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Something You Want to See in a GameTopic%20Title
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I doubt I'm the only person who sometimes thinks "wouldn't it be interesting for a game to do X?" from time to time. Though I question the idea of anyone's posts here leading to such things actually showing up in games, I am curious about what things people might want to see in games (and also wanted to share at least one idea that occurred to me). Maybe it's been done and you just haven't come across the game that did it. Alternatively, maybe it's been done, but it was done badly.

So, an idea that occurred to me:

Imagine the bad guy has some sort of nasty superweapon almost ready to go. If it's activated, a good-sized chunk of the world will be ravaged. You only have a certain amount of time to stop the superweapon from going off. You can spend this time preparing for what is obviously going to be a really difficult fight, but if you take too long, the superweapon goes off. In my experience, this would normally mean game over. However, in this case, if the superweapon goes off, the remainder of the story gives a lot of attention to the aftermath of the bad guy's actions. You still get to fight the bad guy and save the world in the end, but it's a much darker world. Alternatively, if you stop the superweapon from going off, the remainder of the story focuses on the campaign to take out what's left of the bad guy's forces. Essentially, the tone of the story's final plot arc depends on whether or not you, the player, take too long to go and do something about the bad guy's superweapon.
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A War happens in Los Angeles, and the Protagonists of Ace Attorney joins the war to fight for their country. I wonder if there will ever be a Phoenix Wright Related FPS Shooter like Max Payne, Call of Duty, etc, etc.

Or a PW-Type Zombocalypse? Oooh, may sound fun! :gant-clap2:
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Multiple paths in a game. And I mean actual multiple paths.
Similar to your idea, General, the game would have dialogue or action options that change what you do or say, which has an almost immediate effect on how the story proceeds from that point. Not just influences something at the end. Ultimately, the ending of the game can still pretty much be the same, just that multiple paths go different ways before getting there, maybe even alter the ending slightly.

For example, I'm leading a troupe of soldiers. Do I want to pick Option A, proceed slowly into the new, unknown area without sending scouts ahead to check things out? If I do, I head onto Path A1, which could make the new area more difficult to navigate due to lack of knowledge. Choosing to send scouts ahead could lead me to Path A2, the area is easier to navigate. Picking Option B, where I go blunt force ahead could lead to Path B1, or Path B2 if I choose to tell my men to stay behind while I go ahead on my own to scout the area and then tell them to follow me after. Option C, I don't go down that path and head somewhere entirely else and such.

This would make not just the gameplay different from all the options, it also changes dialogue, maybe even what people I can recruit. I love games that have multiple endings, but most of them just don't change all that much until the end. And even then, most of the time, the dialogue is different. I guess this is similar to Danganronpa's original beta idea Distrust, where your dialogue options altered who would die, who the murderer is and how the Protagonist would react to things. Or maybe even Chrono Cross, though I wouldn't make THAT large of a group. I want to give people multiple gameplay options, but not have them play the game close to 10 times to see everything.

I'm sure I'll have more ideas, but this is a big one.
Here's a small one, for mystery games: Allow me to make conclussion early. You think I'm missing evidence? Doesn't matter, my logic tells me what happened, let me finish faster because I already figured it out.

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CatMuto wrote:
Multiple paths in a game. And I mean actual multiple paths.
Similar to your idea, General, the game would have dialogue or action options that change what you do or say, which has an almost immediate effect on how the story proceeds from that point. Not just influences something at the end. Ultimately, the ending of the game can still pretty much be the same, just that multiple paths go different ways before getting there, maybe even alter the ending slightly.

Not precisely what you're looking for, but Indiana Jones and the Fate of Atlantis is famous for its multiple path system. At a certain point in the game, you have to choose between the Wits/Fists/Team paths, which are quite different from each other (with emphasis on differen gameplay mechanics). The paths do come together near the end though for (I think) identical endings.

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Here's a small one, for mystery games: Allow me to make conclussion early. You think I'm missing evidence? Doesn't matter, my logic tells me what happened, let me finish faster because I already figured it out.

