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[giglong]

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Positive – Hand them to the Cop at the Police Station. Hand them the screwdriver and they’ll give you a bag. There are a group of thugs trying to break in. SIDE QUEST #02: Purchase a Screwdriver at Hardware or give an Old Hot Dog to a Sewer Person, then head to Island 1 and go to New Lines Inc at Night. If you have enough Charm, you can talk to the Lady at the mirror and she’ll hand over her bag. SIDE QUEST #01: Head to The Club at Night and go to the Women’s Bathroom. You can buy all 3 from The Contraband Salesman behind Skye’s Bar at Night OR complete 2 separate side quests and buy the third bag. To do this, first you’ll need 3 Bags of Cocaine. SECRET – If you head to The Club at night with 500+ Strength, you can challenge Broski to an Arm Wrestling competition and he’ll give you one. He’ll give you the Klein Bottle in return. Head behind The Club on Island 3 during the Afternoon and give them to The Squeegee Kid. Negative – Purchase ‘Pain Killers’ at Wallymart and give it to him.Įither option, he’ll give you a Squeegee. Positive – Purchase ‘Self-Help Book’ at Wallymart and give it to him. On the first world, during the Afternoon there is an NPC called Suicidal Goth Dude standing near the edge. Negative – Bail out the Nigerian Prince at the Police Station. You’ll need at least 500+ Intelligence for this. He can be found at The University of Stick. Positive – Beat Chess Master Chase (Yellow Head) at a game of chess. Each one can be obtained with Positive or Negative Karma. They are 4D-Hypercube, Klein Bottle and Mobius Strip. Once you have all Stats maxed out, then you can beat the game and begin NGP. This is important because it will save you a lot of days instead of having to waste time. Before you beat the game and start NGP, make sure to max out all Stats (Check the STATS section for more info). This can be done on a first playthrough (Check ‘Fast Cash’ for more info) but if you’re me, you’ll want to do this on NGP. For Speed Run, you need to obtain The Lab Key in 15 days or less. I put these two together because they are essentially the same trophy. *You can be positive or neutral for beating the game, but I recommend Positive Choose Positive Karma and max out The Government job to get the most cash you can get from any profession. And when you begin grinding professions the money will start to build up, making the ‘Monopoly’ and other property related Trophies much faster to get. As you put money into your account, you’ll gain more overtime. When starting a new game, choose the ‘Wall Street Wizard’ Perk. I recommend you do ‘Speed Run’ and ‘Fast Cash’ first and then work on the other trophies, as you’ll have to start NGP and don’t want to grind everything twice for that 100% Completion. NGP removes all your items, cash, weapons, resets your professions, days and sets your Karma to 0 BUT you keep your Strength, Intelligence and Charm along with any trophies you’ve gotten previously. The left portal will throw you into the first game, the middle portal ends the game and the right portal starts ‘New Game Plus’ (NGP). Usmanov.After defeating Professor Ansel, you are given 3 endings. The English soccer club Everton suspended sponsorship agreements with companies tied to Mr. Vladimir Potanin has stepped down as a trustee of the Guggenheim Museum, while some in the art world are calling for a boycott of the auction house Phillips, which is owned by Russia’s Mercury Group. Private groups are also applying pressure. Putin, including those not under formal sanctions, with the aim of discouraging anyone from doing business with them.

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Japan said on Thursday that it would freeze assets tied to oligarchs, matching Western actions.īritain said it was exploring how to seize properties from oligarchs and would publish a list of people and groups tied to Mr. (Maritime tracking now shows at least five oligarch-owned yachts around the Maldives, which doesn’t have an extradition treaty with the United States.) Garland says will pursue the assets of “those whose criminal acts enable the Russian government to continue this unjust war.” Other countries took new action as well:įrance said it had seized a yacht belonging to Igor Sechin, the head of the Russian state oil giant Rosneft, while Germany has reportedly taken a yacht owned by the businessman Alisher Usmanov. The Justice Department announced a new team, known as Task Force KleptoCapture, which Attorney General Merrick B. Putin: Russian oligarchs.īut as governments around the world try to seize or freeze these billionaires’ extensive and far-flung assets, they are finding that a comprehensive crackdown is not easy, the DealBook newsletter notes. With the crisis in Ukraine escalating, the United States and its allies are applying more economic pressure on key allies of the Russian president, Vladimir V.

[greyscolour]

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[frankiesmileshow]

Tonight ill be sketching a boss battle monster for someones' RPG maker game -

But since im just doing a sketch for it to start, ill have more time tonight - anyone else interested in having a boss monster for their game project?

I know it is pretty short order to set something like this up, so I dont expect too much, but who knows!

My rate for this will be 40$ an hour, and I'll try to stick to jobs that look like they would take 1-3 hours max to fill out the rest of that stream - so, if youre looking for a gnarly monster sprite and you got 40 to 120$ to spare, I could hook you up tonight.

Doing NES style art tonight, heres some samples, from an old activity on my stream where we did fan art for various games as pixel art practice!

The first one above was for Sweet Home for the famicom, below is some art assets using colors from Final Fantasy and Dragon Quest 2

[downtroddendeity]

@turnkeyassurance saw your tags and figured I'd take the opportunity to pause my descent into madness to give my more sober opinions on the Ni no Kuni franchise, lol. (Warning: I am a humongous JRPG nerd)

The NNK games are really odd ducks, quality-wise. You can call either one a good game or a bad game and call either one better than the other, and any combination of those opinions can be something I think is entirely justified. Both of them have things they do remarkably well and also serious, profound, deal-breaking flaws, and the really weird thing is that there's almost no overlap between those two lists for the two games. What clicks and doesn't about both of them is going to be deeply individual.

