TUTORIALES LEGACY Posted 28 December 2011 - 02:55 PM

RPG Maker VX & XP (Soon to be Ace) Game Design
Starting Your Project [ X01 ]
I'm sure all of you in the past have made project, thought it was good, but then gave up on it a week later? Or have you got a project up, and no one liked it? Perhaps you're just starting out, and you want to have some good tips on trying to make the project itself. Well. Here, I can show you how to begin you project on full force.
Consider that you're a normal person. If not, that I don't know what I can do for you. Now, for most parts sake, I am just going to say that you feel like making a game, but you have no idea if you can finish front to end. Well, here are some tips to get you motivated to finish that game. When you are making the game, find some motivation! Post a beta on a largely populated forum to get feedback. When ever a person tells you are doing a great job, I'm sure that'll drive you to do more with the game. • Ensure that you work in steps, don't throw yourself blind into a project without considering it first hand. • Your work environment must be a secure one. In order to prevent yourself from losing lack of interest, make sure to manage your time wisely. Dedicated 1 hour or so. With that sad, a person can then start looking into the actual design of the game.

Starting The Game [ X02 ]

There isn't much to say when you're going to start your game. However, there are some dos and don'ts when you sit down and begin the game itself. 1. Never start the project without a solid story ready. 2. Do not begin the project with no materials ready at hand. 3. Maker sure to focus on an original story line. 4. Base off a main idea, and work from there. 5. Start from a base of the game, battle system and all. 6. Do not use the standard character presets in RPG Maker VX or XP. Or at least mix them up and
give original names It is under much original concept that when you start the game, that your story must be under a preset of "times of the old age". Your story can be literally anything. From a futuristic world, to a desolate landscape on another world. It does not have to stick to laws of the original world. Just something to think about.

First Phase: Project Materials [ X03 ]
All materials in a project should be fresh and exciting. Try not to stick with the original presets in XP or VX, and use resources either created by yourself or someone else. It keeps it fresh for the community playing your game. As well as that, a soundtrack along the lines of fitting the style of your game makes 30% of it. If you use a crappy soundtrack, people will not be motivated towards the actual game's story. If you use a soundtrack moving towards the story, more than likely, even the more unoriginal plot ideas will seem good. Unique battle systems always change the way people see your game. It is rare to find a project totally customized with a new battle system and all, but when you do it, you'll never realize that it's actually an RPG Maker game.

The first impression is always a good thing, so imagery for the title screen, or scripts to enhance it is always a plus. As well as some aesthetically changes to the game, for example, Thomas Edison VX script changes the lighting of the game.

Second Phase: Testing Scripts [ X04 ]
Often overlooked as something that is unneeded, I'm sure, but think about it. Does your game lack fluidity? Does it have hanging errors to create bugs? Is your game to script orientated to make the game enjoyable? Or is the system so complex that the player would get bored with it?
The best way to understand is to test your scripts. Go ahead, test them by making a cutscene, or a scripted boss battle or a puzzle orientated dungeon? Is it easy for both the player, and the programmer? Well, if it is, then you're doing it right. Some games are too script orientated and must be heavily detailed for a person to actually want to play it. However, for the common person, it is not the case. So overscripting is a bad idea.

Third Phase: Design [ X05 ]
When designing a game, it's best to start from a script. Write down the plot, and write down how the game starts, and ends. Put it into action by starting it with the cutscene. Start with a strong run, and then work your way into large amounts of game play. The game should average 8 scenarios (8 boss fights, or 8 major events), a final scenario (final boss) and optional quests during all these scenarios. (That is if you're making an average length game fitting standards of commercial games on market now. You don't need to follow this format. See post #7 on how I explain this.)
For example: Scenario 1 involves a fight with a rep villain (An enemy commonly fought as a sub-boss multiple times through the game), and through out the time, you go out searching for that villain because they did what ever. In order to keep the plot moving, Scenario 2 will need to be lead into by an event in Scenario 1, so for that to happen, let's just say that very villain stole the main character's girlfriend, so the main character goes searching for in Scenario 2. Blablabla, events. Well, to be honest, at this point, you've got all the tips to finish a game, however, a lengthy game to an good extent is better than a short 40 minute game. Every scenario must be exciting, and if you can keep that going for an length of scenarios, then you're doing alright! However... There is a limit to how long each scenario should last. Every scenario should be averaged (Except the introduction and ending) around 30-60 minutes per scenario. You don't need to time yourself. You'll know when the scenario is good and ready to wrap up.

Thanks for reading, and remember to support RPG Maker VX Ace! Posted 29 December 2011 - 10:43 AM

!Format Designing!
Getting down to business:
Disclaimer: You do not need to follow this guide by any means. If you don't like the tips, or formatting that I do, then please disregard it, and do not comment that you dislike one detail

How do we format these kind of games? Depends on how you want the story layed out before the character! Openworld fits best a sequence design! If your game is an open world. with some exceptions of course. That doesn't make sense. you never want to open up with just a linear format. Fall Out 3 did that well. or two. . Zelda.) Bi-Linear: Just like linear.about it. Bi-Linear is good with chapter because you can experience more than one side of a story. Linear goes good with sequence. However. and are used to represent areas of the map where the character(s) can explore. Not just one. you can probably fit a crap ton of different kinds of storylines. usually a one-ending games you'd find in most Nintendo games like Super Mario. RPG games can be mounted in several ways. then? Just a bunch of terms that you probably won't ever use in your normal vocab unless you're reviewing a videogame. World Map: Usually found in RPG games like Final Fantasy. [left]What does this mean to you. the basic formula is RPG genre. You'd find these in games with two or more endings." Because everything I say is not set it stone. Often used in open world games. Open World: These games often find themselves on the market such as Grand Theft Auto or Fall Out 3/New Vegas. etc. Sequence: A game play type with no set ending leading to the next sequence. right? Before starting. I only covered the major kinds that are used in current games today. then 3/4 through. I never said you couldn't. unless that detail sounds like I "set that in stone and everyone should follow it. These are quite common. so what the hey.) So. A linear open-world? A bi-linear open-world? A bi-linear world map open-world? (You can't have linear and bi-linear. or a change of direction from the story. You would not find a world map on these kind of games. (Not Battle Network for an exception.) You are not limited to those types. linear format where a character experiences events through a one line of events Chapter: A bi-linear type of game where a character can experience two or more sides of the same ending leading to another chapter. considering that this guide is written for RPG Maker XP/VX/Ace so. it's a one line format made specifically to organize the game. so be as flexible as you want! Linear: Linear type games follow a single plot line. you follow a single plot line. because of course. Not a set ending. Scenario: A game play type following a single. because Final Fantasy X did it. Well! When plotting a game. you get a world map. (Still not limited to those types. however the plot can branch off into probably a different ending. or the Megaman series.