Kamaitachi no Yoru did that already back in 1994; it has two distinct point where you can solve the murder(s), with more murders occuring if you missed the first point. The fan-sequel Rengoku did the same, if you wanna try. The otherwise horrible GBA game of Tantei Gakuen Q also gives you the option to accuse the murder early, as does the more recent Sherlock Holmes: Crimes & Punishment.

The problem is that in the end, you do need evidence to prove your ideas, because basically rany idiot can think of anything, so you need certain checks to 'gamify' it (or else you could just pick out someone at random). I've often participated in written mystery games (Participants are given first part of a mystery story, have to find out who did it and explain how they figured it out) and you were basically allowed to go to the writer and say who you think the murderer is the moment they hand out the stories, but you'd still need to point out why (with proper references (=evidence) to the story, because nobody would except "that is what the murderer would do", or "she has the most likely motive". I.e. you need evidence to support your logic).
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At a certain point in the game, you have to choose between the Wits/Fists/Team paths, which are quite different from each other (with emphasis on differen gameplay mechanics). The paths do come together near the end though for (I think) identical endings.


But I don't want to decide on something that alters my path at a certain point in the game, which tends to be late in the run. I want to do it constantly, like already deciding if the protagonist will get up now or continue to sleep in should change the gameplay and events already. Always choosing "at a certain point in the game" reminds me too much of Atlus games - I love Catherine and the Shin Megami Tensei games, but fact is that, until you are locked into your alignment which tends to happen very late in the game, the story events are practically identical.

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The Stanley Parable is an interesting experiment in that, actually. Not a long game, but it manages to do quite some interesting things with the struggle between user input vs "set" story, as the story (= narration) changes with everything you do.
"One dumbbell, Watson! Consider an athlete with one dumbbell! Picture to yourself the unilateral development, the imminent danger of a spinal curvature. Shocking, Watson, shocking!" - The Valley of Fear
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Detailed game over screens or just full blown bad endings when you fail. Something along the lines of Chrono Trigger's "The future refused to change" sequence. Put some consequence and meaning back in game overs
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Pierre wrote:
Detailed game over screens or just full blown bad endings when you fail. Something along the lines of Chrono Trigger's "The future refused to change" sequence. Put some consequence and meaning back in game overs


As an impatient person, I will tell you that it will annoy players a lot - especially if there is a really tough boss fight, maybe even with a(n unskipable) scene before hand. You fight, you lose, you see that big dramatic game over screen, you re-load, you watch the scene again, you fight, you lose again, game over screen... it'll be annoying. More annoying than impact-giving.

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Depends on the type of the game. Chunsoft's novel games Machi and 428 both have more than 100 endings each (many of them quite elaborate), but jumping back to the last point before the ED takes no trouble or time at all, so it's never annoying. In fact, a lot of the bad endings in those two games are really worthwhile to see and I've often made 'bad' decisions on purpose to watch all the variations.
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CatMuto wrote:
Pierre wrote:
Detailed game over screens or just full blown bad endings when you fail. Something along the lines of Chrono Trigger's "The future refused to change" sequence. Put some consequence and meaning back in game overs


As an impatient person, I will tell you that it will annoy players a lot - especially if there is a really tough boss fight, maybe even with a(n unskipable) scene before hand. You fight, you lose, you see that big dramatic game over screen, you re-load, you watch the scene again, you fight, you lose again, game over screen... it'll be annoying. More annoying than impact-giving.

C-A


Then make them skippable.

Done.

I'm not trying to please everyone here, it's what I'd like to see.
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Pierre wrote:
Detailed game over screens or just full blown bad endings when you fail. Something along the lines of Chrono Trigger's "The future refused to change" sequence. Put some consequence and meaning back in game overs

Banjo Kazooie.
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CatMuto wrote:
Pierre wrote:
Man...that looks dull...this actually makes me worried for KH3 (since that team worked on the battle system)


I feel the same
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dullahan1 wrote:
Pierre wrote:
Detailed game over screens or just full blown bad endings when you fail. Something along the lines of Chrono Trigger's "The future refused to change" sequence. Put some consequence and meaning back in game overs

Banjo Kazooie.


