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What are you working on? (Game Making Thread)

Helping home-school my niece and nephew. I've been playing around in RPG Maker on the side. Making quick and goofy nonsense stories.
They want to see my games. But they don't have an appreciation for event systems. I try to explain how I mostly work with other people's projects, play testing, or show people neat tricks and ideas. They're like, "oh! you're a teacher." and I'm like "Kind of, but mostly I just build stuff so other people don't have too."
They don't really get most of the stuff I have to showcase. They don't play a lot of video games. They've never seen a Bullet Barrage game before, so I showed them parts of Biz's games. They're not educated on myths and legends. They're not familiar with genres. Definitely not ready for horror. I got a picture slider puzzle I'd show them if it weren't for a lewd gesture. And I'm reluctant about them looking over my shoulder while I navigate folders because I'm sure there's plenty of pg13 stuff in there, like the Windego with his guts hanging out.
I've got all these pre-made maps and events that they'd just take for granted.

So we've been doing simple gameplay challenges. Like time limit mazes. Collect coins. Rock paper scissors.
 
That sounds adorable (if maybe a bit annoying), Coyote! :smile:

I've been working on a psuedo-3D thing in Construct; looks better in motion. But I've essentially taken the idea of 'sprite stacking' from Game Maker, where essentially each sprite is a 'layer' of a greater whole, and by displacing them, you can create a 3D-looking effect.

jOU5slq.png


I wanted it to be for the world in my game, so I've linked the displacement to the player, and through calculating angle and distance, lerp each sprite... I think I'm just weird though. I don't like coding or making assets for actual 3D stuff, but this? I'm liking this.

I was originally going to go for a Asteroids-inspired aesthetic, but have key elements tinted to suit what they are (e.g., red for enemies, green for allies, etc). But once I added the roofs, I don't think the style works with the amount of detail I'm wanting (roof graphic is temporary, but correct detail)?

vDz3lrk.png

So I'm thinking I'll jump to a full-colour aesthetic, but save outlines for the player, allies and enemies...
 
So I finally made it home. I was house/pet sitting for my sister's family while they were on vacation, and then this quarantining thing happened so I've pretty much been away from home all month.
I didn't achieve my development goal for the month either, but I only have myself to blame because I totally saw this coming and should have been proactive and completed it while I had time to myself.
But now I can recharge my introvert batteries, and I might try for a marathon tomorrow if I can.
 
Okay so, not a huge amount of work yet, but things are hecka moving forward!

Remi
So first, I got all the content until just after you arrive on Zen Aneia done, this video shows most of it.
http://www.youtube.com/watch?v=12-XzCb0RKg
Obviously, the portraits and sprites are placeholders right now.

Then there's also this little thing you can do where you can transport to earth's remains and pester the Insidious Architect.
http://www.youtube.com/watch?v=VacQouHgIxc
She eventually gets ticked off, earning you a medal.

I also added a bunch of placeholder tracks into the game's ost.
AeWxsZW.png

They continue in their very touhou-esque nature,

I also updated the 00albumcover.png file in the audio/bgm folder
K9CA1UI.png

Before it was just the background with the "F STAR: but now it has the rest of the game name as well as some more.

There's other stuff I've done but not in any easy to see format.


Pjcr
Boy is this crafty kid redeeming himself lately after the wait he forced on us during Demo 2's final stretch.
TF6fjpk.png

PvaULgE.png



Xiie
She has submitted nothing yet, but she has created a bunch.
Limbo, Renae and Cathy's sprites, now working on Lily and Zephyrra.
A wholesome picture containing both Renae and Cathy which will be used as album art for Extra Track 05.
A nude soulcatcher which is set up for my future eroge. May as well start getting assets assorted.


Jake
Composer has been quite productive.
http://www.youtube.com/watch?v=BZWPAhanJYYhttp://www.youtube.com/watch?v=XY2I6onI2EY
http://www.youtube.com/watch?v=DQ9T_oA8v9Mhttp://www.youtube.com/watch?v=8BgaiSSsgts
 
If you ever need help - or want me to elaborate on those sprites I started - just ask. I can make it match.

*sigh*
Today I'm doing more script writing. uugh. Dread. Maybe I'll go procrastinate some more.
 
coyotecraft":2bn27utq said:
If you ever need help - or want me to elaborate on those sprites I started - just ask. I can make it match.
Nah, Xiie's got this, I may consider you if i need say, an action pose done- though~! Xiie is also incredibly competitive.