Oh? You want my opinion? Okay. I personally like Chapters instead of scenarios.08:19 PM All too often. so he does just that for scenario 1. you'd most commonly find chapters instead of scenarios. you need a bigger conflict to strive the player to keep going. But now the details. Villain steals protagonist's girlfriend. just imagine the game Grand Theft Auto? Played any of them? No ending? Yeah. static story. TUTORIALES VELVELA JADE Posted 27 April 2012 . often wants mega lands that take up more space then 10 planet Jupiters. 3) Yes. and the protagonist wants her back. or 3! Interesting. a newbie game maker thinks they can make the ultimate RPG game right at the start. Let me break it down for you. because you can make multiple endings. Many games has as their focus: Be the best Warrior you can be and bring peace to the Land by killing the enemy. the experienced game makers think that the newbie game maker should just start with something small . but these are mainstream types. not for the case of the actual game story. 2) Decide what the player needs to do to accomplish that end. not a section of the book. This isn't very easy to explain. that was very basic. A central conflict was created to make a character try and beat the game.rather than a linear. well. it gives a more dynamic approach to the game. why not make your dream game in tiny stages that will work on its own. but allow me to elaborate.a sample game . in each stage? What do I mean? Aren't we supposed to "Keep It Simple Stupid". 1) Plan out the basic story. Often times. with 200 Generals. when we feel like it.. Add to that. it's JUST like that. You'll never find the ending until you actually do a chain of things to lead to the credits. You'd find this in games with features such as "New Game+" or games that give you the choice to play it again for an entirely new story like Fable 1. gamers wanting the ultimate game. a chapter can be inferred to a part. So. 4) So how do we get a game with 100 weapons. to keep the game going. 2000 Army Units and 5000 Enemies spread over 20 planets each with 100 countries per planet on 10 continents . isn't it? Sequence is a game that is completely open world. areas. many generals. There is no set ending. when plot designing for a game with more than one story going on. stuff that can be done to alter the game's play through. In expression to what I mean by creating a story. 2. However. However. over time. as that saying goes? We will keep it simple and program it in small steps that slowly.. Then. stories. You are not limited to these. We can add the details to this story later. A scenario is basically a section of the game that is based on an event that player needs to solve! I've explained this before. in comparison to a book. This usually means collecting something so you can buy weapons. make the game more complex and interesting. Well.just to get their feet wet. Then. In simple terms. many army units and even more enemies. It gets the player into. A chapter is not like a book. the game maker wants to add many weapons. Scenario 2 plays out on however the events lead to depending on the ending of Scenario 1. you have to do quests in order to upgrade those weapons skills.

Have player earn more experience points in order to level up their weapon. we'll call the trolley or shopping cart. the first step is movement. Why a Weed? We'll use the object in hand to cut that weed down. 3) Add to the game a counter so that with every object picked up. You could. 4) Use VX Ace's Forms to move player from where they are and bring them into the building. 7) Next is to make your first enemy. once that money has transfered over. Next is collision programming. if all you can program is moving the player from one point to another point. 5) Now the real programming begins. most gamers want to battle so we move on to the 3rd step. or whatever. D. Let them change their minds as many times as they want to.per planet to be a real hard hitting gamers game? And how do we do this with out pulling our hairs out? The How To Part: Break everything down into micro-steps. B. Maybe graphics where the player fights into the air. Have each object that is added to the trolley or shopping cart cause a subtotal to show on the screen somewheres so the player knows how much cost they will have when they go to the Assistant or Cashier. These objects can be some form of money. Take player to assistant or cashier. Defense or Health levels. Use form to allow player to choose 1 inventory item and equip their player with that item. Now the hard part. The next thing I would add is when weed dies. and picking up things they see. This building we will now call the store. if you wanted to. So we have player move from object on the ground to another object on the ground. and so on until all the Points in the game are accounted for. the beginning of a path. but the player needs to pick up objects. That starting point can be a tree. Write your first script to just get player from Point A to Point B. C. Now. However. And. Give your weeds legs and let them run around. I recommend having as graphics a basic building and another starting point. then all you really have to do is add to the graphics some object to pick up that represents money. player gets skill points. and have the player accomplish something. picking up what they see and having that object go immediately into inventory. 2) We got the player to the building. We have the player use item to touch a stationary object giant Weed. You can have player earn 1 experience point here. Use form to have player give money for the total price in their trolley or shopping cart. have all objects in trolley go to inventory. These skill points can either raise Attack. This also means that you can repeat any step as many times as you want. 1) Here. Have the player try to kill the weeds. . This means that with every added step. Here is where the experience points earned should be a lot higher so that their weapon really does become stronger. That is it. Use a counter script or Vx Ace's own forms to create this. Allow player to pick up objects but have these object go into a holding place. you could end the game programming right there. the money is added up. you will have an excellent Exploration game that some of us adore. repeat this so that the player will be able to move to Point A. 6) Have player use that item. If you made many points.

