputation and deals is quite easy. But the behavior of characters, to give that little extra dimension, now that's a nice one. Imagine you have a bad reputation, because you went on stealing campaign. Why would NPC's react nice to you - or even consider to talk to you? Behavior driven NPC's are what I like to do good. So far, it still feels too artificial.
author=SnowOwl
Personally I think any good game set in space should have a sense of wonder (or, depending on the genre of the game, dread) at the vast, empty space that is... well, space. If you're just setting a game in space and don't include that, you might as well just make a fantasy game instead.
Think about what makes space so interesting to humanity. It's the last unexplored mystery of our age, except perhaps the very bottom of the deepest oceans, and I think that's important to convey.
Indeed! Well, it was one of the things I first tackled. Space traveling itself is mostly an indoor level (depending which vessel the character obtained) while hopping from and to planets and galaxies. Because space is a really large area, there are no limitations for setting up worlds. In space, you won't find candy. For that, you need to travel to a planet. Now in my crazy plot, humanity is on the run; so they are not exploring, but mostly evading their annihilation. The player character will find a mystical item that will give her an extra edge. Well, actually its a mech-suite - but heck, I need some cliche.
What haunts me also are classes - or rather their names. I am okay with what I have: Pilot, Engineer, Explorer, Hacker and Scientist. I do feel the sesame street tune when looking at engineer, hacker or scientist ("one of these things, doesn't belong heeeerrreee"). They don't feel "special" some how. Imagine, in my setting, these classes should be able to hang around on a vessel - without anyone feeling funny about it. Like, a profession. Current class benefits and penalties are:
Pilot
+ 2 ranged distance
- 1 melee damage
+ 1 speed (cooldown)
Pilots have the best sight and are trained in ranged combat skills.
Never hack vessels
REPUTATION +2
Engineer
+ 3 armor
- 1 speed (cooldown)
Engineers always tune their force fields and have no problems getting machines to work.
Never hack machines
REPUTATION 0
Hacker
+ 2 stealth
+ 1 ranged distance
- 1 armor
Hackers are masters of source code and never leave a trace. Unless they want it.
Never hack
REPUTATION -1
Explorer
+ 1 melee damage
+ 1 ranged damage
+ 1 armor
- 1 speed
Explorers boldy go where others would color their underpants in a variety of brown.
Always hack
REPUTATION +1
Scientist
+ 1 stealth
+ 1 ranged distance
+ 1 ranged damage
- 1 armor
Scientists tread carefully, as they are quite fond on their lives. Every task is about precision.
Never hack terminals
REPUTATION -2
Just a side note: I have my own stats and things setup - I have not taken any classical approach - nor am I limited to a certain system.
Beg for Kindness... And I will draw.
Please, please, p-p-p-p-p-lease (tears rolling, knees hurting, kissing feet and floor) - draw Gourd_Clae a hand, for not having hands. I could draw one, but unlike you, there is no kindness in my heart, not even a spark.. but hear my plea, your act of kindness towards another, would give me a brief moment of utter joy from this dark pit of git merge conflicts agony.
Sci-Fopera
One of the reasons why I work from scratch - common engines work for common things. Even most AI principles look daunting, I tend to think as simple as possible and make things grow as I go.
I am mostly caught up in my game to involve decisions that matter. Like when the player decides A - what would be an interesting B?
which glee club to join
So, my main character currently belongs to a group. However, I could give the player perhaps 3 choices. Like Skyrim ES:V - you either go with the empirical dude or the nord - but it doesn't bind you definitely to that choice. My idea is to give the player 3 choices - follow party A (and escape the planet), follow party B (and get caught, to be imprisoned on another planet), follow no one and survive on the planet (and get caught on that planet, become the rebel leader or find an alternative way off the planet). However, if the player chooses no one - now that is a brain breaker. But that's just a first start.
no need to get off easy
So once you have given the player a super amount of freedom, there need to be more epic choices there. Like the most annoying thing is, when you choose an option that wouldn't matter in the long run (like a kill of a NPC that would get no "real" effect).