Exactly that terrified me as a kid.
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Pierre wrote:
Then make them skippable.


Good idea, though I'd elaborate it to "Make them skippable, without this resulting in punishing you somehow". My boss example referred to FF X's fight against Yunalesca, who is the bane of many players. The fact that scenes were unskippable was quite annoying. Thankfully, X-2 did give you the option to skip scenes - but it screwed with your 100% if you did.

Something I'd like to see in a videogame... is a friendless, cold-hearted main character.
Preferably also with no Power Of Friendship being shoved into my face. I want a cold, calculating protagonist who has no friends and doesn't want friends, because "friends are merely weakpoints the enemy will attack" and doesn't somehow revert into the type who likes having friends as the game goes on. Who isn't above shooting someone to get to the bad guy.

Sure, the protagonist would probably not be sympathetic to players, but it would be a nice change. I'm all for the idea of "If you don't like the main character, it's difficult to like the game", it's one of my issues with AJ, but I think even this type of character can be likeable. To some people, at least.

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CatMuto wrote:
Pierre wrote:
Then make them skippable.


Good idea, though I'd elaborate it to "Make them skippable, without this resulting in punishing you somehow". My boss example referred to FF X's fight against Yunalesca, who is the bane of many players. The fact that scenes were unskippable was quite annoying. Thankfully, X-2 did give you the option to skip scenes - but it screwed with your 100% if you did.

Something I'd like to see in a videogame... is a friendless, cold-hearted main character.
Preferably also with no Power Of Friendship being shoved into my face. I want a cold, calculating protagonist who has no friends and doesn't want friends, because "friends are merely weakpoints the enemy will attack" and doesn't somehow revert into the type who likes having friends as the game goes on. Who isn't above shooting someone to get to the bad guy.

Sure, the protagonist would probably not be sympathetic to players, but it would be a nice change. I'm all for the idea of "If you don't like the main character, it's difficult to like the game", it's one of my issues with AJ, but I think even this type of character can be likeable. To some people, at least.

C-A


"A Nice change"

Cloud
Squall
Lightning (Cloud)
Kratos?

Doesn't matter, the first three are pretty iconic characters in games and Lightning is still recent enough.
I can't be gladder people are moving on from the "loner" archetype.
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Pierre wrote:
"A Nice change"

Cloud
Squall
Lightning (Cloud)
Kratos?

Doesn't matter, the first three are pretty iconic characters in games and Lightning is still recent enough.
I can't be gladder people are moving on from the "loner" archetype.


The first three all result in eventually having friends, liking them - I think Squall was the big one out of those three. (I still don't get why people say Light is Cloud - she looks a bit like him, but in terms of personality she acted more like Squall initially) As for Kratos, if you are referring to the Tales of Symphonia character, well...

Spoiler: Symphonia Spoiler
Kratos practically stopped being the loner type once he found Anna's grave, Lloyd and realized Lloyd was his lost son. He did things in the back, yes, but he was always ready to step up for Lloyd. Granted, it wasn't friendship, it had to do with family but I still count it.


Also, I have not really seen any of those four killing someone - like, screw it, killing a party member to take down one of those frequent-flyer bad guys that appears. It's generally, if at all, killing faceless people we don't know or care about because they were faceless and NPCs we don't need to know about. (People died at Hanged Edge? Yeah I saw some fall, but seriously, aside from maybe Nora, none of them mattered)

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CatMuto wrote:
As for Kratos, if you are referring to the Tales of Symphonia character, well...

Pretty sure he means the other Kratos. This guy:
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CatMuto wrote:
Pierre wrote:
"A Nice change"

Cloud
Squall
Lightning (Cloud)
Kratos?

Doesn't matter, the first three are pretty iconic characters in games and Lightning is still recent enough.
I can't be gladder people are moving on from the "loner" archetype.