Meanwhile, i did this.
http://www.youtube.com/watch?v=VGOctACLUvE
Main story content is moving along slowly but surely~! Granted, I've already written the script from Disk 0 to the end of Disk 3 in draft form.

I really do want to cut down the dialogue and make it more succinct, too. That will be a large focus of Demo 3.
 
It's: Useless Insights With Coyotecraft

I discovered Emily Carmichael on youtube. She was the (a?) screenwriter for Pacific Rim 2, and before that she was known for doing these pixel sprite films. Anyways reviewing her writing process "Intrinsic Motivation" is like her mantra, which she says is the heart of drama. She starts with that and spirals out, building a plot around it. I've been doing the opposite. I have a plot and I try to spiral-in to find the character's motivation.
I don't think my process is wrong. I'm stuck trying to find a good beginning. It seems to me that going the other direction means looking for a good ending. And for career writers, not writing a proper ending is acceptable *cough* hacks *cough*
I mean, they can always say "the rest is another story" and keep the audience hanging and desperate for more.

Her Adventures of Ledo and Ix is really interesting to watch. But nothing gets resolved. And it just stops at episode 10 never to be concluded, it seems. You could say that's the theme. Because they're RPG characters living in a glitched/uncompleted game world and they only have each other to offset the existential dread.
But that's just my rationalization; it's complete because it's incomplete. Even thought they show rough drafts for another episode.

I have a small-big problem with generating a story from a character's intrinsic motivation, which has to do with spin off stories
but I'll get to that. This is how I'm picturing it: The story manifests where the character's motivation intersects with the plot.
6pnoyo9e7uv99v36g.jpg

You can think of the intervals or intersections as the key scenes that make up the story. I want to say the story is their world manifested. Or that they manifested their own destiny. 2deep4u? Maybe it should look like a logarithmic spiral that's closer together at the start then wider apart at the end because there's less meaningfulness to observe? Or more meaningfulness. Guess it depends on how you want to look at it.
Now I want to get to a theory of constructing spin-offs and gaidens (side stories) that follow alternative support characters. Now most reasonable people would just create an independent story and graft it on/in to the source material. But I've been looking for a method where the source material manifests everything, including the character motivation. It would be so much easier if I just threw darts at a board and ran with it; but I'm doing it this way. Because I am.
I want to create a hypothetical story that touches on the source material. The character needs intrinsic motivation to inform the scenes. I don't know what that is, but I want to get there logically based on what is already known in the source material and then reaffirm it. I want it to create itself, or feel like it came into being own it's own naturally.
Now this whole spiral schema thing I've just made up today. But I think I can use it to partially express my process from the past year developing a fan game.
wjeu70zc7wm9ctl6g.jpg

It's really simple. I just took what I know from the source, imagined an alternative series of events, and that alternative future kinda-sorta informs the past which steers this hypothetical story explaining why things happened the way they did.
The question I'm asking myself is if this alternate future is extrinsically or intrinsically motivating. Or how to make sure it creates intrinsic motivation. I think that's what I've been struggling with.
 
I guess it's inevitable that I dabble in metaphysics when my story is essentially inception.
What metaphysics is, is the search for the first cause. You use the end (Telos) and work backwards to the start. That's painting it in broad strokes. Now most people use it in theology to rationalize the existence of god. But it's also used in other sciences. And here I'm using in writing. There's a lot of words that could describe what I'm doing phronesis, prudence - which by the way is what the meaning of the hanged man tarot is rooted in. Which can explain how I got here.

My mom would call it being a smart ass. Like my mom will say "Did you know humans don't produce vitamin C?" And I'll say "Ah! But the fact that we need it in our bodies tells us we do. And we do produce vitamin C; through agriculture."
You might say that metaphysics is just twisting words, and that's partially true. I read this beautiful line that was something like, "the meaning of culture can be found by looking in reverse order the rules that make it up". There's a lot to do with reflection.
Which is why the personification of "Metafisca", in one illustration, is looking at her measuring device in a mirror. In another, she has a jewel that is reflecting the light from the "eye of providence" onto a statue of Homer. Also the Tarocchi image of Prudence shows a woman looking in a mirror, seeing her place in god's image. How this evolved into the Hanged Man Tarot card is a completely different story.
latebat_prebolagram.jpg

Something else I was doing was mining alternate sources of psychology for story motifs. Because everyone and their grandma is familar with Freud and Jung, and you see it the Persona series and Psychonauts, but what you rarely see is Lacan and his whole object-cause of desire. Probably because Lacan is really hard to read and nothing is self explanatory and he draws these schema and labels them "a" and "$". I'll spare you the lecture of what it all means and get to the point. The process of discovering the cause of desire, goes hand in hand with metaphysics.