What Ni no Kuni: Wrath of the White Witch does, with resounding success, is Vibes. It sets out at every single step with the goal of being a playable Ghibli movie, and it sticks to that principle. It's all about beautiful, cel-shaded whimsy. It's a game for people who want to feel like they're wandering through the meadows in the movie version of Howl's Moving Castle. There are lots of puns, and you can befriend all the random encounter monsters and feed them ice cream.

But that's also its Achilles' heel: because it's dedicated entirely to imitation, it has trouble bringing things to the table that are really its own. It has the visual and narrative aesthetics of Hayao Miyazaki's films, but it doesn't have the raw emotion at the heart of them. And as a game, its mechanics combine the clunkiest features of menu-based combat and action RPGs, and while everything about the Pokemon-esque mechanics seems designed to encourage players to collect and experiment with them, the balancing turns attempting to do that into a miserable grindy nightmare.

The other problem is that it... isn't actually the first Ni no Kuni game. Wrath of the White Witch is, in fact, a remake of the Nintendo DS game Ni no Kuni: Dominion of the Dark Djinn, which was never released outside Japan. The reason for this is pretty easy to explain, because DDD had another gimmick besides its aesthetics: it came with a real-life physical copy of the wizard spellbook, and the player had to look things up in it and draw sigils on the DS touchscreen to cast spells. So, we've got a high-effort remake that had to completely cut the central mechanic... and which also expanded the plot so that the original main villain was no longer the primary antagonist. This results in a game with what is very clearly a final dungeon and very clearly a final boss and very clearly a resolution to the story, which suddenly has a completely different plot dropped on it like a fucking anvil that it expects you to be just as invested in even though it hasn't had anything like the same level of buildup.

And ironically, this is almost the exact opposite of the biggest problem with Ni no Kuni 2: Revenant Kingdom, a.k.a. the one with my new blorbo, the President of the United Union of Eagleland. 2 is an effort to try to cement an identity for the series that can be its own, rather than requiring them to depend indefinitely on borrowed Miyazaki nostalgia. It just has the teeny-tiny, itsy-bitsy problem that at some point in development it had a budget shortfall so bad that you can finish the game without ever realizing that there is a continent-sized crashed interdimensional spaceship on the world map.

This game has had a machete taken to it. Don't get me wrong, I genuinely respect the work they did to make what they could with what they had, but you can see the signs of massive scope cuts to literally every aspect of the game. The back half of the game has almost exclusively recycled enemy and environment assets; voice acting has been trimmed down to canned voice clips; the catboy protagonist's ears and tail are barely animated; one minigame was so inadequately playtested that a level 16 mission is massively harder than level 50 ones; and while whatever restructuring they had to do to the main plot still left the final version with a more solid and coherent central arc than WWW in my opinion, it also left a lot of truly gaping plot holes, like oh, I don't know, why the President of the United States got turned into a 19-year-old.

Literally, they just. Entirely forgot to explain that. Half the DLC is just the writers scrambling to fix stuff like that and add a bunch of character development that should have been in the base game.

However, despite all this, I personally enjoyed NNK2 more than NNK1 unironically, not just for Rolandposting reasons. Compared to the first one, it plays much more smoothly as a straight action RPG, and while it can't provide the same knock-your-socks-off aesthetic cohesion, to me it seemed a lot more heartfelt- that is, like a game that was made because people had a story they wanted to tell.

But, well, we wouldn't be here if it wasn't for the non-unironic reasons, because the story they really, genuinely wanted to tell was about a magical catboy growing up and learning to become a leader, and somehow, miraculously, they really thought that was the story I was here for too when they opened the game with the President of the United States being isekaied by Nuke-kun.

Sorry, guys, I have a crippling addiction to dramatic irony and my day job is tech work in local politics, you could not have more laser-targeted this at making me specifically laugh my ass off if you tried.

[crusherthedoctor]

Not a hot take, a general question

What are levels that most hate that you enjoy, and levels that most enjoy that you hate? :>

Sorry this took a few days, but I've been trying to stick with examples that are near-unanimously loved or hated rather than being simply divisive. I also excluded examples of the "this game in general has weird physics, etc" variety… with one exception that won't surprise you.

I Give It a Gex/10:

Marble - The level design is blocky, though I can forgive that more than most since it was the first game, but the aesthetic is really unique for a lava stage, let alone the first one in the series.

Labyrinth - This one is cheating because I'm mainly including it for various mods that have given it a serious glow up, such as the Mania Misfits Pack. As such, I can't bring myself to hate the original, because I always think of those versions now.

Sky Base - Autoscrolling doesn't work so well for Sonic, but conceptually it's a climactic zone.

Wacky Workbench - Growing up is when you realise it's not a tragedy, but a comedy. Whereas other people jeer at it, I jeer with it. Also, the Good Future is beautiful, and so is the Past.

Marble Garden - Slightly downplayed since few outright hate it, but it's often considered the weakest zone in S3&K. I don't know how this can be, given the music, the spinning tops, the boss encounter with Tails helping you out, and the gratuitous pools of Pepsi.

Sandopolis - Act 1 is perfectly fine in my book, and I will not sit here while fans continue to slander it. Act 2 may involve a lot of stopping and waiting, but even so, I find it less tedious than other examples.

Egg Rocket - I really love the concept here, and while it kicked my shit in as a young'un, I don't think it's that bad as an adult.

