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Found 5 results

  1. INTRODUCTION Hello! I'm Declan, the creator of Perpetual Chains. Like many people here, I grew up on the RPG games of the 90's/00's. It probably became a contributing factor to the career I landed in. I became an actor, touring all over Europe and eventually doing commercial voiceover. During that time I meddled in RPG Maker and had written this story while on the road. Eventually I realised I could bring the story to life. Using online auditioning pages such as BTVA and CCC I got a handful of capable people wanting to train in voiceover to voice my characters. In short, I give them experience and mentoring and in return they let me use their voice. Before I knew it, this little labour of love became bigger and bigger, and I've been told to share with people what I've got. Perpetual Chains follows all the things I enjoyed about RPG games in my childhood such as compelling storytelling, emotionally deep characters and addictive battle systems. As you probably can see, the mapping and main menu isn't unique as I am a bit of a novice as a designer and programmer. However I feel the work of my voice actors and the music kindly donated to the project really brings the story to life. Any feedback would be greatly appreciated. The main thing I want to find out is if it is actually something people want to play and learn more about the story and world. If successful I have the capability in making a complete version and hiring people to do the things I cannot. So if you want to get involved feel free to let me know. I look forward to hearing from you all... YOUTUBE PAGE LINK WITH VIDEOS OF GAMEPLAY. CREDITS ALSO IN A YOUTUBE VIDEO. https://www.youtube.com/channel/UCj7VA8vpFXf-dFoFxl4xTzQ/videos DOWNLOAD LINK https://ufile.io/4zi54n4p SYNOPSIS The world is at peace, thanks to the teachings of Neras, a religious queendom in the centre of the Ecclesian continent. Neras is both feared and respected to the furthest reaches of the world. They preach the story of ‘Alpha, The God of Light’, and ‘Omega, The Beast of Darkness’. The teachings tell of the battle between the two sides and warned that a descendant of Omega would be born and lead the world to destruction. Only the sacrifice of their Goddess and the penance of the people would bring the world back to salvation. This cycle would repeat itself again and again for eternity. The story follows Cyrus, a trainee solider from the distant kingdom of Espova who bares the tragic fate of being the next descendant of Omega. It also follows Aria, Princess of Neras and next in line to the role of Goddess. Through a stroke of fate, their destinies become entwined as they journey the continent of Ecclesia to find the meaning behind the prophecy. CHARACTERS Cyrus Breeze – An orphan from a village in the kingdom of Espova. He has been trained from a young age to become a soldier, as is common place for the kingdom. It is also the tradition for the orphan to take the surname of the place where they were raised. A polite and likeable person, he found himself having a happy and carefree upbringing surrounded by friends. Until one day the mark on his arm starts to glow and the power of Omega is born within him. Cursed and feared, he runs from the world and those who would wish him destroyed. He seeks to find the meaning behind the curse. Aria Vita Lumen – Princess of Neras, Aria was born with great privilege and responsibility. However to many she is seen as the antithesis of royalty. Crude and impolite, she rejects the role she has been given. This lead to her mother sending her to the abbey to tutor Aria in the ways of nobility. Though on her return it proved somewhat ineffective. With her mother busy ruling the faith and having no other relatives, she feels there’s something missing from her life. One day, she hears a rumour that a member of her family might actually be alive so she seeks to leave her responsibilities and find something more fulfilling. Moulder Clay – An ex-mercenary and hero of Espova. Back during ‘The Gaia Wars’ he hoped to line his pockets. In the end, convinced by Troy, a soldier from Espova, Moulder helps his new ally in turning the tides of the war and freeing the kingdom. Exhausted from battle Moulder is convinced by Troy to look after the latter's home of Breeze Village. During the war he finds a boy on the battlefield in the arms of its dying mother and seeing the destruction that he was partly responsible for, he opens an orphanage and trains the children to become soldiers so they could make a life for themselves. Since