I can add a Mini-game and make it more complicated. My next post will discuss adding layers that go beyond battling. 5) What about learning how to use that item we bought? Here. fine.perhaps that weed that sprouted legs? You can even have that opening of a book. 3 libraries. You can even go back to that store. and slowly add more buildings. Okay. However. and make it more complicated. 1 dorm room and 1 classroom. to break down my game into its basic steps. This may be boring. What about my own game? Ultimately. The basic level is at least 1 of whatever that the player can interact with. 3) I can add experience points for each book they open. at least 10 classes per level. or 1 more planet and so on. more lakes or other bodies of water. I can make this more complicated by creating a crossword graphic and having player choose words to complete the puzzle. more continents. the store. and dorm rooms to rearrange and sneaking buying books that are beyond the level the player's character is at and you have a very complicated game indeed. you can have them use that item to lift up an object. but then break those goals down into tiny steps that can be accomplished. 1 school with at least 1 hallway. more planets or whatever you want to add. And. you can always expand your world and add 1 more continent. The easiest mini-game would be a Multiple choice where the player chooses which button has the correct answer. Weapons and Enemies? Well. I can add another classroom or other room for player to explore. . 4) Now. I'll have: 1) 1 level and thus 1 game. open and close 1 city with 1 store and at least 1 other item player can buy. Using just a basic map where we still have Point A going to Point B. It will also help illustrate the principles I have outlined above. Slowly. The trick is to plan out your ultimate goal. I can add experience points for each room that they walk too. Army Units. you can add a more objects. more roads. the task is much easier. 2) I get this done. then I can add the next layer: More stores and more items to buy. over time. Add to this. we are keeping this very basic yet. Once this works. more cities. 2 schools. Repeating these steps as many times as you want will help you add more layers to your game. start the battle. more cities. 10 stores per planet. more enemies. They choose word 1 and move it to slot 1. here is where we can start adding those in. with at least: 3 planets to explore. read and close. I can have these books found in a library. Or.8) Remember all those Generals. Accomplish this task. and add it to a cauldron. and at least 10 mini-games per level. You start with a basic plot of land. but what about all those continents? 9) Once you have the basic map layer done. Slowly you add more battles. 20 levels spanning 20 games. using my own game as an example. Remember. if you focus on 1 step at a time. 1 inventory that player can rearrange. but it is basic. more stuff to buy. 1 book that player can buy. and you can add another layer: Lifting bottle and pouring contents into that cauldron. and have this go into another inventory. the mini-game might take the form of a battle with an imaginary enemy . You can add in as many enemies as you want here. and have them buy a General there. 6) I can add another planet where they can buy books or items. many trading card sets to collect. You can add Army Units to buy and put those Army units in yet another inventory. say Sprouting Beans.

create each movement in its own step. Pour and Shake and you have created the ability to mimic creating a real alchemy potion. Sorry I can not add actual scripts. Freeplane allows tabs that can all stay up. I hope these two tutorials you may find useful. Crawl. 2) Write script or use Ace's forms to allow dropping object into Cauldron. And. 3) Write script or use Ace's forms to allow stirring. You got your feet wet. 4) Write script or use Ace's forms to allow pouring of object. 3) Add Walls. A character can Walk or Run. Skip. Waterfountains and other immoveable objects and the task becomes even more complicated. or the object is a key that unlocks the door. This can be a simple adjustment of speed player moves. 6) Write script or use Ace's forms to have player pick up spoon and taste concoction. I'm losely basing it on my game. and it becomes much more interesting. I think it would be easier to just have object precut. 1) At its basic level. Lab or Alchemy: 1) Write script or use Ace's forms to allow choosing of object. . Physical Movement: Think about all the ways your player should be able to move in order to accomplish what you want the player to do within your game. I am better at designing games and breaking them down to their most basic level so that they can be slowly built in stages . Going beyond the Basic: Spoilers? Kept to a bare minimum. even after you closed the game (provided you have it set up that way). Maybe a door opens. Jump or Climb are other possibilities. to avoid more spoilers. 2) Make those objects take on weird or outrageous shapes and sizes. and then you can have player climb in order to reach needed object or button that will then make something else happen. Hop. Sokoban Puzzles as a stepping stone for complicated puzzles: EDIT: Player moving an object around the board requires a Script to be added to the Database. Personally.one step at a time. created by people who are really good programmers. Or. a player can only push object to move it to the desired location. Have the player Stir. but there are plenty of scripts for the finding online. Then. have him feed it to the plant. now what? I use Freeplane to plan out my game and all its details.Advanced Micro-steps: Useful for Alchemy RPG type games. 5) Write script or use Ace's forms to allow cutting of object. 4) Add the ability to stack objects.

You play a student going to Jade University where you learn to use skills that fall into both Fantasy and Sci-Fi categories. Xavex . Destination One: Find City of Xavex Destination Two: City of Xavex and its Stores (to buy stuff for school) Destination Three: School . 7. 6.contains the stores. Alchemy Herbs and Plants Chemistry Teleclasses Maths Languages You name your classes. 5. Starting base. 4.. 2. 4. you will have battling if you want. 3. in my case Home. 2. Secret shortcut into Xavex 3. The 1st Bubble/Leg: The World . . Normal City for people without special powers Clues to where player should go. Direct entrance into Xavex 6.4th leg: Name the various stores you have. Clues also give hints as to what school is all about. However. Is there some evil force to conquer? That evil weed on legs comes to mind. 3. Jade University 1. Weaponry Store Book Store Food Store Trolley and Baggages Store (Trolley has a special feature in my game). 2.Jade Uni: (Or whatever your game is called) The 2nd Legs (Right side of 1st leg): Name the basic destination categories. Home: 1. 1. 3.Story: Most gamers want some sort of plot. Let's add the details. 3. 5. 5. is this supposed to be a Simulation or reality type game? My own game will start out as a simulation game. 1. City of Xavex: I only list the basic stores here. I actually have several stores under each category. Or. 4. Frontyard with Mailbox 2. Chemist 4. 6.. 2. 4. Clues are puzzles to solve that tell player which directions to go. We'll use my game because it is easier for me. 1. 3. 2. but because I'm doing a maze puzzle to find Xavex.Jade University The 3rd Legs: Add what is found under each destination 1. Living Room Kitchen Bedroom 4. Clothing Store .

