Jump to content


+ Sponsor
  • Content Count

  • Joined

  • Last visited

About Jinumon

  • Rank
    Advanced Member
  • Birthday 05/07/1992

Profile Information

  • Gender
  1. Jinumon

    Ghost Monsters

    I know unsolicited bumping isn't generally approved of. But does no one have any idea to accomplish this?
  2. Jinumon

    Ghost Monsters

    Hey all, Yes, once again I am back from an extremely long hiatus with a new question. I am currently working on a project that makes use of gauntlet-like networks of monsters that obstruct maze-like dungeons, with monsters that move back and forth and require the player to use careful timing to navigate them. Due to size constraints, I was hoping to have events that move back and forth through walls, triggering battles upon contact with the player, but Events with THROUGH on just move through the player. I've tried Events on Routes that turn THROUGH on and off again when moving through walls, but they don't seem to interact properly with the Player. Any solutions you know of? I can include some screenshots if the scenario sounds confusing. Jinumon
  3. Jinumon

    Help w/Damage Formula

    Thank you so much. I forgot that piece of Ruby syntax. Everything is working peachy now Jinumon
  4. WARNING: SERIOUS EXPONENTIALS Hey all, Help with the actual math isn't what I need, but rather how RPGMaker (VXAce) is interpreting the syntax and any inherent limits that I'm bumping up against. My current formula is thus: (103^a.level) * (44 * ((a.xstat.weaponry * a.atk) / (b.xstat.armor * b.def))) / (100^a.level) Seemingly needlessly complicated, I know, but there is a method to my madness. As RPGMaker automatically rounds all decimals before crunching numbers, I had to get creative in creating a 3% per level increase to damage (all other factors held constant) by using 103^x / 100^x in the formula. According to PEMDAS, I can't find any reason why this equation shouldn't work, rounding only at the end when the final division is done, but the damage dealt is unaffected by the character's level. As a result, I can only conclude that the program isn't properly calculating the exponentials in the equation. Why is this? And, more importantly, how do I fix it? Thanks again, ya'll. Jinumon
  5. Jinumon

    N.A.S.T.Y. Extra Stats

    I'm having some trouble implementing this script. I set the defaults with a simple: STATS = [:Arms,:Armor] #Default xstat formulas for ACTORS DEFAULT_LEVEL_FORMULA = { :Arms => 0, :Armor => 0, } #Default xstat formulas for ENEMIES DEFAULT_FOR_ENEMIES = { :Arms => 0, :Armor => 0, } I then added a: <weapon_xstat: Arms 5> to some weapons, playtested, and double-checked my characters stats to make sure the weapons were increasing his Arms stat, everything's peachy. I then changed the base "Attack" skill damage formula to: a.xstats.Arms - b.xstats.Armor .... No damage. Everything takes no damage. I made sure to add a: <xstat> :Arms => 10, :Armor => 0, <xstat_end> tag to the enemy's notes, but still nothing. I've tried adding parentheses () to the damage formula for good measure, but I'm not getting anything. With a base Armor of 0 and Arms of 5 or 10, I should be dealing damage equal to my Arms stat, shouldn't I? What am I doing wrong? Jinumon
  6. Thanks, Vectra. I swear to God you never leave these forums Jinumon
  7. Hey all, Been a long, long time since I posted here. Just decided to get back into RPGMaker(VXAce), and I was curious as to how to solve a particular question. WARNING: The solution to this might involve scripting, and might belong in the scripting forum, but I figured I'd ask here first in case there's a simpler method. I want to define separate parameters for Weapon Damage and Armor Rating, rather than simply having them add to ATK or DEF. The reason for this is I like to rename ATK and DEF things like "Strength" and "Endurance," and it rubs the wrong way having a weapon equip increase your Strength or an armor equip increase your Endurance. I also like the idea of having more creative Damage Formulas, like: Damage = (Weapon Damage x ((100 + Strength) / 10)) - (Armor Rating x ((100 + Endurance) / 10)) Or somesuch. If there isn't a way to do this simply without reducing the number of available Stats to choose from (I've already assigned all six default ones), I'd appreciate a script recommendation that I can implement fairly easily to solve this problem. Thanks all. I've said for a long time that this is probably the best online community I've been a part of. You're all beautiful people. Jinumon
  8. I think the key to a character like this is self-delusion. You want a character who goes bad, not necessarily for all the right reasons, but one who remains relatable enough to keep your players interested throughout your game. Human beings are capable of rationalizing an awful lot, and that, combined with some well-developed prejudices, will go a long way to making your character simultaneously selfish and sympathetic. We don't necessarily have to agree with what the character is doing, but we need to at least be able to understand why he/she can't behave in any other fashion. Maybe his/her whole family was murdered by people of a certain nationality/ethnic group/religion, etc. Maybe they have seen or experienced things so traumatic that they are driven almost without thought or reason toward some goal. It's a very tight balancing act to maintain, but I think it can be done. Kudos, by the way, for pursuing such a non-standard story structure and protagonist. If you pull it off, it'll be straight-up awesome. Jinumon
  9. Jinumon