the war, he refuses to use his sword and instead fights with his fists. Richard Breeze – A fellow orphan from the kingdom of Espova, Richard and Cyrus were best friends from childhood. Young and motivated they make a pact that they would see the world together. In many ways his focused and serious approach is the opposite Cyrus’ more relaxed personality. However deep down he bears a sadness which stems from watching the murder of his parents during ‘The Gaia Wars’ when he was only three years old. Richard doesn’t understand his emotions about this trauma and chooses to suppress them. Freya Blythe – Daughter of Troy, the hero of Espova. Her father saved the kingdom during ‘The Gaia Wars’. With her mother dying from childbirth her father struggles to show Freya affection and therefore sends her to the orphanage in Breeze Village to be brought up by his friend Moulder. Beautiful and intelligent, she becomes close to the orphans, particularly Cyrus and Richard. The three of them became inseparable and Freya sees the two as her family. Upon being summoned back to the castle she focuses on becoming a mage in order to put distance between herself and her father. Tiberius Germana – A travelling lothario from Trysus. Son of Edgar, the now deceased general of the kingdom. Since Trysus lost ‘The Gaia Wars’ they was severely punished by Neras and the royal family were executed. It was up to the Germana family to lead the kingdom through the troubled times. While his brother leads with dignity, Tiberius ran from his responsibility to experience the thrills of the world. Now short of money, he gets a stroke of good fortune. He bumps into Cyrus and hopes bringing a capable warrior to his brother will let him be welcome back with open arms. Lazarus Octavia – A trainee knight from Espova. The family of Octavia has been close to the royalty of Neras for centuries. As Aria and Lazarus are the same age they were put together so they would be become friends. In actual fact, with Aria being more outgoing, Lazarus quickly becomes overwhelmed by her personality and becomes much more timid and shy. Even though they were supposed to be friends, Aria treats him more like a slave, jokingly threatening to have him executed if he doesn’t do what she says. Over the years he’s effectively become a wimp and although a skilled warrior, is pushed into becoming a knight when he would rather stay at home. Despite all this, he cares for Aria and hates seeing her alone. Roland Cestus – A leading knight of Neras. He continues the family line in being a protector of the goddess. As one of the few people Queen Cecilia can trust he spends a lot of time with Princess Aria hoping to raise her not only to become a noble queen but to have her own mind. A relaxed and pleasant man, many of the nobles blame him for the way the princess has become. Due to pressure from his enemies in Neras he IS ordered to go on a holy journey known as 'Crusade' away from the capital. Before he goes, he hopes to protect Aria as much as possible from those who would wish to control her.
  2. Hey!... what? Where was I? Where was I?! Uhm… I took a sabbatical, went to find myself, studied on my head in the mountains of Mongolia: that sort of thing. Okay, okay. I got a new job, this time doing what I went to college for, and I lost track of time. A lot of time. I posted the second part of this in June of last year! It’s almost June of this year! Anyway, you’re here for more writing stuff, right? Well, I know what you’re thinking: Juju! You’ve already yakked for hours about linear narrative, and you’ve even talked about story props and proper skiing techniques. What else is there to talk about? Well, since we talked about starting the story, and continuing the story, what about ending the story? Consider this: You, the reader, have found a book that is the beat-all, end-all to every book you've ever read before. The characters are great, the plot is intriguing, you've cried twice, and now, at the end, at the very end!