One of my other sources of inspiration is Ar Tonelico 2, subtitle "Melody of Metafalica". I wonder if metafalica was suppose to be connected to metafisica? Metaphysical? Imo, I thought it was sly sexual innuendo. They're obsessed with creating a world for themselves called Metafalica. Meta Phallic. Ring-a-linga-ding-dong. They live on a tower topped with a grand bell, but it's just not big enough for 2 queens. Zing.
Maybe I just have a dirty mind. There's these lesbians angry they can't create a world of their own without the Administrator's psudo-penis tower. And then these sisters who can't craft song magic without the male mc. Who carries a spear, and his battle cry is "PENETRATION". Must just be me.

The critics of Metaphysics as a science call it "a means to see something without explaining it". So even in mathematics, you can graph the function of a chaotic system and get something that looks like order. Or what they call strange attractors. But they explain it by not explaining it. Saying it's just a product of language or rules of a system.
lorenz_xz.gif
, You can play this "chaos game" where you place a random dot within a space, and over time you get this fractal pattern of the general shape of that space. You'd think random dots could go anywhere, but once you start there seems to zones - I think they're also called strange attractors - that the dots will never touch. Creating a fractal instead of random noise.
A fun question to ask, without any record, could you find which was the first dot? Restarting the game, knowing where the attractors are, you can start inside one. But if you do that then eventually you'll see that all the other attractors will have a point in them that corresponds to that starting point. Which suggest there isn't a first point, but a set of possible starting points. There's also no rule saying you can't start outside the space. So you can never be certain if there is a point beyond a hypothetical starting point, or not. Well, irl, you have paper or a screen dimensions. So there are limits.
sierp-2rolls.GIF


But this make me wonder if it's possible to find the hypothetical start of a story. Or in this case, a motivator. An agent. By looking at the ending. Of course the character is assumed to have agency. And there's that trite "it was inside you all along" or sometimes, rarely "not"


In the movie Inception. The process of "inception" is supposed to be impossible because people can trace the origin of an idea. The trick is to make the person believe the possibility of the idea was always inside them, by reducing the idea to it's simplest form. They wanted this rich guy to break up his Energy Company he inherited from his father. Inferred to be something with wind generators. The idea they push is that his father wanted him to be his own man. So the object-cause of desire they show him is a paper pinwheel from a childhood photograph. As if to say, this explains everything. But could there have been other solutions to this problem?

That question: what is the meaning of culture? Well, what's the first institution? Historically we might say Education. To learn from each other. But cultures can change and evolve. Today children don't start in school, they start in day care. That's a scary thought. The meaning of today's culture is to occupy us so the parental authorities can do something else. I see it a lot online, you enter a topic and someone is upset because you're not entertaining them. I'm not here to be your babysitter.
So in Perseverance Full Clearance, whether Bizmonkey intended it or not, we see Pep escaping from School. Towards the end of the game, you see the inside of Pep's mind. It's a discombobulated floating mass of what I'd say is a school tileset. Even though it's very different from the school in the beginning. But I'd say it's appropriate because it is his origin within the context of the story.
I wish I could do the same with Sven. Drawing from a first impression of him in the game, rather than inventing my own. But the first time you meet Sven is as Nola in Act 2, in an underground hideout, having a smoke. More specifically, according to the datafiles, it's the "Perseverance Umbraden" beneath "Dead Man's Barn". The fuck is an umbraden? THATS NOT A WORD. Is it....? It's Bulgarian for Umbrella...I can't work with this. Umbra Den. Shadow den. That's a little better.
Although...Maybe I could do something with those Japanese Umbrella demons. Karakasa. Maybe not an actual demon or umbrella, but the discarded image of something, a suppressed memory from being a kitten. Hiding in under Svoli's dress or Sped's cloak. Maybe even a early encounter with Esperia or her soul catchers. There's an image there that I like. A suppressed memory would make for a good episode or anecdote. But I don't think I can use it to drive Sven though the plot I already have in mind.
41pn2hu08o0lhc16g.jpg