Jade University . This is also the most difficult part of the planning stage when you are making a game like mine. 4. Player opens mailbox.either search for every book on list (more points) or go to assistant and get all the books at once (less points). City of Xavex 1.and what they say (with extended legs here) Entrance to Xavex . Player gets letter and reads it. Find City of Xavex 1. 1.buy trolley Book store . not recommended if you want to sell your game for real bucks).) 10. 8. 5. 5. 7. 4.Secret: clue that tells how to open door. 2. (no spoilers. make a New 2nd Leg on the LEFT side of "The World . (+1 xp per book read?) Player goes around school collecting things to up his stats (variety of xp and skill points) Player practices skills (whatever these skills are. 11. 2. 5. Tell player to explore school and pick out a spot for their trolley Have player rearrange trolley (and inventory) to better find things. 2. 3. 4. Player is led outside. Weapon Store . 3.Jade Uni". Player walks from room to room tryng to find clues as to what they should be doing. Road leads player to city. Player leaves house and enters road. ? What ever player can do. Player performs Alchemy or Chemistry. 3. (+5 xp) Player goes to library to research in books. (Ultimate puzzle game. and so on.. Player gardens. Telekinesis. 5. so not mentioning the half of it) Skill Points: 1.Main: clue on how to open door. 2. 2. Movement . Entrance to Xavex . (no spoilers here) and so on until every store is covered 6. 3. Player goes to first class.Now.. 2. and finds Mailbox. 9. (+5 xp) Player opens workbook to do first assignment.Home 1. This is where we are going to plan out the movement that the player makes. Go around Xavex collecting coins Trolley store . Player directed to Great Hall or Auditorium for Class Schedule and Announcements. Head to train station or take other transport to school 4.Nut of the Game 1. 12. 3. 4. 6. Clues . Player opens textbook to read first assignment.Jaunting.buy whatever. Player clicks on clues found on road. Health: Survive longer Battles = +1 Energy: ? Get more done before earning less skill points? +1 .

2. You aren't Shakespeare. Save yourselves a bit of hard work and just lay down the foundation before opening your project. you'll probably be alone or with a team that has lifes outside of RPGMaker. People want to play. Don't make up as you go along. But if you can replace it by gameplay. Just take a step back. there are some things you can do as you go along. You don't need hourlong cutscenes. What are you writing will probably not be perfect. +1 or +5 is how much 1 skill point can raise the stat. But please prepare before you lay the first tile. Cut stuff. Control of Item: More dmg or better control when using item. while not that impressive. Don't forget that it is a game. I'm still making tile sets which take forever. prepare! Honestly. Nothing more infuriating than going back to a map and realize you don't need it. has more chances of finishing. 3. 4. And while I cannot tell you what to do (that's a decision you make for yourself) I can perhaps inform you what not to do: 1: Bigger is not Better. +5 Control of Mind: Better control. 5. And if it is. Demotivation is a common thing among many gamemakers because of the unreachable finish. I commend you. Or ask a friend to give an opinion. It's just a game. The (+1 xp) is the amount of experience points player might get if they do the task. A cutscene is fun to look at. Better to spend a year making 3 small games than a year getting halfway to a big one. or Telepathy Stamina: ? Battle more ? 6. Jaunting. Keep cutscenes to a limit and find creative ways to do the same thing in gameplay. But here's the thing. A smaller game. Don't get angry if someone tells you that your story isn't intruiging. or skip it all together. 4. Prepare. So it is natural to do the same as a maker. prepare. TUTORIALES SANDERF90 Probably the first question you are going to ask yourself when starting an rpg is what kind of storyline you'll follow. you don't need big expositions if they don't add anything to the game. put on your objective glasses and see what you can improve. in a few weeks. My next tutorial will be after I get so far done in my game. . 5. Dialogue and cutscenes. You could have it where if player collects a full set of something. I think you should. and so on when using mind for Telekinesis.3. Focus on it being a game. ? If needed Collecting: Here is where you can go to town. they earn so many skill points. You aren't writing a book. When it comes to playing everyone loves to play a long good game. Humility is important. more distance. They are probably telling you for a good reason.

• Example: -Establish Bob is a king and Jack is his servant. a character without a goal is boring. A lot is possible. NPC's stand around all day waiting for you to talk to them then repeat the same line over and over. When a goal is thwarted by an obstacle we call that conflict. (Though not the forumrules. I tend to find it pretty hard and I emply a specific system to make it easier. 1. Add random lines. A world feels only alive when there is life.7. Be ambitious. A few steps to improve a cutsene. it’s better not to have the scene at all. If you cannot establish a proper goal for your cutscene. There are thousands of games out there. But don't take it too far. but it adds very little. Sure it is interesting. I want to share these. A good storyline has conflict. Outline. Rules are meant to be broken. try to be different. Try to do it differently. Characters & Motivation. 10. So that is when you should put the things you want them to remember. you can always increase tension without a cutscene and giving information without tension is boring. NPC's are not robots. Give your player a reason to go up to them. It’s not that interesting. A player is gaming not concentrated. and without crazy ideas we wouldn't have amazing scripts and projects. It's what makes this program so fun. Go ahead. Add birds and cats and other animals. >. Make them move. The previous 9 things are guidelines. you need to be original or your game will drown in a sea of projects. Your cutscenes should strive to do both. For every cutscene I prepare an outline. . However it is also not easy to make a cutscene. proof me wrong. By all means do and try it. A cutscene to provide the information that your main character is 20 years old is not relevant. Generally scenes have 2 big goals: either to increase tension or to provide information. Here I just put a list of characters and their motivation in the scene. You don't have to feel limited by me or by anyone. Make sure the information is relevant to the game.>) Cutscenes are the heart of any game. Important plotelements can't be thrown in during gameplay. 8. And add a good variation of NPC's. I discovered this helped me trim unimportant scenes and really get to the point. Conflict does not mean all-out war. Go ahead and try to break some rules. 9. I try to really make clear what their goal is. Every character has a goal in the story. A cutscene urges the game to sit still and pay attention. Goal of the cutscene. Try to be creative (but not weird). So do things differently. Here's why you should have cutscenes. You need to create some familiarity. make them interact. A goal could be to get dinner before noon or to free the kingdom from a corrupt regime. Keep important elements in cutscenes. have long cutscenes. it can be as little as someone having to stand in line for a meal while being hungry. They are ideal to help you establish information or they are just fun to make.. but it is conflict.