Background thingie - in Skyrim:ESV (I don't love this game, but it is really popular and does a lot quite well when it comes to examples) - you kill someone. Awesome, a bounty is added to your head. So, the guards can get you and throw you in prison - or some weird assassin shows up. If you kill the assassin, or bribe the guard, life is cheerful and rainbows again. However, if you attack a "guard", a freaking mayhem breaks out. Now, the latter I love. You decide to be a dick, and you get sliced in return - or be so good in slashing them up - you feel invincible and be an arrogant prick. However, again, the bounty can be paid off. And every guard is acting normal - while you just slew their buddies and gave them arrows in the knee. Sometimes a dragon can kill a NPC which breaks the sidequest entirely; which is horrible as the quest storyline remains in the game, but because of the NPC being gone, you'll never able to continue the quest - or even fail at it.
My point? Even though you are affected by the decisions you make, they are not really "choices that matter". Dead NPC? Hmmm.. time to reload my save game. Enough of ruthless slashing city guards? Pay off the bounty. Now what would be awesome is that reputation actually changes the game - not just story or dialogues, but also behavior.
reputation should strike fear
If one of you youngsters ever played Zelda: A Link To The Past - you probably remember that moment when you walk in Kakariko village and a villager sees you and runs away. Why? Because you are a fracking suspect. This might be the best implementation of reputation I've ever seen. Even though I know my character is innocent, heck - people ARE judgemental and wouldn't risk being around you if you are a menace to society. Too bad, the rest of the town is quite nice and even give you a net and stories about a boy and his flute.
Good reputation gives you better pricing in shops in most games - or continuously replay the same sentence again how grateful they are you have returned the Golden Claw to the store. So, bad rep's are easy; make them crap their pants if you have the tendency to fight like a psychopath. The good rep's - beyond the better store prices, what would be great? Well, nobody really wants to be an unsung hero. How about the kind of support when going on a campaign and you need strength in numbers? Or how about a big fat party, instead of being sent to another quest right away?
talk the talk, walk the walk
So, a game such as the Witcher 2 - let's leave ESV for a moment out - has like cool signs that will make you even more powerful in conversation. Persuade and intimidate are the options you can try on a NPC. But - it might work or not. So that leaves you to do something different, but it won't be stealing. And most of the time it is just to obtain information and increase your passive skills. However it rarely changes any real outcome. I mean, wouldn't it be great if your passive skills could backfire to you in some situations?
Example. My character reaches city X, but the entrance is guarded. The player has a small clue something in that city might be of important use. If persuade fails, the character could resort to intimidation... but if that fails, city X will never allow character to enter normally. Unless, the character finds an alternative route into the city, mwuhahahaha. But failing means hurting your reputation.
trainer, trainer, trainer
When you have that addictive leveling thing in your veins, trainers are the NPC's you tend to use. But trainers always make you "buy" skills, instantly matrix style. Wouldn't it be a challenge if it is more like a mini-game (like the shooting gallery in Zelda) to for example get the skill if proven worthy? Like you pay the tuition, you do the game, if you win, you get the skill upgrade else, well money gone! And some fancy wise words, while doing so - only not as boring and long while being with the Greybeards.
plot devices
Okay, the hero's journey, we all get it. But smaller devices, such as an engine malfunction or a rogue attack while traveling, are so incredible cliche. This is something I really find difficulty to drive a story, with some sense. Of course, there is a problem/obstacle and the character should overcome it, that's a given. But in sci-fopera, it usually bends to human error or unfortunate events. How could choices that matter, give a dimension that you really did some effort to overcome the obstacle? In games like Resident Evil, you suddenly are in an area with a shipload of traps, that lead to an evil character or mini-boss and suddenly you have to move a big fat concrete cube like a puzzle to continue. It makes no sense. Wouldn't it be a greater added-value if being passive about the choices you make, effect the plot devices in the story?
Yes, I know. Just being creative in the creative corner.