The first three all result in eventually having friends, liking them - I think Squall was the big one out of those three. (I still don't get why people say Light is Cloud - she looks a bit like him, but in terms of personality she acted more like Squall initially) As for Kratos, if you are referring to the Tales of Symphonia character, well...

Spoiler: Symphonia Spoiler
Kratos practically stopped being the loner type once he found Anna's grave, Lloyd and realized Lloyd was his lost son. He did things in the back, yes, but he was always ready to step up for Lloyd. Granted, it wasn't friendship, it had to do with family but I still count it.


Also, I have not really seen any of those four killing someone - like, screw it, killing a party member to take down one of those frequent-flyer bad guys that appears. It's generally, if at all, killing faceless people we don't know or care about because they were faceless and NPCs we don't need to know about. (People died at Hanged Edge? Yeah I saw some fall, but seriously, aside from maybe Nora, none of them mattered)

C-A


I dunno...to me it sounds like you want to completely remove character development from loner characters...

That sounds like a bad idea regardless of the "archetype", playing a character straight and pure to their trope I only really find effective if it's done with some parody in mind (ala Madworld).
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I'm just sick and tired of the "power of friendship" stuff. And, depending on the character, lack of development can work.

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I can see such a character being done well, but it provides its share of distinct challenges. I suspect one major obstacle would be overcoming the common perception that loners are lonely and want companionship. Maybe I'm reading your post incorrectly, Cat, but the impression I'm getting is that the character you're calling for is someone who chooses to work alone and probably live alone rather than someone who is alone due to circumstances beyond their control or their own social difficulties. This character isn't an outcast or socially awkward, but instead just someone who chooses not to associate with other people. I'm reminded a bit of Hawke from the Advance Wars games.
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Her description kinda reminds me of Stocke a bit at the beginning of Radiant Historia. The way that character is described, it'd more fit like an assassin for hire type character.

The only problems I really see with this idea is it would be very challenging to make them interesting and lack of character development.

It may be just me, I don't mind the idea of the character you suggested Cat, but keeping them stoic with the same ambitions and goals throughout the entire game would make me lose interest if it isn't done well enough. Character development exists to keep characters interesting, hence why they have all those loner characters warming up, as cliche as it is.

I'm gathering though you're wanting to go with this character as an attempt to break away from the overdone cliches. I get it. The only way I could think it would work is if there was lots of world building around the character himself to keep it interesting. If I'm playing a 1-dimensional character in a story heavy game, I'm going to get bored. Platformers don't bother me as I could care less about personalities in those, but while I think this idea would be okay in concept, I could imagine it'd be pretty hard to make it work well.

I'm curious though. Your description immediately draws me to an assassin like character, Cat. Out of curiosity, with the personality you described, what kind of character did you have in mind for this idea?



As for what I want to see in a game, boss fights that aren't more than 5 minutes long in RPGs. Yeah, in the past that was a thing, but trends have gotten to a point where it's not a boss fight unless it's super long because they're stocked with too much HP and so many healing spells. If I can adapt and learn the proper strategies, I shouldn't be having to spend an hour trying to fight off a boss. Honestly, it's really tedious when you have to find time to set aside, just to fight a boss. While it might be satisfying to win, I'd like to at least feel like I made a good amount of progression in my game within an hour.

And yes, this goes to final bosses too. Not a fan when battles are purposely drawn out to make it feel "harder".
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CatMuto wrote:
Pierre wrote:
Man...that looks dull...this actually makes me worried for KH3 (since that team worked on the battle system)


I feel the same
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General Luigi wrote:
Maybe I'm reading your post incorrectly, Cat, but the impression I'm getting is that the character you're calling for is someone who chooses to work alone and probably live alone rather than someone who is alone due to circumstances beyond their control or their own social difficulties. This character isn't an outcast or socially awkward, but instead just someone who chooses not to associate with other people.


Yeah, that's more what I meant. A person who isn't weird when it comes to social interaction, but just doesn't care to do the whole social thing. Of course, some slight awkwardness when they are forced to interact with people would be there, but nothing too big. Just someone who prefers to work alone, live alone and do things on their own - if someone wants to tag along, fine, but don't think that they'll rescue you at the drop of a hat.