please do. since most of it is dialogue. • Example: The throne room. Goal: He wants to rule his land properly. modern talk Most games have a fantasy sitting. so does the player. especially if it does not make sense in the world of the game. Conflict: The King doesn’t want him to. servant of the King. So about that giant dragon… Up until the dragon nothing relevant or interesting is said. I know it is realistic but it is very dull. Here are a few things I try to avoid: Narration It is tempting but it goes against the number one writing rule. Jack is standing in front of the throne where Bob sits upon. if you can avoid them. L33t. In some rare cases you can get away with big words: for scientists an scholars. Modern talk is a bit less obvious. Just cut it. Setting This is just to keep track of where the story takes place in the world of the game. Big words Chances are if you have to look up a word. use words characters tend to use. Again that is a personal preference. I would advise to avoid archaic words. The Scene itself Once I’m done with the outline I try to write down the first lines of dialogue. How are you? I’m well Yeah. 2. so am I. Hey. But please no leet or internettalk unless you are doing a comedy. Also. The second you open a dictionary try and find another word because nothing throws you out of the game as having to google something. Goal: He wants to be free of the King. show don’t tell. I tend to start with only dialogue and add actions later. Small talk Hello.• Example: Jack. Conflict: His servant distracts hm by demanding freedom. As well as planning ahead what map you are going to make. Therefor you have to be quite aware about fitting the dialogue in said world. While writing keep the . Knowing all these things you can start out writing your scene. Try to avoid a narrator. It also helps establishing where the characters will be on the map. even if they might fit in the world. use. Internettalk. Bob. Try and consider if people in that timeframe would really say what you just typed. King. But again.

I’m not sure this is a good idea Jack. Action. Break up the dialogue by moving characters around Quote King Bob is sitting in his throne. I won’t let you go easily. King Bob: Hmm. From movement of the characters to animations. I’m rather done playing servant. Jack: But sire… King Bob: No buts! Go and make the bed in chamber now. He is surprised. Jack: I was wondering if you could free me… I would love to start a shop somewhere. 4. when suddenly the door opens and Jack stumbles in. forgive me… But I have a request. You are a good servant. Jack: Sire I know your time is precious but I want to ask you something. I’m not sure this is a good idea Jack. Jack: But sire… King Bob: No buts! Go and make the bed in chamber now. Quote King Bob: Jack. A line you can cut is usually an improvement. So use it. you wanted to talk me. Jack: I was wondering if you could free me… I would love to start a shop somewhere. I’m rather done playing servant. Jack: Yes.goals of yourself and the characters in mind. King Bob: My time is precious Jack. I’m running a country and a need people to aid me. Look back at your scene and the dialogue and check what parts are pointless. I’m rather done playing servant. . King Bob: Please speak up Jack. Jack: I was wondering if you could free me… I would love to start a shop somewhere. Quote Jack: Sire. Jack: O-okay sire. you can add a lot of action in your dialogue. I won’t let you go easily. King Bob: Please speak up Jack. Jack: O-okay sire. sire… I’m sorry. (Balloon: !) Jack stops before the throne and waits. You are a good servant. Lastly I add action. please don’t waste it. I know your time is precious but I want to ask you something. Trimming. I’m running a country and a need people to aid me. King Bob: Hmm. 3.

Finishing it up. Based on the actions you can now start to even the cutscene. What you want are bosses for an rpg. Take for example the "Final Fantasy" series repetitive and well known boss. (Balloon icon: …) King Bob: Hmm.03:56 PM Introduction Welcome to the wonderful guide of bosses! You must be wondering what bosses are. The King himself rushes forward to face Jack.Bob doesn’t know what to say. Another repetitive boss would be the Omega Weapon. prideful. TUTORIAL MONDEZ Posted 18 January 2012 . am I right? Let me give you a guide to better and badder bosses. rushes quickly out of the room. who in-game are to challenge characters every time they near a part of the story or close to finishing a dungeon. AnywaysGilgamesh appears in Final Fantasy I. another type of boss in the FF series that appears as a secret boss. The examples I gave you were just for clarity. stupid. MANY more ways to improve a scene. Jack: But sire… As Jack protests he moves towards the King. In the end when you defeat the secret boss. They consist of powerful moves that can KO characters in a single hit or constantly hit them with status attacks. I won’t let you go easily. There are the normal bosses. I will update this guide when I find more stuff to add to this list. Jack: O-okay sire. Gilgamesh is a boss that appears as a goofy. the rewards are little or always worth it. Gilgamesh. Jack. These types of bosses act like a log in front of a gold flower that you manage to find in the woods and you have only a chisel to cut your way past it. You can always add more to the scene through the use of Facesets with emotions or music. Try and be creative with the things you have. Note that the example used in this tutorial is not a really great scene. 5. etc. but yet one of the most interesting bosses except for Kefka. . There are many. King Bob: No buts! Go and make the bed in chamber now. right? Bosses are special types of enemies that spice up any types of games whether it's rpg. I’m running a country and a need people to aid me. and XII as bosses while in the other series as summonings. obviously shocked by the King’s violent reaction. These types of bosses are to halt the player from progressing any further into the story. VI. action. You are a good servant. Section A: Types of Bosses There a many types of bosses in the story that act according to the situation. Gilgamesh always tries to make the scenes comical or serious and fighting him is very challenging except in FFV of course. I’m not sure this is a good idea Jack. shooting. Secret bosses are bosses that are way beyond harder than the final bosses. V.