--it sucks. Like, crash and burn, third degree burn, burnie mac but without the comedy. You've spent the past ten weeks of your life slowly slogging through this giant book, biting your nails to nubs in concern for the leading heroine, heart pounding at the peril of the hero in the hands of the villian, and now what? You feel like you've wasted your life, right? "It's not about the end, it's about the journey." That's Book Sacrilege (BS) and you know it! It's always been about the end! You wasted spent ten weeks of your life leading up to learning about that end! You're legitimately mad! I think you can see where I'm going with this. Y'all smart. So you don't want your players to spend ten weeks, or even ten minutes, on your game just to see that it ends up nowhere. They've skied down that mountain slope only to end up in a disappointed heap at the bottom. Oops..... (wince) So, I guess what you're saying is: YOU HAVE A GOOD STORY, BUT HOW DO YOU END IT? The first thing to do is to relax. You're not alone. Every author has had this moment. I can name a million quotes about how the story never really ends, you just choose to stop telling it, yadda yadda yadda. But I won't, because we're talking video game stories. And ending them right. And time's short. Secondly, we have to understand a little about conflict progression and resolution. Any Engish / Lit teacher will tell you that stories usually follow this pattern, because... it works. I would ask that, for a more detailed view, please look at the nice words and nicer pictures on this website. But I'll give you the most basic of basic outlines, for your viewing pleasure. First of all, we got the beginning. In the beginning, you have CONFLICT PROGRESSION. There's a problem for the character, and it's getting worse. Let's use my favorite Shakespeare play for reference: Taming of the Shrew. What's our conflict, and its progression? Easy: All these dudes want to get their grubby palms on Bianca, but to do that they have to find someone to marry her mean-tempered, incredibly smart, bossy SHREW of a sister, Kate. Now, no man in his right mind is gonna marry her! There's our problem. Second, we have what's called the middle, where we lead up to THE CLIMAX. Now, the climax is the highest peak in the story where everything goes to HFIL by falling off Snake Way, so to speak. In our example, this would be the wedding between Kate and Petruchio, and his "taming" of her. Basically, she ends up marring a guy even crazier than she is and this is a bit of a problem for her. Last, we have the RESOLUTION, or the end. Now, this would be Bianca's wedding in our example, but the end is where everything simmers down and is, well, resolved! Or not, depending on your sequel status. But it never grows back up to the hectic frenzy of the climax, that's for sure. Now, when looking at the story you've lovingly crafted, fed, bathed, treated as your own child: where's your progression? Your climax? Knowing these things makes it far easier to know where your end will be. After all, once you go on the straight and narrative--er, narrow--path, you don't often stray from it. In that story, at least. Thirdly, we have to think about what sort of ending it is that you're going for. By that, I mean that you need to think long and hard about what you want the player to take away from your game. After all, the ending is the last bit they're see, and it's one of the things that will stay with them the most. Now, the rule of thumb is that the story MUST show some sort of progression. That is, the main character needs to come away with a better understanding of his world, himself, and his place in said world by the end of the tale. This, of course, may not always be a good thing. He may do all these 'great' deeds only to understand that he was unwillingly a pawn and therefore an aid to the bad guy. Or he might even BE the bad guy. Think about, if you have played it, "The Illogical Journey of the Zambonis." If you have not played it, go play it now and then come back, because it's something you need to know. Also, spoilers below. The Zambonis lesson isn't always a happy one, but it's one they needed to learn. There's morality in that game, I tell you what. That's just the thing. I can't write your endings for you, no one can. They, like your story, have to be as original as you are. (insert angelic chorus). But you can write your stories. Think about your characters. What are their flaws? What should they learn about themselves by the end of the game? What should the player learn about them? After all, they're the ones going in blind. Think about your own favorite--or not so favorite--endings. What went wrong? Look at it, learn it dissect it, BE IT if you must. But think about it. Follow your story progression. Look at all angles. The end... it's already inside of you. Actually, that's all I have this time around. I hope that's helpful; I feel as though it wasn't quite as helpful as my other parts, but this is the series finale. If the ending to this is about endings, and it's a bad ending... don't take my advice. Heh, heh.... (clears throat). Anyway, I'm off to enjoy government-run America and corporate benefits. See ya!