Quote:
I'm curious though. Your description immediately draws me to an assassin like character, Cat. Out of curiosity, with the personality you described, what kind of character did you have in mind for this idea?


Not necessarily an assassin, but maybe... more of a wandering mercenary type? Does his own thing, wanders around, if people are in trouble and beg for help by, I dunno, killing these monsters he'll do it but not out of "goodness of the heart" or anything. He just... does it. I somehow think of Dillon from Power Rangers RPM - he doesn't really care that he's a ranger and set to protect the city and its people, but he'll do the job. When they say they trust him, he tells them that they shouldn't (since he has Amnesia, he knows nothing about himself, so everything he says could turn out to be a lie, etc). Yes, Dillon had a sort of companionship going on with Ziggy and he did loosen up, but... well, that is mostly the second part of RPM which I tend to not hold that high since it was probably after Eddie left and things went down the Copy-Past-In-Space route with him.

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If I can adapt and learn the proper strategies, I shouldn't be having to spend an hour trying to fight off a boss.


A late-game FF XIII boss finished in 25 Seconds. I admit, though, it would be nice to have boss battles that don't take forever. I love Tales of the Abyss, for example, but their idea of increased difficulty is Multiplying the parameters and HP to the sky. Even a max Level 200 character can take almost 30 minutes to kill a late-game boss.

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It sounds like you want an introverted character to be portrayed as a fine normal individual instead of as if there's something wrong with them. Least I think that sounds pretty good, though I think they'd need more to their character than just "I dislike working with people and prefer to do my own thing". How they interact with others should be secondary to their internal characteristics, I mean I'm sure many people in real life who fit that schematic don't think "Not interacting with people is what defines me," there's hobbies and interests and beliefs that come before that. Perhaps that's the problem I have with the loner archetype. That I know they are just being detrimental to their own goals and beliefs by refusing to co-operate/making things harder with a team.

Also the "tag along if you like but don't expect me to save you" route if followed to the letter would only lead to disaster as I can see it.

Let's take an FFVIII-ish setting where there's a mercenary company and our loner character is wanting to go earn some money doing a mission. The character is pretty strong from pulling himself up without relying on others and no one doubts his capability to do this mission. Then the young new recruit who looks up to the mercenary (because there's always one) asks to tag along and help in the mission. Our loner character isn't opposed to them coming along but warns them "Sure but you need to be careful and look out for yourself," they think to themselves "they signed on, they know the risks" and sets off on the mission.

The other mercenaries are fearful for the recruit as they figure the loner is taking on jobs above the recruit's competence level and that the recruit will just get hurt or worse and try to dissuade them. The recruit rejects this though as they idolise the loner and don't want to let that hold them back, confident in their own abilities.

So they set out, the loner leading and making no conversation and only minimal interaction with the recruit when it's time to rest or they talk too much. Then wham they get into a fight in the canyon and the recruit ends up dangling off the edge after they kill some lizardmen who ambushed them there. The loner can see the path ahead crumbling and knows he has to go now if he wants to cross over and complete the mission. He knows he can always take a different route back but if he's not on-time for the mission it might be too late for his employer and he wouldn't get paid. The recruit is screaming for help as his precipice is also crumbling away as he scrabbles at it. The Loner shrugs and leaves ahead knowing that he warned the recruit about this in advance and figures they should have been smarter about coming on a mission they clearly were not ready for.

The recruit falls to his death, the mission is successful and the loner returns to the scorn of all his colleagues. Of course he doesn't especially care and there's no legal ramifications on him for the death of the recruit (after all death is well accounted for in the legal contracts).