If bosses have no emotion then it is not unique. They give the player a sense of accomplishment when they face the tough boss as they complete the game. Bosses also must have personalities and not act like a robot unless they are actually are a robot type boss which I will find acceptable. confusion. Bosses must BE difficult to be difficult to beat and not one hit death unless they are joke bosses. When implementing a battle. Their stats are triple of the the players and his/her party also they are difficult to beat because of the array of attacks the bosses have. blind. Religious Bosses or myth-type bosses are also great additions to any game. These types of bosses are for entertainment purposes only and are to be beaten into a pulp instantly. try having the enemies come back from the dead some turns later or have the boss call reinforcements when he/she reaches a certain hp level. In the FF series V and VI. petrify. if it hit one of your characters. both final bosses had multiple bodies or battles within the final battle. Literally they are a joke to the game like Seigfried. These bosses have emotions that are unique from the stereotypical serious. momma-boy bosses and do actions that are not at all robotic. Final Bosses are to be tough end game bosses and not a boss that gets killed in one shot (Sega CD Zelda). also they must be a constant nuisance to the parties stats as well like applying poison. How bosses should act to how they look like it would be boring to fight a boss named "Soldier" and have him look like a soldier who looks frail and thin like "Angelina Jolie" (lulz). Body parts that are connected to the boss that have it's own attacks and also high hp can be challenging to a player. in FFVI who you fight on the Phantom Train that only dealt one damage and had 100 HP. Bosses have high hp. Section C: Boss Battles Boss battles as I explained are to be challenging and a stop gape for players when they go through the game.Then there are the Final Bosses which are the bosses at the end of the story when the main character is close to completing his/her objective in the story. bosses have minions that they have with them in battle that can prove an annoyance. defense. Bosses have to have their own name like "Dawnshredder" or "Barnum's Ultimate Grill Cat Titan" something like that and actually make them look dangerous and awesome. Also add something to the boss when it dies like a suicide move or a move that can deal damage to the players party when it dies. mp. Also in a boss battle. Omega Weapon from the FF series had an attack that could kill. These bosses are to give reason to why something is in the game or a cause to a curse to a town. attack. . blind. Exdeath in FFV was the final boss when Bartz and the party enter the void and which their objective was to beat him to save the world as in almost every FF game. etc. Bosses must have special attacks that characters and other monsters don't have to make the battle hard. Final Boss battles are a big one because these battles are a test of one's meddle of what the player has gone through in the entire game. Finally. it's just another Sephiroth wanna be just waiting in the shadows to be trolling everyone in the game. both are unique because one is barking mad and almost became a god while the other is a giant penguin with knives and bombs that is a walking bomb. there are the joke bosses. etc. These bosses represent a religion or a story within the world that the characters fight in like "God". A good example of that is of course Sega CD's Zelda. Section B: The Many Types of Bosses Every boss must be different or the game will be considerably meaningless in every way. etc. Take for exampleKefka from FFVI and the Prinny Overlord from Disagaea. Final Bosses are to be the cliche and tell the player that it is time to meet their match or be ffed in the balls for punishment.

10:18 PM Making Memorable NPCs Yo. However. Also have a time and point when the boss is invincible for a certain period of time and you must defeat his minions to make the boss vunerable again. I'm talking about the day-to-day people. What is an NPC? The simplest definition is obvious: NPC stands for non-player character. too—and I can't disagree with that. the modern usage of the term is a bit more specific: typically NPCs are the commoners who inhabit the game world without being caught up in the major events of the story. Buffing up the boss is a good idea too so the player can focus on healing and buffing up their characters as well. a lot of central characters—like major antagonists—should be labeled as NPCs. Plenty of people would argue that major story characters are NPCs. Making NPCs Memorable . Play WoW and you'll see that bosses drop gear. For the sake of this article. Today I feel like talking about NPCs. Section D: Lewt! Bosses all have loot and good loot as well. I've played a lot of amateur RPGs and nearly all of them feature the same copy-paste "welcome to this town" NPCs. And while that might be true from a technical standpoint. or items unattainable anywhere else. that doesn't seem to cut it with modern games. If you don't create loot for the player then the player will be disappointed that they got no lewt! (Not really lulz. but the downside was it's type was always dragon making it susceptible to the Jump attack. The strange part is that people know that these kind of NPCs are boring and lame. When we strictly follow the "nonplayer character" definition. Lazy game developers will treat NPCs like scenery—like they're just a part of the map and not living characters. weapons.Also sometimes you want to add flair or difficulty to boss battles. for example the dragon Shinryuu in FFV in the rift can change elements in battle. Hopefully this article can help you come up with some great NPC ideas. One more thing is to try to limit player moves and actions in battle like banning their magic or skills so the player would have a hard time dealing with the boss. Also add some dialog during the fight as well to make the battle more energetic or sad either way to change the flow of battle. Some bosses drop keys or an item that allows the player to go further into the story and allow them to see beyond the stuck point where the player is at. Also I suggest for some bosses to use transformations to throw off the player completely. By giving bosses elements can asses what the player does to the boss in battle. we're not talking about those characters. don't make it permanent though or it would be just a chore to beat the boss with only attack. but they rarely take the time to flesh them out. the working class citizens who make your world come to life.) Section E: Example Here are some examples of some G-R-E-A-T Boss Battles from different RPG games: Seymour FFX (Badass music and boss fight :3: Posted 26 January 2012 .

If the player can remember every person (or most people) that he comes across. Beedle shows us that: • Shopkeepers can have personalities. People have personalities. People have lives—people have jobs. It was all worth it for them. and the more personality you can cram into your game world the better it will be. This is Beedle. he'll get mad and drop you out a trap door. he's given even more depth. For example. if you go into his shop but leave without buying anything. you know them—you've interacted with all of them on some level or another—and you feel like they know you too. right? Well—if your NPCs suck. I love the sequence that plays during the end credits of Ocarina of Time: you've succeeded in saving the world and all of the people that you have encountered along the way are celebrating around a bonfire. If your NPCs seem to exist only for the sake of the player. In Skyward Sword. Also in both appearances. or give them something else to do other than sell you items.Why bother? The player just wants to skip ahead to the next dungeon. You feel like you've genuinely succeeded in helping them. These people are the reason that we want to defeat the evil sorcerer and save the planet. Here's a problem: the player will only care about the NPCs if you give him a reason to. The obvious reason for a diverse cast of NPCs is that it gives the world depth. Ideas and Examples Let's look at some memorable NPCs from Nintendo's The Legend of Zelda series and what we can learn from them. If you have no connection to these people. where he seems to lose his distinctive accent and speaks completely differently when he's "off the clock". behind that shop menu is a person with interests of . you can find him at home at night. he runs a specialty shop that sells unique items. I would argue that every single NPC in your game needs something unique about him or her. the world feels so much more real. You recognize them. he has a very distinctive appearance and personality (and voice—anybody whose visited his shop in Wind Waker will remember Beedle's "thaankyouuu!"). the magnitude of your quest will be significantly lessened. then your game's immersion factor is slaughtered. In both appearances. if you have no reason to care about them. Remember that running a shop is just their day job. On top of that. It's a good feeling—it's a great feeling. It isn't hard at all to give your shopkeepers unique dialogue—have them show interest in a particular hobby. who first appeared in The Wind Waker and most recently in Skyward Sword. of course they will. Consider that most RPGs have a "save the world" plot: these are the people who you are saving.