No. Even though I'm facilitating Esperia to create nightmares, I decided a while back that Sven should be dynamically opposed to Naxon. And in the tarot card The hanged man (Sven) and The Emperor (Naxon) have a special relationship. I was going somewhere early on with the fear of falling.
Anyways. "Under the dead man's barn" as a dream space, could relate to Naxon somehow. Considering he's a Lich. But I'm forgetting that I'm looking an intrinsic motivator for Sven.
Hmm, well the bombs that blew up the tower came from 'Splode. Confirmed in Fantasia. He's a rat. Cats in barns are suppose to catch rats. I wonder if Sven already knew 'Splode was supplying Naxon weapons? Maybe Sven somehow instigated that partnership. He was an intern? He installed the bombs? He already had a cat, Saxxis, working under him. Or that's the thing - my story can explain why Naxon would foresee a need to self destruct. Along with Sven seeing a need to sacrifice himself, which is already in my outline. Back to the barn. Or under it? I could make it significant that Sven is underground where the dead should be, while the undead Naxon is walking above. Sven's motivation could be restoring the natural order. But what is the natural order in the Biztopian Universe? Really?
There's the "Sty" in the original game. Of course the dread are pigs. But a pig sty is closely related to a barn. A lich's barn. A lich's pig sty. But I was substituting Dread with Doubts in my game since.
Something I haven't worked out is a way to bring up the cookiedoe's royal lineage. Sven was bred to be a usurper.
*insert "I don't want to be bread" cat meme.jpg*
Naxon: Mwahaha! Your destiny is TOAST!
Food puns. Yay.
I'm also aiming for the end boss to be Sven himself. Or a corrupted devil/angel gene awakened version of himself. And he's turns out is bad news for everyone.
I like the idea that Sven, instead of freeing everyone of Naxon's mindcontrol, potentially could have taken his power for himself. Which corrupts him. Makes him Naxon's worst nightmare. Or accidentally makes him ascended. But only in a dream/oracle simulation and not the greater simulation. So that turns into a Roko's Basilisk situation. That's this thought experiment where a super A.I. in the future has time travel capability. It'll try to get people to create itself earlier, and tortures anyone who become aware of it's existence and doesn't aid in it's creation. Thus basilisk, if you see it you're dead.
I felt like I needed a snake somewhere. In the Tarocchi there's a serpent/dragon at the feet of Prudence. I read somewhere this became the rope that binding the Hanged Man's leg.
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So this "Rogue A.I. double ascended Super Sven" compromises Naxon and Esperia. Because he's like Ultra Instinct Goku and he can do that.
http://www.youtube.com/watch?v=h8qg-XzHgUk
But to fully realize itself it and it's power it has to use Esperia and Naxon's power to reach out to Sven. That's just the premise of the game which I've been kneading for months. And I've been tempted to share a few times. But I don't want to spoil it. But I don't know when exactly Sven becomes aware of Pseudo-Sven. How Pseudo-Sven plans to make Sven do anything. I don't even know what'll make Sven move. He was already standing still. He's a passive character that's passively passing passiveness...er, Proactively Persevering?
This is the stumbling stone. Sven falls a sleep. The dream starts. He's stuck upside-down in a tree for Hanged Man imagery's sake. He's aware he's dreaming. But he's too sagely. He know's he'll wake up eventually, what's the point of doing anything? My coyote character is there to conveniently explain the unexplainable. But the lines are all forced and unnatural. Sven moves for no real reason.
hmmmmmmmmm. ARRGHHHHHHHHH!
Maybe this other Sven is with Sven from the beginning of the dream, but as the snake. And he can't get sven to move either. That was the thing about the Angulared-Eye Sight, it couldn't see the cookiedoe because they weren't making decisions. Just persevering. Like a snake can only see movement. Huh, that's probably why it's on the Prudence card. Stillness. Water has to be still to reflect.
A snake coiled around Sven lends itself well to my Close Encounters Battle System.

It makes sense in my head. But screenwriting any of this is the challenge. Because somehow the dialogue has to convey all of that. At what point will it make sense to everyone else? That this snake is playing everyone like a fiddle except Sven. ~Hey diddle diddle, the cat and the fiddle~
I'd have to find music to make a rhythm mini game.
 