Then later on the loner encounters a job where his enemy is not only strong but is literally immune to his sword techniques. The loner thinks about his options but he is only really skilled at physical combat. He had found he had an aptitude for the blade early on and had honed that ability. He disliked working with others and so ignored their advice to be more flexible in his tactics as he wanted to choose his own path in life and he had already found a way that worked with him. As a result he was better than anyone else in the mercenary company at swordplay and had compensated for his weaknesses by closely examining each mission for foes suited to him and planning ahead of time. Still as is natural in dramatic stories, unforeseen circumstances follow and this beast immune to physical attacks has confronted him. The beast is unholy and so a blessed blade would prove deadly to it but the town is already in wastes and a warzone and the beast made sure to destroy all holy places before the mercenary company arrived.

One of the loner's colleagues is passing by, a healer, and sees that the loner is struggling. They have a mission to get some refugees to safety but the coast appears clear and they have time to help the loner. However they recall the fate of the recruit, the loner had explained what happened to the recruit in detail (after all he felt no shame at the loner's death and so no need to hide or glamorise the facts of it). The healer is capable of blessing the loner's blade AND of fighting the beast with their own magic. The healer spitefully decides that, like the loner, mission objectives should come first and foremost. While she doesn't truly believe there's any real risk as where they are is clear of the fighting she can't guarantee that SOMETHING won't happen to the refugees she is protecting while she goes to help the loner. She focuses on getting the refugees to safety before going back to check on the loner.

Except he is long dead by this point.

The healer teams up with another colleague and together they put the beast down and collect the Loner's share of the reward.

(Based EXTREMELY LOOSELY with EXTREME DRAMATISATION on true stories from FFXIV. A healer will willingly let a party member die if they don't play nice or as a team.)

Loner archetypes don't work for me because they just aren't viable in real life, there is only so much learning an individual can fit into a lifetime, their potential might be limited due to unforeseen events. Collaborating and working together to accomplish goals is a vital and necessary part of life. Sure introverted people or people who just dislike being around others do need better representation to overcome society's stigma on them but they need to do that without seeming heartless.

*continues on into meaningless rambling*


Then again this is what you'd like to see in a game. I don't need to agree with it or try and accommodate it. It's just not for me.
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Quote:
the beast made sure to destroy all holy places before the mercenary company arrived.


Hey now, this is a videogame - of course the bum off the road, right before the beast confronts you, has a Blessed Blade on hand and is willing to give it to you - either in exchange for money, an item like food or by killing something. Or otherwise taking care of their business.

Quote:
(Based EXTREMELY LOOSELY with EXTREME DRAMATISATION on true stories from FFXIV. A healer will willingly let a party member die if they don't play nice or as a team.)


I won't stand up for those specific types of healers, but I have played Healer types in various MMOs and I have to say, being a Healer can be a thankless job. It's great if you are looking for a group to take on big mobs since healers are limited in what they can do, since you're a healer, everyone will be clamoring for you to be their party. But you're also gonna be bombarded with requests to buff them plz, not just party members but also random passerbys. Which can be bad if you are a low-level Acolyte and haven't learned a buff yet. (Though I recall there the people tended to be okay with it if you couldn't buff them)

Quote:
It sounds like you want an introverted character to be portrayed as a fine normal individual instead of as if there's something wrong with them.


Not necessarily Fine, but Normal, sure. Just bugs me that so many games always tell me friendship is the key when I just as often see those games just put pointless obstacles in my way BECAUSE of those friends. Bad guy has my friend? I have to give him the McGuffin or he'll kill the friend - shit, now the bad guy has the thing we tried to keep from him and he just flattened another continent's inhabitants. I'm so glad I put the life of 1 person over the lives of all those hundreds of thousands of people.
I mean, Tales of Symphonia at least mentioned in a skit that Lloyd was willing to let Collet die if it meant regenerating Sylvarant - he admits he hates himself for having made that choice, but at least admits he was thinking that, even if it was only for a split-second.

Also, that big scenario... somehow doesn't flow with me. For one, yes, I blame the recruit for going on a mission with me - not exactly being invited - that he was way too weak for to begin with and, knowing my character, expecting something. Ditto on those other people. As for that beast thing, I would say someone like the loner would probably check the details of the mission before taking it - otherwise, run away, quit the mission and do something else.