but it's enough to give him personality that makes him memorable and adds depth to the inhabitants of the world. An NPC is a character. humbled by the experience. It's a simple arc for a simple character. . even if their stories aren't being told directly. but after seven years pass he makes a deal with Ganondorf and takes control of the ranch (while Talon. the previous owner. give your characters the opportunity to grow and change. If you can have them develop based on the actions of the player. After the player puts Ingo in his place. even better! Take something as simple as a mopey kid wandering around town sulking because he lost an item: the player might bring it to him and then after that he will be happy and playful. it's Ingo from Ocarina of Time. and one thing that I always obsess about is character development. he returns to being a ranch hand. is now found in a house in Kakariko). Remember that NPCs have things going on in their lives. You'll recognize this fellow.their own. they can be shown and hinted at. Epona. He's the scabby dirtbag who took over Lon Lon Ranch and tried to lock you up—until you escaped and rescued your horse. Over the course of your game's story. What's cool about Ingo is that he has a full character arc: in the beginning of the game he is a lazy ranch hand. Ingo is proof that: • NPCs can change over time.

but even just including references in the NPC's dialogue is often enough to give them memorable depth. Let the characters be aware of each other—let them have friends and enemies. he would be eager to sell you maps of overworld areas. It opens up tremendous opportunities for minigames and sidequests. I think he's a fantastic NPC because he's so recognizable. Lets ignore his gimmicky side games. and though I don't really understand the massive fanbase that he has acquired in Japan.Tingle! Tingle! Kooloo-Limpah! A lot of people hate Tingle. family members. Take it further than the obvious trading sequence: the more the NPCs are familiar with each other. the more the world feels interconnected and realistic. He's instantly recognizable for his uncomfortably bright clothing. It isn't difficult for the player to know exactly who means. . the man will reward the player for making the connection. but with the player as well. he has a family: the man who runs the pictograph contest will grumble about he is disappointed because his son is too old to be obsessed with fairies. co-workers. He floated around on his bright balloon and when you popped it. But more importantly. If the player can talk to an NPC and then think "so this guy has a crush on the lady who runs the potion shop". then you've established a connection—not just between those two NPCs. This is a perfect example that: • NPCs can have relationships with each other. Tingle was one of the most memorable NPCs fromMajora's Mask. insane personality and obsession with fairies. and when he is shown a picture of Tingle.

she is revealed to be possessed and transforms into the boss. The inhabit the dungeon—it's their mansion.Yeto and Yeta appeared as central figures in Twilight Princess's most unique dungeon. And I would like to see a lot more of it! Dungeons are often dark and lonely. These characters show that: • NPCs can exist within dungeons. but adding some other characters can open up new design opportunities and make the entire dungeon experience a lot more interesting. But in addition to that. and Yeto is cooking soup and lets you replenish your life by drinking some (adding more complexity. there are no recovery hearts in the dungeon because the player is able to recover in this way). Consider a dungeon where the player has to chase down an enemy. And at the end of the dungeon. The more interactivity in your game. his wife attempts to help the player by telling him the locations of different treasures in the dungeon. the Snowpeak Ruins. the better. And giving life to NPCs is a great way to to that! . or has to work with a friend.

The final moments. Kafei takes you all over the place: • NPCs can move. a game. they have goals. At one point. They have lives. The characters are how we identify the story. I am of the school of thought that the CHARACTERS ARE THE STORY. And I'm not talking about walking in little random circles in a village. are the characters. It’s easy to fall into stereotypes or two-dimensional nobodies. and most importantly the characters DRIVE the story.05:27 PM I WANT TO WRITE GOOD CHARACTERS by William "Bricks" Hofstadter-Despain What is the most important part of a story? If you said “the characters” then congratulations—you’re right! At the heart of every story. He's the subject of the game's largest side-quest. then you remember Kafei. Kafei can be found in different areas. movie. Let the NPCs be mobile. Majora's Mask has a unique three-day cycle—and at different points within those three days. . how we interact with it. If your NPC is recognizeable in appearance and personality. they have ambitions. The most memorable part of the Kafei sidequest is that he holds the unique position in the Zelda series of being a playable character. Posted 22 December 2011 . As his story progresses. that these characters are not just scenery. Here’s a question to think about: what DEFINES your character? What makes him/her who he/she is? If you said “he has a badass sword” or “she is the princess of a kingdom” or “he’s quirky and sooo random omg” then you’re doing it wrong. and his storyline intertwines with multiple residents of Clock Town. The most memorable part of the entire game for me isn't the dungeons or the bosses. then he doesn't need to be tied down to a single place.If you've played Majora's Mask. but the quest to reunite Kafei with his lover Anju. tv series. the player must meet Kafei at a thief's secret lair. But writing GOOD characters can be a little tricky. Remember that your world is populated. or anything else with a story). let the hero encounter him in multiple areas. in every medium (a book. The most important element of a character is what he or she WANTS. where they clutch each other and proclaim their love against the backdrop of the apocalypse—is beautiful. In fact. They have motivations.

I’m going to look at two examples of great memorable characters to show how a character’s motivation becomes central to his or her identity and how the “I Want Song” should be used to build conflict and DRIVE the story. and incorporate it into his or her dialogue and action. When the melody of an “I Want Song” is juxtaposed over a scene where something is happening that goes directly against the character getting what he wants. then your character isn’t much of a character at all. as the character’s “I Want Song” becomes the character’s leitmotif or theme song. Often the song is reprised multiple times throughout the show. it will not only create a more emphatic character—building a strong bond with your audience—but it will pull your entire story into a tight and cohesive character-driven narrative. there is a particular kind of song known as the “I Want Song”. The concept isn’t restricted to musicals—while your character might not be literally singing about what he wants. This is why the music in musicals can have tremendous emotional impact. In other words. and how it will influence the character’s actions throughout the rest of the play. because it’s going to the the central thesis for this article: the defining element of a character is what he or she wants. it can be genuinely heartbreaking. the “I Want Song” needs to be present WITHIN the character at all times. Because this song will define the character for the audience—the audience will know immediately that this is what the characters WANTS.Let me repeat that. Ariel Wants to Be Human . Once you know what motivates your character. It usually comes in somewhat early—maybe even the character’s first big number. The “I Want Song” I’m a huge Broadway nerd—I loooove musicals. the protagonist (and often the antagonist and other major characters) will have a song devoted to the expression of their desires. In nearly every (good) musical. a character’s motivation makes the character. This isn’t to say that the character’s motivation can’t change—in fact I would argue that the strongest character development comes from development of the character’s motivation—but if your character’s actions aren’t defined by his motivations. And within the world of musicals.