Mania's Oil Ocean - I saw frequent complaints about why they included this zone, to which I say "Did you forget about the Fire Shield? Did you forget about the remixes?"

This Is Like Underselling Eggman At Crusher's House:

Prison hallway levels in SA2 - Overly cramped grey hallways are not particularly fun. And before someone points out the small graphical details, yes, those are nice and all, but ultimately they can't change how I feel about these stages overall. While I'm not keen on the mech shooting in SA2 in general, the other stages at least give you some room to breathe.

Lost Impact - I feel like this one stage has received the '06 treatment where it was once hated, but is now hailed as a 2deep4u masterpiece because of vibes and interpretation. This is not the case with me. I don't care what your intention is, I don't care what infinite IQ stunt you're pulling with your method of gameplay and story integration: if it's not fun, you've lost me. "But Crusher, this is perfect because it compliments the context of the story, it makes you feel just like Shadow in his situation, muh deep layers would be lost if it was actually enjoyable-" Call me basic, but if the only way you can paint a narrative is by making it shite, I don't think I can trust you with anything. And remember, this is Sonic the Hedgehog, not some indie RPG that most people watch other people's playthroughs of rather than play it themselves.

'06 Crisis City - Generic dilapidated city is not too interesting, despite the tornado carrying a car's best efforts. The Generations version is thankfully salvaged by having fun level design, even if it's the same aesthetically.

All the islands in Frontiers - The Cyber Space stages don't count since they're just Non-Specific Highway and reused Generations assets. Otherwise… well, as you might have guessed by now, bland atmosphere is my Kryptonite. I can put up with some questionable design choices if it's at least memorable in other areas, as that can soften the blow for me to an extent, but if it can't even provide the latter, it makes the former so much more excruciating for me. Needless to say, I do not have much nice things to say about Grass Simulator, Sand Simulator, Rock Simulator, Grass Simulator 2: The Return of Jafar, or Grass Simulator 3: This Is Why Eggman's In Mario Land Now.

[multiplydifficult]

We re-watched a system mapping video while poking around at trying to do more headmate-related mapping rather than 'physical' environment, which we've done a lot more of. (Tangent: We did most of the physical enviro mapping in Tiled Map Editor (FOSS; Windows, Mac, & Linux), found freely-available assets (one source, two source) made for a regular competition that keeps style relatively consistent in terms of 65 degree angle, light from the left, etc. so it's got that classic RPG-style look. It's also absolutely got the option to make one's own assets for it, if so desired. Gotta keep using the same asset size on one map, either 16x16 or 32x32).

Some kid got antsy about drawing a system map on paper, so we did that - put the main front-ish area (labelled "Main Area") on two A3 sheets taped together, then taped those to a window and taped another sheet over that to draw (in the correct place) the floor above that on the left, labelled "Main Area +1" and did the same to draw the floor below on the right (labelled "Main Area -1"). We quite like how we did that, how we could easily keep adding layers (+2, +3, etc) and be able to unpack and place them easily, we like how it's possible to see how one layer matches with the one above/below using the backlight of the window, that it's possible to compare / view layers as layers and not have to have them next to each other and placing them in location mentally.

Using the big sheets gave us more space, and sticking sheets together gives us the option to expand it outwards in any direction as well (as long as that expansion is attached to the existing map).

It was only done roughly though so lol stuff got a bit stretched out wide, a bit disproportionate, 'cause we straight started with the two big sheets taped together. But it worked for our / this kid's purposes.

[alphamride]

My First Game Jam Day 2

Today I ended up mostly working on sprites. Since my drawing/spriting skills are somewhat mid, I figured it would be good to try to tackle sprites early on so that I’d have plenty of time to adjust them.

Graphics: Gradients are cool and fun. I used one on the snake sprite by accident and I think it improves it quite a bit.

He’s up to here with all these sprite edits.

In other graphics-related news, I’ve been refining the common enemy sprites. Some of these sprites are pretty experimental (in other words, I may be going overboard with the shading on the cat enemy...). Additionally, I started working on the midboss’s battle sprite as well as some overworld sprites for the Dog King and Axel (one of the main characters). I’ll wait on working on the other main characters’ sprites until after I’m done with Axel’s so that I can use his as a base. Dog spriting sure has been challenging, but so far it’s not as bad as I thought.

In other news, I made a rough draft of FetchQuest’s logo today in GIMP.

Music: I started working on the title theme, but that’s basically it.

Coding: I have been experimenting with the event settings in RPG Maker. Apparently tint screen effects remain even in combat, which would be perfect for the boss fight. Although I have not added custom assets to the game yet, I have started the process of editing its database in preparation for when that happens. I also added some more transfer events.

Writing: I named all of the characters while sitting in line at a drive-thru.

Despite not meeting the goals I had originally set for myself, I’m not stressed about it since I worked on plenty of other stuff instead. Tomorrow for real I’ll start working on the Dog King Oden’s theme. Although it will still be a KAITO song, I have decided to stick with an acapella as my original idea (polyphonic medieval song with KAITO + organ) was found to be more appropriate for attending dog church as opposed to meeting with dog royalty. I’ll still make it sometime, just not for this game.

Until next time.

[sundayswiththeilluminati]

The unplanned fourth part to my apparently-a-series on Essek Thelyss in the context of real-world espionage (parts 1, 2, and 3), today we look at an aspect of his story that doesn’t always apply in a D&D world: how do you prosecute espionage? 