    Jinumon's Writing Bible

    I suppose we'll just have to agree to disagree Jinumon
  10. Jinumon

    Jinumon's Writing Bible

    @KilloZapit This guide is more focused on the macro level of storytelling as opposed to the micro level of proper sentence structure, use of language, etc. "The Exception Proves the Rule," is a loose rhetorical argument that basically states that A: even the most concrete rules usually have some notable exceptions, and that B: it is often the rare exception to a rule that proves that said rule applies in a general sense. Basically a fancy saying for "mostly, but not always." And as far as formulae or structure for writing goes, I think I'd just have to disagree with you on that one. The greatest experimental writers throughout history have nearly always had a masterful understanding of the "Rules" of writing, and it was their understanding of these rules that allowed them to innovate in particularly meaningful ways. Not only that, but most bad fiction can be taken apart for its lack of adherence to the tried-and-true literary guidelines. I absolutely do not mean to imply that there is no room for experimentation or individual expression. But spontaneous brilliance is extremely uncommon, and not something to bank on. Better to start from a point of reference and travel outward in search of new discoveries, rather than drop feet first into the metaphorical wilderness and hope you strike gold. Jinumon
  11. So, it’s been a while since I’ve contributed anything to this forum, and I feel kinda bad for it. I’m still working on my own projects, and hope to have something submitted to the Showroom soon, but until then I feel like giving something back to the community. I’ve posted a number of replies before regarding writing and storytelling, and have even received some requests for help from a number of people, and wanted to put something together a tad more definitive. So without further ado, here is my personal advice on writing. Keep in mind that these are writing rules that I choose to follow, but this is by no means comprehensive or absolute. The exception proves the rule. The Writing Process A particular work of fiction may be inspired by any number of sources. Sometimes you get an idea of a world but no story. Sometimes you get only a single scene in your head with hardly any context. However it happens, it is important that your initial idea comes from some point of inspiration. Great fiction rarely starts out as something procedural or forced. The tiniest starting point can turn into something humongous, so long as that start is genuine. J.R.R. Tolkien famously started The Hobbit with a single sentence scribbled on the back of a piece of paper: “In a hole in the ground there lived a Hobbit.†Once you’ve got a starting point, it’s important that you flesh it out before you start working on a game. Rough drafts come before final drafts, and the last thing you want is to be forced to re-Event and re-Script already-made scenes because it doesn’t fit the story you end up writing. I would suggest at least knowing the basic shape of your story, or at the bare minimum at least know how the story Begins and Ends. With these in mind, you’ll at least know what general direction to take the plot. Characters Writing interesting characters is simultaneously one of the most rewarding, difficult, and important tasks as the creator of a piece of fiction. Interesting or dynamic plots can be dragged down by boring characters and likewise bland stories can be made captivating with the right protagonist. While there is no set-in-stone formula for making characters interesting, there are a number of guidelines you can follow to prevent excess banality. The surest way to make a character uninteresting is to make them unrelatable. Even the most outlandish and inhuman characters are frequently grounded by some defining feature with which we, as the audience, can relate. The real draw of characters like Superman or Dr. Manhattan isn’t their god-like powers, although that may be what initially draws us in. Instead, we fascinate ourselves imagining the loneliness such characters feel, their struggle to remain incorruptible despite their power, and the immense responsibilities they bear. With that in mind, try to develop characters who feel conflict. A Martyr may never sway from their path, but that doesn’t mean they don’t feel alienated or weary at times. Along a similar vein to making characters relatable is making characters flawed. While we often want to create characters who embody the best traits of humankind, characters who can seemingly “do no wrong†often makes them inherently less believable, and thus, less relatable. Even the most well-intentioned individuals make mistakes or miscalculations, they have moments of weakness or can manage to rationalize their own desires to a point of legitimacy. Brandon Sanderson’s Second Law states that “Limitations > Powers.