The next character isn’t from a musical. She’s absolutely fascinated by human culture. and it motivates everything that he does. Whichever version you’re familiar with. He’s undoubtedly an antagonistic force— his desire for the One Ring is in direct conflict with the protagonist’s goal of . Gollum Wantses his Preciousss Everybody knows what Gollum wants. We can totally empathize with her. This fascination drives the main conflict of the story—she makes a deal with the devil (in this case her aunt. collecting discarded objects and paintings from shipwrecks and wondering what kind of civilization could create such magical artifacts. and that thematic element of her motivation creates a strong link to the audience. Now what really gets me is how Ariel’s song is used as a metaphor for the overall theme of the story—becoming human is a metaphor for growing up. but his “I Want Song” rings loud and clear in everything that he does. watch it). Honestly I don’t even need to say much more than that—once I’ve brought it to your attention. Ariel is a girl who is on the verge of becoming a young woman. the witch Ursula) where she gives up her voice in order to have human legs. and that creates an emotional core to the entire story. it’s so obvious that he is the perfect example for the power of a character’s motivation driving a story. you’ve probably heard Ariel’s “Part of Your World” (here’s a Youtube—go ahead. It’s clear that her strongest desire is to be a part of the human world (the most repeated phrase in the song is “I want”).The Little Mermaid is a classic Disney musical. I’m more familiar with the Broadway version—which has a lot more depth than the animated movie (particularly it gives Ursula and Eric a lot more depth so they’re fleshed-out characters (with “I Want Songs” of their own) rather than vessels for moving the story along). you’re familiar with his catchphrase: “My precioussss. though.” Gollum wants the One Ring. Even if you’ve never seen or read Lord of the Rings.

Shy people want to interact with others. agreeableness. I make people feel at ease. the more (s)he has the need to seek company of others. he gets what he wanted all along. Introverts need more time alone and seem to be quiet and less involved in the social world. I feel comfortable around people. he becomes an incredibly deep character. it may give you a frame for your characters. Conscientiousness Unconscientious--------------------------------------------Neutral--------------------------------------------Conscientious The more conscientious a person is. even shallow. considerate. etc. it’s clear that he develops some level of affection for Frodo. Agreeable persons would more likely agree with statements like these: I sympathize with others’ feelings. while introverts do not have a strong need for social interactions.04:35 AM [Writing] Develop characters by using The Big Five What is The Big Five? The Big Five is a model used in psychology to describe human personality. You shouldn’t confuse introversion with shyness. Agreeable persons tend to have an optimistic view of human nature. In the time he spends with the hobbit protagonists. plans activities and controls impulses. I take time for others. When Gollum argues with his own reflection in bizarre and unsettling internal/external monologue. but lack the ability / confidence. the more (s)he has self-discipline. don’t plan ahead and have a lower sense of responsibility. though. generous and helpful (s)he is. One of the most iconic scenes from the trilogy occurs where Gollum attempts to work through this conflict. . If you apply this model to your game. to be in the center of attention and are often enthusiastic. his defining motivation is threatened but wins out in the end. As he falls into the volcano to his death. Agreeableness Disagreeable--------------------------------------------Neutral--------------------------------------------Agreeable The more agreeable a person is. conscientiousness. Posted 18 February 2012 . neuroticism and openness (a handy acronym is OCEAN). His motivation is direct. the more compassionate. Extraverts would more likely agree with statements like these: I don’t mind being the center of attention. I like to talk to strangers. It’s worth noting that while Gollum is defined by his obsession with the ring. it doesn’t prevent him from being a fully fleshed-out character. are unconcerned with others’ wellbeing and interests and are often skeptic about others’ motives. Unconscientious persons show more spontaneous behavior. And in his very final action as he is consumed by the lava.destroying it. he has a look of pure joy on his face: even though he’s dying. Extraversion Introvert--------------------------------------------Neutral--------------------------------------------Extravert The more extravert a person is. Please note that this isn’t the only personality model. But at the same time. etc. But over the course of the movies (books). These feelings go directly against his defining motivation: it createsconflict. but I think it’s the most used one. he reaches again for his ring. The final shot of Gollum in The Return of the King is beautiful. his motivation is so REAL that he evokes sympathy. Disagreeable persons are more individualistic. The Big Five consists of five domains: extraversion. etc. aims for achievement. to do so.

People who score low on openness have more conventional and traditional interests. People who score low on neurotism are calmer and more emotionally stable and do not have persistent negative feelings (this does not mean they have a lot of positive feelings. etc. . I get upset easily. I am less introverted when I’m with friends than when I’m with strangers. They prefer the plain and straightforward over the complex and subtle. People who score high on neurotism are more likely to agree with statements like these: I have frequent mood swings. For example. Please excuse me for any grammatical and/or spelling errors. I use difficult words. I get chores done immediately. They’re also more vulnerable to stress. though). have more imagination and have more curiosity. Neurotism Low in neurotism--------------------------------------------Neutral--------------------------------------------High in neurotism Persons who score high on neurotism experience more negative emotions and are emotional instable. though. I spend time reflecting on things. Two sidenotes First of all. Openness (to experience) Low openness--------------------------------------------Neutral--------------------------------------------High openness Persons who score high on openness to experience tend to be more artistic or value art more. etc. Thank you for reading. People who score high on openness are more likely to agree with statements like these: I have a vivid imagination. I worry a lot.Conscientious people would more likely agree with statements like: I pay attention to details. I’d like to point out that the way your characters score on these dimensions may differ per situation. I’d like to point out that none of these personality traits are better than others (for example it isn’t better to be an extravert than to be an introvert). And finally. It’s impossible for a person to be extremely extraverted when in situation A and extremely introverted when in situation B. English isn’t my first language. I am introverted. etc. What matters. They also tend to have more unusual ideas and so they’re more likely to have unconventional beliefs. I follow a schedule. is that generally speaking. I hope it was useful.

Sign up to vote on this title
UsefulNot useful