Psych! That’s not the real question. The real question is: do you prosecute espionage? The answer is a) not as obvious as it might seem; and b) going to differ between D&D and the real world, because D&D governments are storytelling tools and IRL governments are...not.

The benefits of prosecuting espionage are obvious: the interests of justice are served, the person responsible can be punished appropriately and in accordance with the law, the full extent of their crimes are revealed (including potentially exonerating other suspects), counterintelligence gets to chalk up a win, and other people thinking about committing espionage themselves are hopefully discouraged. But there are a surprising number of arguments in the “against” column.

Some agencies that identify enemy assets want to leave them in place for their own purposes. For about 20 years during the Cold War CIA reserved the right to just plain not tell the Department of Justice if they had proof someone was engaged in espionage because they wanted the opportunity to turn them as double agents, feed them misinformation, etc. rather than outing and punishing them (President Gerald Ford ended this arrangement by executive order in 1976). This isn’t necessarily a good idea IRL, but it forms the bread and butter of RPG espionage storylines and is definitely something to think about in a D&D context.

In the real world, ideally someone can only be found guilty of a crime and punished accordingly after a trial, and an agency often finds itself with sufficient evidence to doubt a person’s trustworthiness but not enough hard proof to take to court. In those cases agencies may decide to leave that person in place but cut off their access to classified info. Ironically, sometimes this means promoting them - moving the person into a higher-ranking job in a different area that just so happens not to deal in secrets. Sometimes the asset realizes they’re close to being rumbled and goes along with the effort, maybe taking retirement early or changing jobs before they can be pushed, and the whole matter will quietly lapse without anything so formal as a trial. Sometimes someone makes a mistake and sidelines a loyal, competent employee. That’s a judgement call.

In the real world, ideally someone can only be found guilty of a crime and punished accordingly after an open trial. Given how severe the punishments are for espionage, civilized countries do try to stick to that even though holding such a trial carries risks. Providing proof that someone stole secrets generally requires talking about said secrets, which means revealing classified info in court, which may negate trying to keep the information secret in the first place. They may also not want to reveal in court how they figured out that person was a spy, especially if it was a double agent or cryptographic source that fingered them. In D&D-land where monarchs are common and still wield judicial power, fantasy rulers may hand down whatever punishment they please based on whatever evidence they (or the DM) will accept, so this isn’t as much of a concern.

Even a D&D monarchy that doesn’t have to worry about revealing secrets in court might think twice before publicly punishing a high-ranking spy, though, because the only thing more embarrassing than failing to convict a major spy is succeeding. A government having to admit that its people were compromised, especially high-ranking people, is a body-blow to its standing both at home and abroad. It damages trust in the government, makes the public feel unsafe, and makes allies hesitant to share information lest their secrets be leaked as well. Lower-ranking government employees may think, “My boss is selling secrets, why not me too?” or “Why bother to follow security protocol when some mole will give it all away?” Every decision and contribution made by the asset becomes retroactively suspect, even those that had nothing to do with whatever secrets they leaked. The foreign nation to whom they passed information inevitably gets drawn in as well, negatively affecting those relations. And of course everyone involved looks very, very bad.

All of which leads me to say I think there’s a chance - maybe not a good chance, but a chance - that Essek could privately confess the affair to the Bright Queen without major public repercussions. Leylas Kryn could simply declare him a traitor and order his public execution without justifying herself, but it would raise a lot of questions and none of the answers would help her or the ruling dens; Den Thelyss allowing Den Kryn to unilaterally execute a high-profile member - a child of the umavi - without explanation would stoke ferocious rumors about what Essek might have done and cast a major shadow over the entire den. But publicly declaring what Essek had done also doesn’t do the Dynasty any favors. It makes everyone involved look very bad - how could they miss a spy at the highest level? so close to the Bright Queen herself?? who can be trusted??? - especially Den Thelyss, which might lose its place among the ruling three as a result. Publicly outing such a high-ranking Kryn official as compromised might set off the Dynasty equivalent of a Red Scare, too, since the Explorer’s Guide to Wildemount mentions the constant and well-justified Dynasty fear of agents sent by Lolth to destabilize the Kryn out of sheer spite that they got away from her.

By the time Campaign 2 ended the latest clash between Empire and Dynasty had been settled and neither side seemed to want to stir it up again right away. The fact that both stolen beacons have been returned also bolsters the case for letting the matter lie. A confession from Essek clears up remaining doubt on the Bright Queen’s end - while he doesn’t know every Empire agent in the Dynasty, he can tell her exactly how the beacons were stolen and who else was involved, probably clearing the names of many currently under suspicion. Essek would have to resign as Shadowhand, of course, and leave the Dynasty (at least for a couple centuries), but he never seemed interested in being Shadowhand and he wants to go exploring anyway. Den Thelyss definitely wants the whole affair swept under the rug and would go along with whatever story made that happen. Other than Verin I don’t get the impression many people would miss Essek except as a lost opportunity. I hope they’d give him long enough before leaving Rosohna to pack up his cool leyline-weathervane though. He could totally mount that on Yussa’s tower. Or Allura’s!

And that concludes this particular train of thought re: Essek Thelyss in the context of IRL spies and espionage. Again, all of this is only as relevant to the campaign as the players decide it is, so don’t go giving people crap for being “unrealistic” about their versions of how the beacon trade went down. Frankly the last thing you should want here is realism, because “realistic” espionage is a callous world of deception, manipulation, and general human pettiness with no sense of narrative flow.