I am mostly caught up in my game to involve decisions that matter. Like when the player decides A - what would be an interesting B?
which glee club to join
So, my main character currently belongs to a group. However, I could give the player perhaps 3 choices. Like Skyrim ES:V - you either go with the empirical dude or the nord - but it doesn't bind you definitely to that choice. My idea is to give the player 3 choices - follow party A (and escape the planet), follow party B (and get caught, to be imprisoned on another planet), follow no one and survive on the planet (and get caught on that planet, become the rebel leader or find an alternative way off the planet). However, if the player chooses no one - now that is a brain breaker. But that's just a first start.
no need to get off easy
So once you have given the player a super amount of freedom, there need to be more epic choices there. Like the most annoying thing is, when you choose an option that wouldn't matter in the long run (like a kill of a NPC that would get no "real" effect).
Background thingie - in Skyrim:ESV (I don't love this game, but it is really popular and does a lot quite well when it comes to examples) - you kill someone. Awesome, a bounty is added to your head. So, the guards can get you and throw you in prison - or some weird assassin shows up. If you kill the assassin, or bribe the guard, life is cheerful and rainbows again. However, if you attack a "guard", a freaking mayhem breaks out. Now, the latter I love. You decide to be a dick, and you get sliced in return - or be so good in slashing them up - you feel invincible and be an arrogant prick. However, again, the bounty can be paid off. And every guard is acting normal - while you just slew their buddies and gave them arrows in the knee. Sometimes a dragon can kill a NPC which breaks the sidequest entirely; which is horrible as the quest storyline remains in the game, but because of the NPC being gone, you'll never able to continue the quest - or even fail at it.
My point? Even though you are affected by the decisions you make, they are not really "choices that matter". Dead NPC? Hmmm.. time to reload my save game. Enough of ruthless slashing city guards? Pay off the bounty. Now what would be awesome is that reputation actually changes the game - not just story or dialogues, but also behavior.
reputation should strike fear
If one of you youngsters ever played Zelda: A Link To The Past - you probably remember that moment when you walk in Kakariko village and a villager sees you and runs away. Why? Because you are a fracking suspect. This might be the best implementation of reputation I've ever seen. Even though I know my character is innocent, heck - people ARE judgemental and wouldn't risk being around you if you are a menace to society. Too bad, the rest of the town is quite nice and even give you a net and stories about a boy and his flute.
Good reputation gives you better pricing in shops in most games - or continuously replay the same sentence again how grateful they are you have returned the Golden Claw to the store. So, bad rep's are easy; make them crap their pants if you have the tendency to fight like a psychopath. The good rep's - beyond the better store prices, what would be great? Well, nobody really wants to be an unsung hero. How about the kind of support when going on a campaign and you need strength in numbers? Or how about a big fat party, instead of being sent to another quest right away?
talk the talk, walk the walk
So, a game such as the Witcher 2 - let's leave ESV for a moment out - has like cool signs that will make you even more powerful in conversation. Persuade and intimidate are the options you can try on a NPC. But - it might work or not. So that leaves you to do something different, but it won't be stealing. And most of the time it is just to obtain information and increase your passive skills. However it rarely changes any real outcome. I mean, wouldn't it be great if your passive skills could backfire to you in some situations?
Example. My character reaches city X, but the entrance is guarded. The player has a small clue something in that city might be of important use. If persuade fails, the character could resort to intimidation... but if that fails, city X will never allow character to enter normally. Unless, the character finds an alternative route into the city, mwuhahahaha. But failing means hurting your reputation.
trainer, trainer, trainer
When you have that addictive leveling thing in your veins, trainers are the NPC's you tend to use. But trainers always make you "buy" skills, instantly matrix style. Wouldn't it be a challenge if it is more like a mini-game (like the shooting gallery in Zelda) to for example get the skill if proven worthy? Like you pay the tuition, you do the game, if you win, you get the skill upgrade else, well money gone! And some fancy wise words, while doing so - only not as boring and long while being with the Greybeards.
plot devices
Okay, the hero's journey, we all get it. But smaller devices, such as an engine malfunction or a rogue attack while traveling, are so incredible cliche. This is something I really find difficulty to drive a story, with some sense. Of course, there is a problem/obstacle and the character should overcome it, that's a given. But in sci-fopera, it usually bends to human error or unfortunate events. How could choices that matter, give a dimension that you really did some effort to overcome the obstacle? In games like Resident Evil, you suddenly are in an area with a shipload of traps, that lead to an evil character or mini-boss and suddenly you have to move a big fat concrete cube like a puzzle to continue. It makes no sense. Wouldn't it be a greater added-value if being passive about the choices you make, effect the plot devices in the story?