I was just thinking about how The Adventures of Ledo and Ix handled stubbornly passive characters. Ix accidentally crossed paths with a Princess NPC who starts following him around. But she doesn't speak. She's just another broken NPC fake person. But they can't figure out what to do with her. They end up lost in the woods and can't figure out what to do. The talking tree's speech box goes of the screen. Ledo snaps and starts using all their rare important Buff items. They even petrify the princess. I think the joke is they got "stoned". Once they've cooled off they unpetrify her and...
http://www.youtube.com/watch?v=QZJyccrC0ak

I think the princess is Ix's object of desire. He wants her to speak so he has someone else to talk to. Because Ledo isn't a great conversationalist. In the following episode Ix is stuck. Literally in a wall. Because the world is broken. He tries to image what it is the Princess wants or needs.
The episode is called The Temple of Unspeakable Mystery.
http://www.youtube.com/watch?v=6MieDKELIQ0
The only way they can get him out is by killing him, and reviving him outside. Interestingly, Ledo finally does share her thoughts but her Nihilism is probably the worst thing you can bring up before killing someone. It's funny. And before she brings back Ix she talks to the princess, predicting the worst possible thing. Which is leaving Ix hurt and alone.
They are an odd couple for sure. She's a negative nancy, and he's mr. sunshine. So that's a great formula for drama.

I guess that's something I keep forgetting. Drama needs contrasting things. I get it but, why is the Princess following Ix? What does she want? What does Sven want? The mystery is compelling, but it needs to be answered!
Did I get here because I tried too hard to make Sven the center? And there's nothing at the center?

What can be Sven's object-cause of desire? In a dream. In someone else's dream. He'd assume it's Esperia's doing. But she's not tormenting him like she normally would. So he must think it's someone else's doing. Curiosity killed the cat. But if Esperia could kill people in their dreams she wouldn't be hunting the perseverance group while awake. He's allowed to be curious in a dream, he doesn't know what'll happen there either. I guess neither would the snake. But it's dangerously close to it's goal.

That's good tension but only if the audience knows what the snake wants, and what'll happen if it succeeded. But Sven can't know. And I can't keep putting stuff in front, because eventually the beginning won't be the beginning anymore.
The coyote has a supernatural sense of smell to perceive things. Maybe the snake does too. But snakes smell with their tongue, so maybe the coyote's censoring ability is used as a fail safe. In case Sven makes up his mind, the snake could see where he's going but not have the "phronesis" to know how to manipulate him, or even say anything. But in the end, eventually, Sven will want to know what the snake has to say. So it doesn't have to say anything.
 
I seem to be working with a particular archetype and I keep coming across the same quirkiness.
I woke up this morning with the burning question about the origins of Coeurls in the Final Fantasy series. I looked it up, It goes back to this alien monster from an old science fiction novel. It's cat like, shoulder tentacles, and feeds on "ID". Like the psychology kind.
Which got me thinking that ID and intrinsic motivation kind of the same thing.
But this path lead me to the Tin man in the wizard of oz, which is where I'm seeing parallels.

To summarize the story of the Tin man, he was sacrificing everything for a girl. Replacing body parts with tin replacements, after his cursed ax chopped them off. And then he rusted. Paralyzed. Petrified. There's no basilisk or mirror but the effect of immobilization is the same. Polished tin could probably be a mirror. Basically what the Tin man wanted was a heart. But maybe more abstractly, he needed something to reflect on. to gaze upon.
One of the mechanics of my game was turning monsters into equipment. It's not that far removed from replacing limbs. But I can't remember exactly what inspired that decision in the first place. I'm starting to think I'm going in circles. Coming back to the same point from a different angle.
So this is where I need to be. But what do I do here? The tin man in the movies got a clock heart "a ticker". But in the book it was a pillow heart made from silk and sawdust. That's both soft and good kindling for emotion.

I just realizing how in The Adventures of Ledo and Ix, Ix only accidentally encountered the Princess while searching for kindling. Where was the screenwriter going with this? What else do you need to start a fire? A match? Sparks? Flint.
In the episode Temple of Unspeakable Mystery. Ledo gets a rock thinking it'll get Ix unstuck. She tosses it at the Princess. It bounces off with a tin sound. At the end of the episode though, it's obvious Ledo is carrying a torch for Ix.
The youtube channel had previews that Ledo and Ix would encounter a Leopard Prince next. From the creator commentary it sounded like he'd have a consciousness, unlike the rest of the hollow NPCs.

If I had to guess. His role is to make Ix jealous because his sword and shield type making him the perfect match for Ledo.
Was it a coincidence that I was thinking about coeurls this morning? It was for a completely different puzzle, and yet I can see how a coeurl, who drains "id", would fit in world where all the NPCs are empty shells.
I imagine Ix and this Leopard prince would mix like Oil and Water too.