None of what I’ve talked about is an excuse for Essek’s actions. But it is a reason. It’s why and how a person entrusted with precious national assets could get into a headspace where it seems reasonable, even necessary, to trade them away to foreign enemies. It’s how a person of otherwise decent character & beliefs can end up committing terrible crimes. It’s why that person might sincerely regret what they’ve done, and not just because they fear punishment. The Warmind Rasputin paraphrases Octavia E. Butler saying, “Misdirected by accident or intent, intelligence can foster its own ecstasies of growth and decay.” In other words: sometimes you get too far into your own head. Without an anchor to reality, without perspective, your own mind gets twisted up. Sometimes you just need a friend (or seven) to grab your arm and say, “Breathe.”

(This accidentally turned into a series on Essek & IRL espionage: Parts 1, 2, 3, 4)

[usagi-mitsu]

Werlyt & Gaius - a bunch of thoughts.

I am a little late to the party. I know. But I just finished the Emerald weapon and before I go to try out the „not Zenos“ weapon as in „Diamond“, I need to get my thoughts on the story straight.

Perhaps I have been spoiled by 5.0s brilliant MSQ and cannot appreciate the inherent beauty of at least decent writing any longer. But this felt so wrong and out of tune with the rest of the game. I started writing this 2 hours ago! I wanted to one in bed by now! XD But I had to get it out of my system… so….

Spoilers for the MSQ and Werlyt incoming??? And no I did not re-read this so not just spoilers but also writing errors incoming. -.-

The good

These fights are epic! I have only ever cleared the normal versions, but I loved those. They are amazing. The callbacks to Eula (her being a woman here! When did they discover that???), Regula (may he rest in peace) and Gaius himself in his prime were delightful. But I could do with a little less rotating, ok? A dragoon has positional, you know? And being allowed to pilot my very own mecha was like *chefs kiss*. On that front? Well done Square Enix!

I am also glad they were able to get another use out of Porta Praetora! That place looks amazing with the wide open field and the lake – and Ala Mhigo across it. It was one of my favourite Stormblood areas and I am always glad to return there. And of course… being able to visit the allied camp again… And Werlyt itself. It’s simply a beautiful place. It reminds me very much of southern Greece. If you’ve watched the movie Mamma Mia you know what I mean.

The music too was really nice. But I don’t think I’ll… you know… listen to it on repeat as I am doing with other parts of the soundtrack.

I’ve also loved how much amazing lore we got about Garlemald and especially the garlean military. And the military abroad. The way soldiers not from the mainland get treated. I love learning about these things.

Gaius

The man. The legend. The guy yelling in Prae.

He’s so very boring here. He has so much potential as a character and maybe I’m missing something, but all throughout this story he has been nothing but passive. He’s a reactive character in this storyline. You know. The guy who made deals with Lahabread (the d is intended), tried to take over Eorzea, lead a whole army, stood idly by as the moon dropped, almost died but then decided just not to die and then though „hm… I’ve got so much freetime now. How about I go and hunt some ascians?“ That guy is NOT a reactive character. He is active. He goes out of his way to make shit he wants happen. And in here? He seems too starstruck and devastated by his adopted kids actions to actually have one clear thought.

The only explanation I have is that he might have gotten hit in the head by something on his way to the ruby weapon. I get why he would rely on Cid for help, but the WoL??? The alliance? If you wish to be an ally and help or something, fucking act like it. You were a former legatus and I expect you to live up to your name – even after retiring.

And yeah.. I guess it’s hard having to watch your kids willingly, knowingly dying. But you fucking raised them. You are a big part of the reason to why they are in that predicament. So like… Aside from that I don’t even get why you are in this story at all.

And for the record: I’m not sorry for him. I’m just flabbergasted by all the bullshit we’ve been learning about him.

To be quite honest, I think this story could have worked just as well or maybe even better, if we got another man as the „hero“ of the story. I am talking about none other than our engineering, hammer-swinging, ex-enemy - of course talking about Nero!

The MSQ has long established that his research into the Ultimate Weapon had been taken, twisted and turned – Estinien had to experience this first-hand. I’m not saying that Nero was in need of a redemption arc and I cannot remember if these weapons were of his creation or even stem from anything he did, but it would make so much more sense for me, to have him confront his past in the garlean military like this and be responsible for the death of his former colleagues. Soldiers that he served with, whom he faught with. Give me Nero and them working together to get the weapons going and him bonding with them as his pilots to a degree. Comrades. Not that strange familiar bond that Gaius appareantly has with them. … Scratch that: Let Gaius be the father figure. Him being that wouldn’t change Nero’s relationship with them, but maybe his with Gaius as his superior.

The story wouldn’t even need to try and redeem Nero: He has already gone through major character development with the MSQ and the Omega raid tier. It would simply be Nero, confronted with the things he created, hopefully instilling more morals and a sense of responsibility for his creations. Heck: Let Cid yell at the guy! Seriously! Cid sticking around to help out would make so much more sense if it was Nero instead of freaking Gaius! Cid hated the guy! He might be a professional, but he is not one to torture himself by staying around a guy he (as far as I know) detests.

Make Nero the central figure and give Cid and Gaius the roles of „angel and demon“: One desperately trying to reach out to his old friend, reminding him why they became engineers and trying to make him realise that he can’t just run around designing weapons and leaving the scematics for everyone to read; while the other has trouble letting go of his imperial past and is struggling to see the errors of his ways – if Nero was wrong, than he (Gaius) was wrong too -and of course they did all of this for their home, to further their cause, and to bring peace to the savage lands of Eorzea, who had been fighting amongst themselves for so long… You get the point.