†Simply put, a character’s inherent flaws will always prove more interesting than what they can do. Lastly, I’d like to touch on the idea of writing “foreign†characters. Foreign characters could be anything as simple as a character of the opposite sex of the writer (and thus, host to certain experiences the author isn’t aware of) or as complex as a sexless alien prince from a far-off galaxy. In keeping with the “relatable = interesting†line of thinking, begin your exploration of the character from a point of similarity. I may never know what it is like to be a woman, but I do know what it is like to be a human. If you first consider that you may have more in common with characters that seem foreign than not, you’ll find writing them much simpler and more organic than otherwise. Plot Structure When considering plots, it’s usually best to begin at the beginning. All stories, whether they’re told in chronological order or not, have some Beginning, Middle, and End, and each portion of the plot can generally be further subdivided into smaller pieces. While it may seem somewhat formulaic or inorganic to do so, pre-establishing portions of your plot--making sure they contain all the necessary elements and parts--is essential for a story that is properly paced, especially in video games. When plotting, I generally divide my stories into five acts. Not all stories follow this format, and there may be more or less than five acts, but good fiction usually follows a fairly predictable pattern of rising tension and eventual pay-off. When examining something like plot structure, I find it useful to include some kind of example, and to that end, here is the plot of a classic JRPG, Final Fantasy VII, broken down into the Five-Act Format. Act I: The Introduction While mostly self-explanatory, the quality of a story’s Introduction can make or break the piece overall. Is this the kind of book/show/game you intend to keep pursuing, or will you drop it in favor of something else? The most important elements of a good Introduction are the disbursal of information and its ability to hook the audience. This can be somewhat tricky as there is no quicker way to scare off players/viewers/readers than by frontloading them with exposition. Exposition should be done gradually, rather than all at once. This may lengthen your Introduction as a whole, but it’s worth it in the long run. Additionally, it is often best to begin your story in medias res, or “in the middle of it,†and usually means starting smack dab in the middle of some kind of dramatic scene. This helps to interest the audience early on and will hopefully keep them entertained while you begin feeding them crucial information. Keep in mind that you don’t need to include all relevant information in the Introduction, but it is important to introduce most of the major characters and background details. Using Final Fantasy VII as an example, we begin the story in medias res as Cloud and the AVALANCHE crew bring down a Mako Reactor in Midgar City. The game immediately hooks us with its combat and we are steadily fed information about the world and characters: Mako is used as energy, Shinra controls the city, AVALANCHE is an eco-terrorist group, etc. The crew finishes its mission, and they head back to 7th Heaven for a little more exposition and some emotional attachment in the form of Cloud’s childhood friend, Tifa. Cloud gets roped into doing another job for AVALANCHE, and the plot moves forward. The mission goes off without a hitch until Cloud gets blasted off the roof and down into the Slums. There we meet Aerith, learn some more about how bad Shinra is, and are ultimately reunited with Tifa. The gang return to Sector 7 to find AVALANCHE under attack, and Aerith is captured before Sector 7 is destroyed in a plot by Shinra. The gang then infiltrate Shinra Headquarters in an effort to rescue Aerith, but are ultimately captured themselves. At last, the team escapes when the building is attacked by Sephiroth, the mysterious antagonist of the game, and we are given hints about the Cetra and the Jenova Project. After a chase with Shinra personnel, the party leaves Midgar behind and meets in Kalm, where the first Act comes to a close. Act II: Upping the Ante With a firm foundation built by the end of Act I, we can start building further detail with Act II. I call this Act “Upping the Ante†because it typically finishes laying the plot’s groundwork while further realizing the characters and the stakes. This is often the point where characters first leave their starting location with a definitive quest in mind, and this act will usually follow them as they search for answers and see the world open up around them. Assuming you have successfully hooked your audience with Act I, Act II is your opportunity to endear them to your characters and setting. If you want players seeing your game through to its conclusion, you need to make them care enough to stick around that long. Don’t be afraid to lay off the main plot here somewhat. Put characters in interesting situations and let your players see how they figure their way out. Delve into characters’ personalities and backstories, but be careful not to completely eclipse the central plot. At this point, the characters should be moving generally toward their overarching goal, and we should have plenty of opportunities to get to know them along the way. In Final Fantasy VII, we see Act II open just as the game is opened up and the player is first allowed onto the overworld. The party first meets in Kalm to discuss Sephiroth and the implications of his return, and Cloud relates to them his time with Sephiroth and his time in SOLDIER. The remainder of AVALANCHE, Aerith, and Red XIII decide to accompany Cloud in pursuit of Sephiroth, and travel to the city of Junon. There, they stow away aboard a cargo ship and sail to Costa del Sol, a city on another continent. After traveling to the Gold Saucer and being thrown in Corel Prison, we gain some more intimate insight into Barrett Wallace’s backstory and why he fights Shinra as hard as he does. After escaping the prison, the gang travels to Cosmo Canyon, where we receive much of the same treatment for Red XIII and learn more about the Cetra and their importance in Gaia’s history. Finally, the crew travels to Nibelheim, where we see first-hand the threat Sephiroth poses and why he must be stopped at all costs. Act III: The Game Changer Act III sees a re-centering on the main plot and the remainder of general information made clear to the audience. Aside from perhaps a final bait-and-switch, Act III represents the primary turning point in the story: the villain’s master plan is revealed, a previous ally betrays the party, etc. This Act will likely serve as the story’s “mid-climax,†and will have major implications that effect the rest of the story. This is generally your last opportunity to introduce new information “entirely out of left field.