Oil has a lot of symbolic uses. The tin man needs oil to move. A lamp need oil to burn. Water can reflect but only if the surface is calm which you can do with a drop of oil. And where do you get oil? A snake oil salesman. I think the Leopard prince is a snake oil salesman. Ledo hates that the world is just this screen covering with nothing underneath. She's going to appreciate Ix more, once he's jealous. Covered in "oil". There's Lacan's object-cause of desire at play here. It's a screen, but this screen is covering something. And ain't it the truth that everything is more attractive when it's all gloss and shiny?
If you pay attention to the item menus. "Eyedrops" were suppose to cure brain fungus. It was suggested that what's wrong with the villagers. Ledo tried it on the princess; nothing happened. But of course you'd except Eyedrops to cure blindness. Oil can treat all kinds of things. Philosophically, you burn oil so you can see in the dark. You can also use it to soften skin. In most games "soft" is used to cure petrification. Some games have gold needles. Here to unstone the princess they use a "Tablet of Ren". Gold Acupuncture needles and Ren tablets in Chinese medicine are used for inflammatory joint conditions.
Why Ledo, Ix, and possible this Leopard Prince have a consciousness I'd guess is connected to their ability to stand in water. Ledo and Ix figure they're "fisher folk". The princess walks on water. And the leopard prince is standing in water in the previews.

Right. Anyways. How can I apply this to my storytelling. The dots are there just not connected. Sven has no reason to engage in this dream world because it's pointless. I need to suggest that there's more underneath, and a means or method for him to detect it. It's tricky though. Like the reverse of the matrix. Instead of realizing the world is fake, it's that there's something real behind it.
Cryptic messages? Synchronicity? Hidden meaning. C.S. Lewis called that the Kappa Element. The story, a series of events, is a net you catch something with. I'm doing the same thing on a lower level since it's happening to the character and not the reader. Sven needs a white rabbit to chase.

Writing out my thoughts counts towards some word count goal right? Probably not. It's just talking with fingers.
Making connections and explaining them, or putting them in new context. Plot summaries are not scene writing. That's what I really struggle with. I may say "I don't now what's motivating a character" but what I really mean is that I don't know why they specifically would say anything at all. No. What I really really mean is that I need an excuse to make the characters animated and energetic, that tells you who they are, and also points them in a certain direction. But it's so hard.
 

Fayte

Sponsor

I think bogging yourself down with a reason why a character is the way they are is holding you back. Just let them be the way they are and the viewers/players that identify with that type of personality will love them anyway.
 
Intrinsic motivation is important because it's how characters engage with everything. It's where the drama unfolds from.

Right now my story is like Alice in Wonderland, and I'm not satisfied with that because there's no drama or meaningful connection between the character and the events. You know, Alice basically floats through these strange encounters answering riddles.
That would be fine if it were a typical rpg campaign. You can generate any character with any backstory; they all descend the same dungeon floors regardless.
It's not a personal quest.
For what I'm doing, I want to make it personal.

There's games like Persona 4 that are a little more personal. Granted it's a hybrid RPG-Life SIM. But most of the social link events are just characters talking @ you. I don't know if that really counts as dialogue. I guess it is. Because it informs how a given characters see the world. But it's really unnatural and forced the way they do a 180 and unload their emotional baggage unprompted.
>You spent time with Whats-their-face for the day
"Weee. Yeah"
"This is fun."
"Yahoo"

*music stops*

"My Anus is bleeding."
tumblr_mfnbnhVWBW1rmsyl9o1_250.gif

But because you're playing a silent protagonist the game just pretends stuff like this is a meaningful postmark in their relationship.

Even though this was a joke example I could theoretically make it a drama by setting up the protag's intrinsic motivation. Asking myself how something could conflict with this? What would be ironic? Maybe the protag was afraid something like this might happen. Maybe he wanted a partner to go shark cage diving. And that'll lead to this other character lying about recovering, because they have so much fun together. So they go Shark Cage diving.
DrCKlsuVYAA_WUC.jpg

Tragic.
 

Fayte

Sponsor

I think the only important thing is giving your characters a personality type; righteous, selfish, etc. and then make their decisions and dialogue throughout the story based on that. Getting bogged down by the fine fine details is slowing the progression of actual game making and what leads to abandoned projects. Get the base, the outline, and go on from there. You’ll start to have more and more ideas as you go and the story and fine details you want will come naturally as you move forward.
 
I agree with you, that's the conventional wisdom of storytelling. But that's the other half of this problem. Sven isn't a conventional character. He's like Buddha. Unmoving. Willfully suspending himself.
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I see this as a coping mechanism. Because another character, Esperia, is like half succubus and likes to torment resistance fighters with nightmares. Like Freddie Krueger, but she can't kill people in their dreams. At least I don't think she can. It would be a plot hole in Perseverance if she could. Anyways, the best way to deal psychopathic manipulators is to be a grey rock and be boring.