And you could still have these gundam themed fights. But I think everything would make so much more sense in general.

But speaking of which-

The children

I do not truly care for any of them. And that is a shame: I do think there are great characters and dynamics hidden behind these very few cutscenes. When they were first introduced I was wondering why I was suddenly watching „heartwarming“ cutscenes of my foes as children – until I realised that I was supposed to care and that they were supposed to make me feel pity for Gaius. I was supposed to feel bad for him, because they died and he blames himself. But while their fates so far have been gruesome, I cannot say that I am sad they died. They chose to die as they did. There were a myriad more options. And they chose that.

Actually. Their whole story makes me feel like they were huge masochist from the very beginning. They could have just run away and gotten help from someone more competent than them, but they stayed in an abusive military arrangement just so nobody else got hurt?? Please. Use your brains next time. And for the Berserk-like torture scene? I mean. I get what was implied here. But was it necessary? As a writer myself I follow the rule that torture and sexual violence should never be used in a story, unless it must be in there for the story to work or to bring across a vital point important to the story or it’s moral (or if you are writing porn and you are into it – but we are talking official in-game content here). But the violence towards these „children“ seems unnecessary for the plot and the violence of their deaths by piloting the weapons is already gruesome enough. Sometimes it’s better to leave things like this out – the emotional torture of feeling stuck and having a martyrs complex would have been enough here, I think. If the rest of the story had been well written at least.

(I believe my utter lack of sympathy shows how little character developement they had. I love tragic characters, who choose to suffer for the good of other people – even better if those people don’t even like them. It’s just my thing. And those kids are just… well.)

Their reasons and especially why they were making Allie out as the one who would need to survive was also just… weird. Like. I feel like 75% of what happened would not have happened, if they actually talked to each other, used their brains and had done something about their problems. But no…

These characters are also so exchangeable with basic anime/j-RPG character tropes… I only remember Alfonse, Rex and Allie – because I just did the Emerald weapon. And right afterwards I thought, „huh. So… Fullmetal Alchemist?“ Which brings me to my third point …

…the story at large.

„Pacing is a virtue“ or was it patience..? Anyhow: The author of this story should have had more patience with his story and characters and taken a bloody break! And I am not talking about the obvious blunder of „How is Allie feeling?“, „she is in shock and you cannot talk to her“ turning to „oh yeah if you are careful you can talk to her now“. I mean. WTF. That was MAYBE 10-20 in-game minutes of dialogue.

But everything was moving so very fast – and not even in a good way. There are few things better than a fast paced, action rich story about a group of young people trying to safe (their) world. But if you try to cram in two expansions worth of character development and story telling into about two hours of content each patch.. Well, then you get whatever the hell this is.

Gaius is a very interesting character and while I did not understand why they needed to bring him back in 4.4 (?), I do see how he could be a good asset for endwalker. And his involvement in 5.0 with Estinien was just a dear delight. So I am not opposed to learning more about him, to watching his character grow and changed with time. But I am not ready for badly written content of which 50% get told by suddenly induced echo-sequences. I mean – weren’t there rules for the echo at some point???

I’m not sure which one of the devs said it, but the feature that let’s you play an NPC is super convenient for them to tell the story, because before they could only show what happened where the WoL was.

And that’s just it. Rule number 1 in writing anything is „Show don’t tell“. It feels like they literally turned this one around for these cutscenes. While Valens torture and diet-Fandaniel-routine were very much „show“, the rest of the story was one long cutscene of exposition: We get exposition by Cid, by Gaius, by echo, by Gaius and his crew again, then by Allie. Before having to watch scenes we are not there for.

BTW. Dear square Enix: Your writers are capable of writing amazing villains, antagonist and despicable assholes. You don’t have to write „asshole, must die“ on Valens name card. And I also think the „WoL, strike here“ sign above his head was a tad bit too much. Nuance, dear writers. Nuance. Or perhaps I just got spoiled by these last few foes in the MSQ.

When I said I wanted to just be able to punch a bad guy for once and not feel bad about it, I did not mean this! I meant that I just wanted to play training dummy with Danny-Boy.

(Oh! And as far as I’m concerned you can just… sideline Gaius … „would be killer“ and the lady? Make them targetable NPCs with Dialoge to read. Let them stand somewhere accessible and comment on the latest developement. But ffs don’t give me hour long speeches about how you are going to kill Gaius if he does something you don’t like. The guy could and would wipe the floor with you if he felt like it. -.- So. Please. Shut up.)

Conclusion

Basically. I have to finish the Diamond weapon. But I doubt it will change my perception of this story line even in the slightest.

To be perfectly honest though … bringing Gaius back, having this story with and about him, forcing a sort of redemption ark here. It feels like they are really „grooming“ him to be a morally grey ally in Endwalker, with perhaps a big part to play in the endgame. At this point I wouldn’t even be surprised if they pulled a GoT and made him „King in the North“. Or if they had him die a heroic death to save the world, but especially his country. And to do so they need us to think his sacrifice means something. Or that he is the right person to lead Garlemald into a new future (I don’t think he is). But: For one, neither we (the players) nor the characters need to find him worthy of throne or death by heroism for his sacrifice/ascension to work. To be a useful tool for the story, only the other garleans who might oppose the alliance and scions need to deem him or his sacrifice „worthy“. And only they. And Ishikawa-san has all of 6.0 to accomplish whatever the hell she needs him for. He did not need to be the center of his own botched redemption ark. If that’s what they wanted to do. Or maybe I’m looking at this all wrong and all they wanted was to give the writes in training some literal training grounds to test their abilities.