  3. Hmm? Oh, hello there! Come on in, I- what? No, I'm not busy! Come in a sit a spell! What's up? What's that? Writing tips? Sure, I've got writing tips! Oh, I see, you: WANT TO MAKE A GAME, BUT HAVE NO IDEAS / ARE NOT GOOD WITH IDEAS... You want to be a game designer and make cool games so that your friends will be like "Wow, cool game!" but you have no ideas on a story, or even how to begin a story, and you're beginning to stress because what if they put a ban on new games or something and you haven't finished and how do you start do you plan or just wing it or what's the starting point how do you find it-- Okay, just take a deep breath for me. Let it out, take another. Okay... good? Good. So, you're ready to make a game. Great! No ideas? Preposterous! Think of an idea right now. Well, let's start slower. Think of a guy. Any guy. Got him in your head? Okay, this guy has a family, or does he? Something happened to him. What happened? There's an idea. Make a game about it. Okay, maybe it's not that simple... No, it's really that simple! Ideas can come from anywhere, anything, any time. What do you like. Space? Make a game about an astronaut. Or cute planets trying to find their star. Chess? Okay, a white and a black chess piece travel across a board-world together. Gummy worms? Make a gummy worm harvesting simulator. "Well, Juju, I might have an idea now, but an idea is not a story." You're... right! It's not! But, how do you flesh out a story? Well, sit back down and let Juju clue you in on a very magical four letter word that happens to be a computer program: WORD. "...Word? Word!? That's your answer?!" Yep, that's my answer! Word, or Notepad, or Writing Software #3, or something! Write your idea down, and then think a bit. Here's some things to think about: Who's the main character of the idea? Are there any secondary characters? Will you allow for a happy ending, a sad ending, or both? Do you want to go a conventional route, or do you want to channel your inner M. Night Shyamalan and have a crazy plot twist? More important things to think about: How long do you want your idea's story to be? A few hours of playtime? A few days? How will your game assets fit in with your idea? What sort of assets would you need to find to make your idea come to life? What sort of scripts would you need? Is there anything your idea has that the RTP of RPG Maker can't do without a special script? When you have answers to these questions, then it's time to think about something called the LINEAR NARRATIVE. That's just a super fancy term that means a story that is told from beginning to end, without doubling back. For first-time writers, this is the easiest option. Doubling back usually means extra work and cross-referencing which, while good in its own way, is often rather confusing if not done right. In any case, this means that it's time to give your idea a beginning, middle, and end. "How do I do this?" you ask. Well, think of your idea. For example, let's say our idea is this: A girl lives in a house. Your idea may be more or less flourished. Still, let's first take our idea and... embellish it a bit. Let's add some adjectives and maybe even a preposition or two, shall we? A girl lives in a house. A small girl with red hair lives in a shabby house on the edge of a futuristic city. Look! With just 12 extra words, we've added so much to our idea! (applauds) But it's still not a story yet, is it? I mean, the girl's only LIVING, and not doing much else. Let's add more to the idea, using a semi-colon. (Grammar Reminder: One uses a semi-colon to add combine two full sentences; it doesn't work if you have a run-on sentence or a sentence fragment. ) A small girl with red hair lives in a shabby house on the edge of a futuristic city. A small girl with red hair lives in a shabby house on the edge of a futuristic city; she goes from her house to find her missing mother. Okay, great! We have our first, most simple outline! We've done the most important thing in the story-making process: We've given the main character a goal. Without a goal, the main character doesn't have a reason to do anything other than the norm, and the game won't exist! Okay, so you have to make a decision here. Does the girl find her mother, or does every effort turn up in vain? What sort of people live in this futuristic city? She's a small girl; what sort of challenges does she face all alone in this large place? Her house is shabby; is she too poor to afford bus tickets and has to go everywhere on foot, or does she have a bicycle or some other form of transportation? Answer these questions, and the story grows. Tip: It's easier to separate your story into three acts. The first act should set the story. For example, we'd show the girl, part of her life, perhaps her mother, and then we'd segue into act II, where her mother goes missing and she embarks on her journey to find her. This would lead to act III, where we'd show a climax. If you had a boss battle, the final boss would be in part III. We'd see her ending, and then her story is finished... for the moment. What else? Well, we have the story here, and if you wanted, you could even just leave it at that. But we can still add! Why did the mother disappear? Was she taken, or did she leave of her own initiative? The little girl, if the game is true to life, will have grown and learned on her lonesome journey. How will she face her mother after the events of her story? Will actions the player chose to take have an impact on the girl, and if so, how will the end of the game be affected? Will there be a cliffhanger for a sequel? Write all this down in your word document. Make notes. Wanna change something? Change it! Afraid you'll lose your progress? Nah! Write new ideas in different colors, so you can change without really changing a thing! Never be afraid to expand on your idea. Even if you think it's stupid and no one will like it. It's YOUR idea, and despite everything, if you take initiative on it and work hard, you're 100% guaranteed that someone, somewhere, will enjoy it. Remember: even the corniest movies get a cult following at some point. So get out there, and make some ideas! Like what you read? Can't wait for part 2? Think I'm stupid and the worst tutorial person ever? Let me know!