C-A
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Wibbly-wobbly, timey-wimey...

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CatMuto wrote:
Multiple paths in a game. And I mean actual multiple paths.
Similar to your idea, General, the game would have dialogue or action options that change what you do or say, which has an almost immediate effect on how the story proceeds from that point. Not just influences something at the end. Ultimately, the ending of the game can still pretty much be the same, just that multiple paths go different ways before getting there, maybe even alter the ending slightly.

C-A

If you haven't already played them, you might consider Telltale's "The Walking Dead" games. For the first one at least, the ending is more or less the same regardless of what path you take, but there's several different ways to get there, and your choices carry over into the next game (which I haven't finished yet, but I hear some people like it more than the first game).

CatMuto wrote:
Something I'd like to see in a videogame... is a friendless, cold-hearted main character.
Preferably also with no Power Of Friendship being shoved into my face. I want a cold, calculating protagonist who has no friends and doesn't want friends, because "friends are merely weakpoints the enemy will attack" and doesn't somehow revert into the type who likes having friends as the game goes on. Who isn't above shooting someone to get to the bad guy.


So basically, you want to play a game as Dr. Gregory House?
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Quote:
So basically, you want to play a game as Dr. Gregory House?


Well I have a House game if I wanted to play as him. Besides, House does have a friend.

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CatMuto wrote:
Quote:
So basically, you want to play a game as Dr. Gregory House?


Well I have a House game if I wanted to play as him. Besides, House does have a friend.

C-A

Wait, there's a House game? I don't suppose it's any good, is it?

Anyway, yes, House does have a friend, but remove said friend from the equation, and you'd essentially have the character archetype you're looking for.
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I haven't played it yet.

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One thing that occurred to me as an RPG mechanic I'd at least get a good laugh out of is what I'm going to call a "fanservice penalty." If your character's armor leaves certain areas exposed (the upper torso, a. k. a. where the heart is located, seems to be common), the armor's defensive bonuses shouldn't apply if that area is hit. For example, suppose your character's armor leaves 10% of the body exposed. In that case, there's a 10% chance of an enemy's attack ignoring your armor's defense. Admittedly, this would only be a good idea if armor can be swapped out and each variety of armor can be worn by any character without changing what it leaves exposed (looking at you, Xenoblade Chronicles and your Retrieved Armor set). Still, I'd like to see it. I recall actually hearing about a GM who did this when one of the players insisted on his character wearing very revealing armor.
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Do you see the black one...or the white?

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Aw, but Luigi, that goes against everything Dragon Quest stands for. It taught me that wearing nothing but underwear and lingerie is the best strategy for beating those final bosses. /sarcasm
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CatMuto wrote:
Pierre wrote:
Man...that looks dull...this actually makes me worried for KH3 (since that team worked on the battle system)


I feel the same
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I think it would be cool of a video game was set in the 1950's (or anytime at all really), and for some reason you could tell/see the future in small parts. Because of this ability you possess, the police and government have taken in interest in you. You are part of a police force, to help with investigations and all since you see certain things that take place in a crime. But what happens when you see your death before your eyes...?

And that is where the story would start, and you try to prevent your death from happening.

I think it would be cool to see how the story would unfold with this in mind.

I know it's not too original, but I think it would be really cool!

:trucy: :trucy:
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In that case scenario, I'd wonder what the repercussions would be. If the character died, would the world end up in a bad place? Or would it ultimately be better? Like Family Guy made a joke that Al Gore became president, people are living long and healthy lives, guns are nonexistent and overall things are much better simply because Peter did not marry Lois.

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sosgirl10 wrote:
I think it would be cool of a video game was set in the 1950's (or anytime at all really), and for some reason you could tell/see the future in small parts. Because of this ability you possess, the police and government have taken in interest in you. You are part of a police force, to help with investigations and all since you see certain things that take place in a crime. But what happens when you see your death before your eyes...?

And that is where the story would start, and you try to prevent your death from happening.