But! On a positive note: I have yet to be told that raids and other side content are canon to any degree. So when playing the next story quests I’ll blissfully ignore all that happened in Werlyt and if it get’s mentioned (because they do that sometimes when you’ve done certain content) I’ll just ignore it.

Happy ignoring! Also: GIVE ME MORE NERO CONTENT!

[edlinklover]

Hey how did you make your backgrounds and sprites in your game? I'm trying to learn and I wanna know what the best way to start is cause I wanna make my own stuff to put in the game

I only have the rpg MV do I need the other add ons?

    oh my god I accidentally refreshed the page and lost my entire progress of my answer to this so bear with me (IT WAS REALLY LONG TOO)

    I just draw everything in Paint Tool Sai, though you could get away with ms paint! You don’t even have to draw in pixel art if you don’t want to as long as they fit the right dimensions. But if you want to know specific dimensions and stuff and how to like. actually draw them correctly so they work, I can try to help with that but uhm,, bear with me because I Do Not know how parallax mapping works and I am an amateur.

    Disclaimer: I have RPG Maker VX Ace AND MV (no add ons or anything, I don’t think you NEED add-ons unless you can’t draw yourself) but MV is a very recent addition to me. I’ll still try my best (If any RPG maker people are reading this and are like HEY NO THERE ARE EASIER WAYS I’m sorry. i do not know those easier ways)

    So sprites? Pretty easy! For RPG Maker MV, I use this 576 x 384 px grid to organize them!

    RPG Maker splits sprite sets in a certain way, and if you mess with the dimensions, it might not work correctly anymore, so I generally stick to this size (There IS a way to get bigger sprites, but I do not understand them)

    As you can see, each sprite is about one square big. I referenced default RPG Maker MV’s sprites by comparing them to my handy grid and being like, oh! They are one square big! I should also make my sprites one square big each! In general, I recommend taking a look into RPG Maker MV’s files, overlaying the grids over the tilesets and characters, and trying to study how they’re split up. I also recommend making a base sprite!

    I didn’t bother making the in between animations of the actual movement, but if you’re having trouble figuring them out, just study the base sprites of rpg maker mv and you’ll figure out how walking works!

    For faces, I use these for RPG Maker MV! Each individual box is 144 x 144 px (the canvas’ total size is 576x288 px)! I make a 144x144 px canvas, draw my faces, and then copy and paste them into each box until there’s a full set of 8! I don’t recommend messing with the sizes, and I don’t think you can get bigger sizes unless you ditch the face icon feature altogether.

    My tileset process is way more convoluted because I don’t understand MV yet so I reference RPG Maker MV’s default assets a lot. For example, say I want to make an original floor set, but I’m not sure what dimensions I’ll need to make sure RPG Maker MV will read it and implement it into the program properly. I look into RPG Maker MV’s files and choose a floor tileset to reference. In this case, I open up inside_A5.png and put my grids over it to break it down.

I look at this, and say hm! Each floor pattern is about one square big! My floor pattern should also be one square big.

    (Don’t ask me why I started from the bottom) If you put my grid overlay on top of these patterns I made, you will see that indeed, each floor pattern takes up one box!

    As for planning maps, I have the most convoluted method so I apologize in advance. I will try to explain it.

    So first off, each square in RPG Maker MV is 48x48 px. Cool. But your default size in RPG Maker MV is 17x13 for some reason? Well, multiply each number by 48. All of a sudden, you find out your map is actually 816 x 624 px! Whoa! Let’s say you’d prefer a bigger map, like 20x15. Multiply both by 48 and you’ll get the right canvas size. Anyway, we’re sticking with 17x13/816 x 624 because I recommend against huge maps and 17x13 can be cozy.

    To properly plan my map, I need to open up a canvas in my art program that’s 816 x 624 px.

    Bam. I also put my grid down, making sure there are no half squares because we’re trying to mimic how RPG Maker MV’s grid works. If there are still half squares but you’re sure you placed the grid right, check your math!

    I start planning out my map! I recommend making sure your floors and walls don’t take up any half-squares, but your furniture can be literally whatever. As you can see, my grave takes up one and a half squares. Anyway, say we’re done. Now we transfer them onto tilesets.

    We focused on floors already, so I’ll just explain transferring objects. To transfer them onto a tileset, each item’s gotta take up the exact same number of squares it takes up in the planned map. If you don’t, you won’t be able to replicate your map plans into RPG Maker MV as perfectly as you’d like. For example, the rug in my planned map could take up just 2 squares if I shifted it to the left or right, but then it wouldn’t be centered at the entrance like a normal rug would.

    (SF_Inside_B.png) I kept the overlays and stuff so you can hopefully better understand my process. I moved the rug (just because), but I made sure it still took up 3 spaces like a man on the train who sleeps across the seats. Don’t put anything else in those half squares either, it’s all belongs to the rug. When you’re ready to place the objects in the program, you should be able to replicate your map no problem.

    I’m so sorry if this didn’t help, I really don’t know what I’m doing and it’s a miracle I made two games by myself hsdghd There’s tons of resources out there! If something I said was almost helpful but you’d like me to elaborate more, please let me know too!

[rpgmgames]

March’s Featured Game: acai cOrner

DEVELOPER(S): moca & Mitty ENGINE: RPG Maker 2003 GENRE: RPG, Adventure, Surreal SUMMARY: acai cOrner is about Mizuki, someone who has fallen into the sewers and who happens to find their favorite electric guitar! Upon obtaining the guitar, Mizuki turns into a magical girl who must defend herself against spooky sewer creatures using the guitar's magical powers.