†Any major developments introduced in the last half of the story will need to at least be subtly hinted at prior to their reveal, and many stories have effectively shot themselves in the foot with a poorly executed last-minute twist. Act III of Final Fantasy VII begins with the introduction of Cid Highwind, our last party character, and some final information regarding Shinra’s history in the form of Rocket Town, which will become important later. After running off with the Little Bronco and being shot down, the gang heads back to the Gold Saucer to retrieve Dio’s Keystone before being double-crossed by Cait Sith and heading to the Temple of the Ancients. There they brave numerous threats and puzzles before meeting Sephiroth, where he reveals his plan to use the Black Materia and the Lifestream to become a god-like being. Upon leaving the Temple, Sephiroth manipulates Cloud into giving him the Black Materia, revealing some deeper connection between the two. Aerith leaves shortly after and travels north in an attempt to stop Sephiroth on her own. The crew follows only to arrive too late, and Sephiroth kills Aerith in one of gaming’s most iconic scenes. The party and audience mourn Aerith together as Act III closes. Act IV: Raising the Stakes As the plot moves into Act IV, the main characters are most often beginning their final journey toward their ultimate confrontation. In the same way that Act II is often a vehicle from Act I to Act III, Act IV can similarly be seen as something of a simple conveyance from the major developments of Act III to the climax in Act V. That being said, there is still a huge opportunity in this Act to further reinforce the significance of the conflict at large. As the villain grows closer to completing their goal, we may see a glimpse of what is to come should the main characters fail in stopping them. This is also an opportunity to place the characters in particularly difficult or trying circumstances and can lead to additional insights into their personalities as they are pushed toward the brink. Act IV should mostly emphasize the main plot, moving steadily toward the final confrontation in whatever form it is to take. That being said, don’t feel like you need to rush towards the end. Take your time while still maintaining a sense of urgency. Final Fantasy VII’s fourth Act begins as the crew seeks out Sephiroth’s true location at the North Crater in an attempt to end things once and for all. Upon arriving, Cloud is once again manipulated by Sephiroth into giving him the Black Materia, despite countermeasures to this possibility. Sephiroth is awoken and the three (or five, for westerners) WEAPON are released. The party is forced to leave North Glacier and a shield is raised to protect Sephiroth as Meteor begins to approach Gaia. The gang is captured by Shinra, Cloud regains his memory, and all four Huge Materia are collected before the Sister Ray is finally fired, killing the last remaining WEAPON and destroying the shield at the Northern Crater. The only remaining task is to confront Sephiroth and Jenova as Act IV ends. Act V: The Big Damn Finale More than any other Act, Act V is the most self-explanatory. The entire story has built up to this point, and it’s time for the payoff. Make sure to tie up any loose ends you don’t intend on tying up here before the final showdown, as you won’t get another chance. Final conflicts, similar to the Game Changer in Act III, frequently have some kind of loss associated with them. Grand battles without any casualties don’t generally come across as all that grand, although it is possible that, if the stakes have been sufficiently made apparent by the events of Acts III and IV, that something like the death of a main character may prove unnecessary. Perhaps the most important factor in a good final act, aside from it being generally satisfying, is that the audience feels like something has changed as an outcome of the story’s events. It should also be noted that this act is usually much shorter than the previous acts, generally getting right to the final confrontation to prevent the tension from “falling off†after the intensifying Act IV. The final battle and climax of Final Fantasy VII is certainly a memorable one. It begins almost immediately with the series of final boss fights after a short jaunt through the Northern Crater’s series of caves. The party confronts first Jenova, then Sephiroth in a last attempt to activate Holy and stop Meteor with the Lifestream. Cloud faces his inner demons and vanquishes them with the mighty Omnislash and the world, albeit somewhat singed, survives. We are treated to some satisfying cutscenes and are left with the final image of nature retaking the ruins of Midgar City. Notes Well, there it is. It's rough around the edges, but there it is. I'll likely be trimming, editing, and adding to this post for a while. If you have any questions or requests you'd like my take on, feel free to ask. I'm also not exactly sure if this is the place this thread belongs; feel free to move it if you think it belongs somewhere else instead. Until next time, Happy Designing, Jinumon
  12. Jinumon