Yes, I know. Just being creative in the creative corner.
Sci-Fopera
@Marrend
I'm doing a fancy read while going through it. While reading the summary, I must say - if I'd take out the religion and the really awkward names - well, we might be on the same brainwave on many things.
So, let me pick your mind. What really frustrated you doing Sci-Fi? What were the most inspiring themes - and which plot devices do you use?
And cancelling? Really? Always make the finish line, and let go... Gohan.
EDIT -
By the way; did you make the artwork? The menu character thumbs look awesome!
I'm doing a fancy read while going through it. While reading the summary, I must say - if I'd take out the religion and the really awkward names - well, we might be on the same brainwave on many things.
So, let me pick your mind. What really frustrated you doing Sci-Fi? What were the most inspiring themes - and which plot devices do you use?
And cancelling? Really? Always make the finish line, and let go... Gohan.
EDIT -
By the way; did you make the artwork? The menu character thumbs look awesome!
Sci-Fopera
Well, after leeching the forums, reading articles, watching game theory tubies, I decided to post my demons here. I'm sorry I've not taken part in general discussions or properly introduced myself - I am a social misfit when it comes to real people. So, I am going to do what ATI failed to do 15 years ago. Doing the All-In-One, to boldly go where no man with awesome boots has gone before - and they are awesome, I'll tell ya.
Well, I am working on a game for some time now. Let me not bore you with cumbersome details. I am telling you, dear reader, I can code, I do some modeling, texturing and have learned quite a lot. Nope, not looking for a project or doing something awesomeness. Asperger, but not a noobie, Sir.
So, after my terrible start creating a Secret of Mana nostalgic spin-off character with spike red hair,the angel Gabriel came into my room and said, I will give birth, I decided that I should do something different. I would do something Sci-Fi. Yes, even though I have Dean Winchester all written over me, I do make rookie mistakes at times. And quickly fix them with an enchanted blade.
4.5 Seasons of Battlestar, 7 Lucas productions, first generation kirkies, next generation, voyage a nine(who I'd really like to soixant ne, MacGuyver doing sliders with Egyptian parasites and a bit of futurama are of course the mandatory research a man must make prior even purchasing this futile goal. Sadly, even with my natural Vulcan ears, just too dumb for in depth Trekkie talk, too sensoric handicapped to act like the cool kids after a Star Wars movie and even though I'd like Atlantis, but I to tap prefer Amanda Tapping. As you can read, I really suck at this Sci-Fi thing. Should've really mentioned Babylon 5, but heck, my poor eyes can't handle those graphics anymore. I'll have to do with my poor memories which have been really put through overuse of alcohol and substances found at any bar the test of time. You got me, I am nerd in a Dean Winchester body. Bazinga.
Anyway, if you had to courage to read through that symbolized crap, it is time to present to you this topic. A discussion, where we have a collaborative brainfart - only; I am aiming for that joyful feeling when you rip one and feel you have done the best frictional performing, by pushing hot air in a big whistle at once. Short, smelly, satisfying. So, I am not looking for an "answer", or need "help". I am truly curious how you think and feel. Unless, you totally do not dig sci-fi.In that case, just stfuln Because well, a cool discussion is not a political debate or it aint a fracking dr phil moment a group session to express feelings. As IRC is something that will make me feel old again and I really like my Slack dock icon just as idle as it should be - I would love to keep it just here.
So, now we have set the rules and evenly distributed classical crap towards usage and feelings, and stated the obviousabout using a discussion board as one should expect a discussion board - let's kick it off, men and women of Middle Earth.
So.
Main character mission - so let's go space opera. It is a game and not a TV series. I usually go fetch a coffee and a smoke when I fire up Elder Scrolls V. I hate long, non-compelling stories that do not mesmerize me. However, it does it right - you basically have the secret of mana moment. You get in a mess, you discover something and suddenly you are the last hope. Hero's journey. Now this formula works incredibly well.