I think it would be cool to see how the story would unfold with this in mind.

I know it's not too original, but I think it would be really cool!

:trucy: :trucy:


The closest I can think of to that is the game Shadows of Memories (or Destiny for you Americans out there).
In it the main character is murdered, but a weird person who calls themself Homunculus revives you and tasks you with stopping your murder through time travel by sending you back before the murder happened. It's a mystery and the murderer always kills you in stealthy ways (like dropping a plant pot from a belltower) so you don't know who is doing it as well. There's other storylines and people you help out as well as you jump from time to time. How quickly you beat the game and what sidequests you do gives you one of like 7 endings which reveals more and more about the plot which is alchemy related.

It's an old PS2 game and worth a look if you still have the means.
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1. Anime graphics
I'm not being a weeaboo or anything, but I like adventure games with anime graphics. Not because they're anime, but because they look attractive and realistic.

2. Unexpected absurd plot twists
Example: A dark amateur detective is trying to solve a murder case. Three witnesses saw the murder occur. The first said that the culprit is black. The second said that the culprit looks like a dork. The third said that the culprit is wearing a coat. Later on, the detective finds out that he is the culprit himself!
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Hmm I think having "attractive" and "realistic" as coexisting terms seems contradictory. Especially considering that anime is like bkt even attempting to be realistic for the most part.

Also I remember hearing somewhere that having the detective turn out to be the killer is like a big crime (hur) in detective fiction.
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I've felt worse.

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4. The detective himself, or one of the official investigators, should never turn out to be the culprit. This is bald trickery, on a par with offering some one a bright penny for a five-dollar gold piece. It's false pretenses.
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AJtheprogrammer wrote:
2. Unexpected absurd plot twists
Example: A dark amateur detective is trying to solve a murder case. Three witnesses saw the murder occur. The first said that the culprit is black. The second said that the culprit looks like a dork. The third said that the culprit is wearing a coat. Later on, the detective finds out that he is the culprit himself!


I'd figure that out pretty fast, I can bet. :ron:

Not just because it is an overused thing by now, but in order to make it a believeable, they'd need to drop hints to begin with, like have the coat be mentioned as having a specific color and the detective having one of those himself. Maybe even wearing it as we speak.

And if they don't hint at it, it will feel like an Asspull. And I mean a literary variation of what Kimari does to use items in FF X. It's like Death Note revealing that there's a whole building inhabited by child geniuses for the sole purpose of being raised to one day take over L's position. Never outright stated that it was going on in the background, then suddenly, whoops, we have two characters from there taking his place.

The other thing is, I would wonder WHY does the detective not know he's the culprit to begin with? Is it a split personality? Self-Induced Amnesia because he is horrified at what he did? Or DOES he know to begin with, he just never admitted it from the get-go for stupid "plot twist" reasons?

I mean, it CAN be done well... if it's done well. If it isn't, you have the above issues and that's just bad.

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What if the detective has a split personality disorder?
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AJtheprogrammer wrote:
What if the detective has a split personality disorder?


Genocider Sho.

And depending on the age of the detective, I'd wonder why it hasn't been figured out yet. Has he never found himself in an area that he has no idea of how he got there? Inexplainable facts he seems to know without really knowing them?

It may sound like an easy way to explain things by saying "It's a mental disorder" but it actually results in a ton of questions arising. Including what it is that caused the split personality to happen to begin with. In Genocider Sho's case, it's due to repeated, intense bullying, humiliation and an introverted anger and desire for revenge.

I mean, it's a nice idea, but one has to think of ways to explain or implement things. (Like my idea on how a Jury System would work as a mechanic in AA)

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I want to see, er, hear Darude - Sandstorm in a game.
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You know, a Mario game!

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You start the game as a character going after a certain artefact that can bring either destruction or salvation. You play through the first half of the game and defeat the villain who's stopping you. And then you find out that your character was the bad guy and the "villain" was just trying to stop you from raining destruction across the land. You then spend the second half of the game playing as the character that you thought was a villain, stopping the original protagonist.
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