    Ongoing (Non-Percentage) Damage

    I think you misunderstand. I don't want something to heal periodically (although I'm sure those kinds of items/abilities will find a way into my game somewhere), I want something to damage periodically at a flat rate. The idea is to heal a flat amount on use, like any regular old potion, but then to slowly take damage until all the amount that you initially healed is gone, probably over the course of 5 turns. Stimpacks will buy you time to finish a fight or to get proper healing, but they are strictly temporary. Jinumon
  13. Jinumon

    Akea Active Time Battle

    It's official, X. I'm giving you a credit in my game. You better stop being so helpful or I'm gonna try to marry you regardless of gender or sexual orientation. Jinumon
  14. Hey all, Here for yet ANOTHER question. Are there any available eventing tricks or scripts that will create a State that lasts for X turns, dealing a set amount of damage every turn? In order to make the Medic character in my current project more indispensable, I've decided that all healing not provided by his abilities is strictly temporary. A basic Stimpack might heal you 200 HP, but then you take 40 flat damage every turn for the next 5 turns, meaning that to meaningfully heal damage, you'll need some First Aid or Suturing provided by the Sawbone (the name of the class). Unfortunately, I have no idea how I might go about doing this. Any suggestions? Jinumon
  15. Jinumon

    Akea Active Time Battle

    Hey. Thread resurrection time. Question: How does this script interact with Turns and Actions for the duration of States? Is it possible to make an ability that lasts until the end of a particular Battler's turn? Thanks again, Raizen. I really appreciate all the effort you've gone through to help me incorporate your script into my game. Jinumon