However Esperia won't be actively tormenting him in my story. She's unconsciously being used as a conduit. Sven will be perceptive enough to know that he's in a dream, and that Esperia hasn't tried torturing him yet. As he wanders though this dreamland he meets this bat and "hart". Being in a kind of candyland, this bat is searching for the best ingredients for icecream. Or Icecream angel sculpture. And he sees Sven as an ingredient because of his last name "Cookiedoe". He's robbed the candy people of their clothes. Gumdrop buttons and such. He wants Sven's jeans. An allusion to the "genes" that the cookiedoe family possesses.
But a mechanic my game is that defeated enemies "doubts" became equipment "mantles", so Sven can trade with the Bat essentially as the NPC vender.
The "hart" is this deer character who is a organ harvester for transplants. He puts things on ice. Preserving things for the future. But Sven can't shake this suspicion that he's connected to the Blood Maidens somehow. And the Hart has this date he want's to get to. Be it a time, a person, or a fruit. Potentially an allusion to Fyori, the date I mean.

There's also a hidden meaning. The hart, looking for a heart to transplant, is abstractly a "heart". And the bat, looking for the icing on on a cake, or batter, is abstractly the bat. Maybe too etymologically obscure - today we'd call it a spoon, or whisk, or beater, or spatula, a dipper. They all go back to cudgels, clubs, aka Bats. I like the idea that he's a spooner. Even if it's nonsense of what it corresponds to, maybe who it corresponds to will make mores sense. Who opened a restaurant/brothel of delights.

Sven feels certain that he's not there by accident. Someone must want something from him. Someone is holding him there. And he's soon to encounter himself. Or at least, a dead ringer of himself. That is both figurative and literal. Because it's like, what if Sven took Naxon's powers and became a necromancer. A means to hang on to his loved ones.
I keep dropping and picking up the bell motif. Original the bat was in a bell tower. Clocks have pendulums. The clapper of a bell is in otherwords a pendulum. The Hanged Man tarot is also called "Le Pendu"

The story covers about 10 scenes in a chiastic structure. Which means the first scene is mirrored in the last scene. The second scene is mirrored in the second to last scene. So "the dream" starts with Sven stuck in a tree, which the coyote pulls him out of. In a sense the coyote too was symbolically harvesting Sven, reiterated in the final scene where they're kind of outside the continuum and he's ready to pluck a "timelime" that is -this story- which happened in an imaginary dream space propagated by an imaginary timeline that was never actually part of the tree despite growing out of it. Because it's a fanfiction. And the joke is that it's not a lemon. Ba da dum tssss.
There's something in here about giving one's self away. Which is Sven's sacrifice in Perseverance that I wanted to explore in the first place.
I could explore deeper and have the coyote explain to sven. Close your eyes and imagine looking in a mirror. We say we see a reflection of our self. But the reflection is a property of the mirror, not us. And then there's some eye I aye business. "Open your eyes" and Sven wakes up. The end.

I got all this overarching structure stuff figured out. Lots of word play material. But it's the nitty gritty details of how Sven is engaging in dialogue.
He's coping. He's resisting. Resisting temptation. Persevering. But he's also being vigilant. A vigil is a wake. Sven is woke. lol. Not helpful.
Maybe it's not answers I need, it's a question. Even though Sven is being vigilant, will he know a trap when he sees it? He must have some doubt that nothing is there. And that lends itself to fighting "Doubts". But I can't figure out how to express it in dialogue between characters, and not just thinking to himself.
 
Maybe I should make a separate thread for my writing rambles.
I played some Rpg Maker demos and had a lot of thoughts about how everyone put the Dark Lord encounter in roughly the same spot. I'm thinking it needed to happen earlier in the story.

You use plot armor to put the hero and villain face2face - for drama's sake. It's better to get information and motivations directly from the source.
But then I was thinking about format issues. Film and Novels have environments to facilitate close shaves and narrow escapes. But not visual novels. I can't think of too many ways to release tension. Like in The Wizard of Oz. Dorthy meets The Witch almost as soon as she steps out the door. The plot armor, the slippers, prevents the Witch from touching Dorthy and ending the story right there. The Witch is forced to walk away and wait. You can do that in a visual novel.
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It's harder to do a character hiding in a closet, eavesdropping. With the villains hand on the door knob when someone/something interrupts his search. That's all visual suspense.
I'm trying to think of more exit strategies that would work in a visual novel, without breaking out CG Illustrations.
In The Mummy, Imhotep meets Evelyn in her Hotel room. But Imhotep runs off when he sees a cat.
After sleeping on this problem, I feel dumb. I didn't mean "exit strategy" to be so literal. But I think that's about all you can do in a visual novel scene; have characters enter and exit.