What can be alternative formula's? I do not mean twists, or tailored details or additional plot points. I mean like football and tennis. Both sports, both with people but entire different things.
Would it really be necessary to explain in detail how things like space travel work to make it more "Fi"? Can you assume that your audience is probably quite knowledgeable? I bet they are, more than me.
Do RPG's really need a cheesy romance/love triangle? What are the real values for their existance anyway?
If you have a space ship - and I don't mean a small X-Wing or Viper, but like a decent one. Let's say 5 rooms and a cockpit. What should at least be in there?
Is the change of clothing in a game really a big thing? Especially when it has no real added value to the gameplay? And do you have to wear spandex in space all the time?
If you discover a new, fictional culture (going to planet romancing now), what are the first physical things that you would notice? I mean the people, not buildings or their crazy habits.
What would really suck when you are in deep space, traveling? Like, something you would leave by accident at a planet, and you'd feel so screwed without it. Or something that you couldn't get while traveling.
Wouldn't there be treaties among planets and civilizations prior you can visit them? Can we assume all politicians are liars and/or bureaucrats in the galaxy?
Would it be legal to have human sacrifice in a game on a planet far away?(lawyers and Twilight fans)
What would be the most awesome thing in a sci-fi game, you'd really wanted in there?
Carry on, my wayward sons!
<3
Well, I am working on a game for some time now. Let me not bore you with cumbersome details. I am telling you, dear reader, I can code, I do some modeling, texturing and have learned quite a lot. Nope, not looking for a project or doing something awesomeness. Asperger, but not a noobie, Sir.
So, after my terrible start creating a Secret of Mana nostalgic spin-off character with spike red hair,
4.5 Seasons of Battlestar, 7 Lucas productions, first generation kirkies, next generation, voyage a nine
Anyway, if you had to courage to read through that symbolized crap, it is time to present to you this topic. A discussion, where we have a collaborative brainfart - only; I am aiming for that joyful feeling when you rip one and feel you have done the best frictional performing, by pushing hot air in a big whistle at once. Short, smelly, satisfying. So, I am not looking for an "answer", or need "help". I am truly curious how you think and feel. Unless, you totally do not dig sci-fi.
So, now we have set the rules and evenly distributed classical crap towards usage and feelings, and stated the obvious
So.
Main character mission - so let's go space opera. It is a game and not a TV series. I usually go fetch a coffee and a smoke when I fire up Elder Scrolls V. I hate long, non-compelling stories that do not mesmerize me. However, it does it right - you basically have the secret of mana moment. You get in a mess, you discover something and suddenly you are the last hope. Hero's journey. Now this formula works incredibly well.
What can be alternative formula's? I do not mean twists, or tailored details or additional plot points. I mean like football and tennis. Both sports, both with people but entire different things.
Would it really be necessary to explain in detail how things like space travel work to make it more "Fi"? Can you assume that your audience is probably quite knowledgeable? I bet they are, more than me.
Do RPG's really need a cheesy romance/love triangle? What are the real values for their existance anyway?
If you have a space ship - and I don't mean a small X-Wing or Viper, but like a decent one. Let's say 5 rooms and a cockpit. What should at least be in there?
Is the change of clothing in a game really a big thing? Especially when it has no real added value to the gameplay? And do you have to wear spandex in space all the time?
If you discover a new, fictional culture (going to planet romancing now), what are the first physical things that you would notice? I mean the people, not buildings or their crazy habits.
What would really suck when you are in deep space, traveling? Like, something you would leave by accident at a planet, and you'd feel so screwed without it. Or something that you couldn't get while traveling.
Wouldn't there be treaties among planets and civilizations prior you can visit them? Can we assume all politicians are liars and/or bureaucrats in the galaxy?
Would it be legal to have human sacrifice in a game on a planet far away?
What would be the most awesome thing in a sci-fi game, you'd really wanted in there?
Carry on, my wayward sons!
<3
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Games - Tester
Games - Other