  4. So this is a follow up to a prior blog: RPGs and the Age of You Now that we have covered the basics of storytelling, premise and plot, we're going to dive into the concept of Characters, more specifically, the main character otherwise known as the MC among writers, and the Player among gamers. There are many ways to create a MC for a game, it goes in line with creating any character, but if you want the Player to invest and enjoy the MC, there are some things to consider. Motivations are key, but in this day and age, it should be left to the Player as to what motivates the MC. In retospect, one can have a scripted no options motivation for any character, but what really gives the Player freedom in a game, is the ability to make decisions, which goes into that discussion on Options as being essential to any game. Careful consideration should be made for Risk vs Reward mechanics. A simple this or that isn't always enough. Let's consider the following. Say your story is that Bowser has captured the Princess. What truly motivates Mario? Is he her brother, cousin, lover, friend? The relationship of Mario to Toadstool will determine how much Risk he is willing to put in. But if you've seen the movie, you know Mario and Luigi want to marry her. So they are merely admirers, or suitors. But I think that isn't enough of a reason to risk a life, but hey, some people are into head over heals romance. In writing, to really understand a character, we ignore personality traits at first. We look at what motivates them, their goals and desires. So how does this apply to RPGs? Well it does. There needs to be a reason why the player is willing to invest and risk their character for some goal. If the reward were say, becoming a Jarl, I think most people would be willing to slay a dragon. Or if the reward was as simple as a lofty amount of gold, that could be used to buy that super special magical armor they need for the final boss, it gives the player a motivation in preserving their character's life, and narrowing the risk involved in getting the ultimate reward. Motivations should consider the following: What is the desirable outcome for a story that involves the MC? What does the Player want to see of their MC? How can it all be achieved? Knowing what a Player wants out of a game is really key. Sometimes, a storyline insists on one thing, and the Player comes to a point where they no longer want to see the end of the game because the storyline has interfered with their desires of the game. The ability to make choices is really important for a Player to shape a storyline. So when dealing with what a Player wants to see with their MC, alternative storylines are crucial. This doesn't mean creating an entirely new universe of storylines, it can be as simple as redirecting the Player to a goal with an alternative reward, or changing NPC behavior based on a decision to depart from the default storyline. It takes time to implement, but the Players will have a more catered gaming experience as a result. Achieving those desires and goals and outcomes are the result of careful planning on the part of the player, and developer. Unfortunately, having choices means more testing on the dev's end. And there needs to be ample provisions for the Player to succeed, if they are willing to explore. Now, the Player will have a much more rich experience if the NPCs are shaped in a similar manner. Every character in a Novel or short story or whatever, has a motivation, that helps drive the plot. Turning points in a RPG for a NPC can be random, or based on player interactions, or outcomes of events, or if you can think of something else, do it. Turning points prevent our characters from seeming flat, and the Player will naturally make them if the game is well done. I will continue this at a later time, in the next discussion on RPGs and the Age of You: Items, Weapons, and Armors.
  5. 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
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