But this is kind of problematic in a dream setting. If Sven were to meet his equivalent of "the dark lord" the story would be over. And why wouldn't he already be there on the other end as soon as Sven answers the phone? That's why I'm being cheap and using my coyote character to lubricate this plot hole. He's the semi-omniscient time-traveling operator/terminator; he just gets to Sven first. But I'm realizing now that delaying this encounter is bad story form. Because when it finally happens it's a bit of an ass-pull. "At last we met. I've been waiting for this moment." But...where? Was he like, lording it over listening to elevator music while on hold or in a waiting room?
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I think it's funny that without trying to I'm finding myself replicating these design choices and doppelganger business.
 
I made an amazing discovery today.
I was experimenting with storing text strings inside game variables since you can use \V[#] to display the contents of a variable in a message. I'd really like to have a system in place that I can just copy and paste my dialogue all at once without the tedious process of copying it over box by box in the event editor.
The problem is that the text string will only show one line and go off the screen. Rpg Maker is dumb and doesn't wrap text because it doesn't know if it's visible or not.

But I found you can add \n in a text string to continue it on the next line. And after 4 lines it starts a new box.
So that's useful to know.

I'm thinking if I write my dialogue ["like this"] ["separating character voice boxes in brackets"] I could easy cycle through them in a loop. And maybe even parse the strings to inject \n where needed. So long as I'm not doing crazy text effects, I think I can safely estimate the character limit per line to pull that off.

Edit: aw, dang it. Most of the string manipulation methods don't work within rpg maker's script blocks. I think because it's actually processing it all as array. Or just the weird way it interprets code from an event processes. I used an ary.shift method once and it surprisingly didn't crash, it stored something in the gameVariable and displayed {|native code|} in the message box. Which I'm pretty sure was something in the Event architecture.

Anyways, what this means is I'd probably have to rig a proper .js plug-in to feed my text through. But at that point it's like, gee, why don't I just rebuild the entire message system from scratch?
 
I worked all night compiling my stuff into 1 rpg maker mv project file. Event systems and character movements. I almost forgot about these .js plugins I made but never published.
I'm pretty psyched that I found stuff on my old hard drive from 2015-2016. I had made a bunch of events built around MV's touch inputs. I thought I lost all of it but there were some copies in the deployed output folder.

Now I'm just making dumb stuff just to see if I can.
Like a Transfer Map skill to move the player around to different maps while playtesting.
Attempting to deploy a new project on netlify. I toyed with it briefly years ago and the site has completely changed it's looks. And maybe even it's ToS for free users. It's taking a lot longer to process then I remember.
 
I finally got a new game project deployed on netlify. It required a github repository.

I spent most of the day messing around creating useless cheat items. Like yesterday I created a transfer map skill but it was really rudimentary: Enter a Digit; transfer to map Id. But I really wanted a list of map names to choose from. It took me most of the day figuring out how to push the map data into "show choices" list. But once I got it, it paved the way for all kind mod tools to edit Items and Actors while playtesting. Even though it's completely useless.
I tinkered with some more touchinput based events.
But now I'm bored with everything.
 
Cleaned up bugginess in a few event systems of mine.
Started some NPC experiments. Giving them inventories and trading among themselves. But then I got distracted making diagnostic tools. Might see what I can do with save files.
 
Recreated a move route system that I had made for vx ace. Improved it. I wanted to simulate the way NPCs behaved in the .hack // G.U. games. I could be imagining it wrong but I believe they move to shops and trade between themselves. If you trade them something they might give it to another npc or sell it. A mini economy. I kinda want to simulate an adventure guild where NPCs follow a routine of spending all their gold then meeting at a gate. Then disappear and get replaced with a new character.
But I also want the player to trade items. Which they'll cash in. Or level up shops or guild ranks or something.
But right now it's just movement. It looks like they're doing something.

I was also studying MVs save system. I was hoping I could make a hacked save file. Another useless idea. If you open the save menu and save, the rest of the event's process is saved in the map interpreter. And will run the rest when you reload, even if that event no longer exists.
My idea was to make a save which, when loaded, turns on the playtest variable, then goes back to the title screen. So in theory you could start a new game with playtesting tools in some else's project. However I've yet to get this to work. I'm still investigating.
 

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