Download the game here! Our Interview With The Dev Team Below The Cut!

Introduce yourself! *moca: Hi, I'm moca, a Starbucks barista aspiring to be a writer and game developer. I have been making RPG Maker games for about six years now, with my first two projects being a Pokémon fan-game and a Corpse Party fan-game. Those two happen to be my two favorite franchises as well! I have also created the RPG Maker game MOMOKA (IGMC 2018). I have founded a group called 'Team Shibu!' dedicated to making horror games! Our current project is a RPG Maker survival horror game named 'Katharsis'.

*Mitty: Hey there, I'm Mitty! I've been working with Moca on several games for a while now, helping with mostly graphics! Please support him, as he is very kind and hardworking!! I'm also the main developer of a game called "Marinette", so I hope you'll check that one out too, when the demo is released!

What is your project about? What inspired you to create this game initially? *moca: acai cOrner is an experimental spooky RPG Maker game that only uses 4 colors! You are a magical girl with a just-as-magical electric guitar that you use to fend off spooky sewer slimes and other weird enemies you find in the surreal sewer system. It's half exploration and half RPG battles. What inspired me to create acai cOrner initially was to actually get myself back into the groove of making games again. I had just recently came back from a hiatus and found myself having trouble getting back into the development of 'Katharsis'. That's when I decided to make a short, experimental game to get the juices flowing.

How long did you work on your project? *moca: acai cOrner was finished in just about under a month!

Did any other games or media influence aspects of your project? *moca: I had always wanted to make a Yume Nikki-like game and thought this was the perfect opportunity to try. So for the more surreal parts of acai cOrner, I took inspiration from Yume Nikki and a Homestuck random planet generator. Gameplay wise though, I took inspiration from a RPG Maker game called Ghost Suburb 0! I really loved how unique it was, especially with the timer and no dialogue aspect. I knew I wanted to do something with a timer, so I tried a rogue-like approach with the gameplay.

Have you come across any challenges during development? How have you overcome or worked around them? *moca: If you played any of my previous projects, you know that acai cOrner is vastly different than anything that I have ever done. I'm so used to using words to describe the violence in my games, so when it came to making the story, I had a lot of trouble. It wasn't until I looked deeper into why people like these types of games that I had realized that people like to interpret the story on their own, guided by exploration, to enjoy these games. After that, I let loose a bit and made something more open-ended. Another challenge was the difficulty. I was the only one playtesting the game, and since I knew the game front and back, and had no trouble getting the ending. That's why when I sent out demos to friends, I was really discouraged to hear that the experience was mostly frustrating and rage quitting-inducing haha. I worked closely with their feedback and made changes accordingly to make the experience less frustrating but still difficult. *Mitty: I think I was going through a weird artblock during the development of the game, so for some of the illustrations and backdrops for each area's fights, Moca sketched out the basic idea of what it could look like, and I just put my spin on it! It made the work much easier and faster!

Did any aspects of your project change over time? How does your current project differ from your initial concept? *moca: Well, the game was meant to be short so there wasn't room for any big changes. Sure there are a couple gameplay changes and enemy tweaks, but not anything mindblowing. I added in the idea of making four surreal worlds kinda last minute, if that counts, haha.

What was your team like at the beginning? How did people join the team? If you don’t have a team, do you wish you had one or do you prefer working alone? *moca: In the beginning, it was just me! I didn't think I was gonna need any outside help since this was supposed to be a relatively easy project to release, but the further in development I got, the more I realized the game needed pizazz. The four color limitation wasn't enough for my lack of graphical talent. That's when I contacted Mitty about helping with the games battle backdrops and sprite animations! She is also a member of Team Shibu!, but we have collabed together even before that. Her art really made the project shine and I enjoy working with them on games! *Mitty: Moca contacted me, and I wanted to help! We are working together on another game called Katharsis, so we are quite familiar with each other. I like working with other people, especially if I'm not in the lead, it releases a bit of the pressure I feel sometimes ahaha

What is the best part of developing a game? *moca: To me, it's seeing everything come together and just... working exactly the way you envisioned it. As a game developer, you section the game off into parts to make development much more organized and faster but seeing it all come together in the end. Pure bliss *chefs kiss*. *Mitty: I like a bit of everything, but currently I've been enjoying animating and spritework, as well as map assets' designs a little more than usual!

Do you find yourself playing other RPG Maker games to see what you can do with the engine, or do you prefer to do your own thing? *moca: Mm... not really! I have an idea of what the engine can do, so when I do go out of my way to player other RPG Maker games, it's usually for writing inspiration rather than gameplay inspiration. Ghost Suburb 0 is something that I accidentally stumbled upon and immediately fell in love with it the minute I played it haha. (Fun fact: the developer of Ghost Suburb 0 is apart of Team Shibu! and is in charge of monster design!)

Which character in your game do you relate to the most and why? (Alternatively: Who is your favorite character and why?) *moca: There is a rat in the game that is internally called 'Ratthew' who leads you into a funky room. I relate them the most. *Mitty: I relate to the land sharks the most on a spiritual level. They are pretty much confused beans, and that's very relatable.

Looking back now, is there anything that regret/wish you had done differently? *moca: I wish I added more random spooky events and trap rooms. But the game was also supposed to be short and I knew that if I kept adding more and more things, development was never gonna end haha.

Do you plan to explore the game’s universe and characters further in subsequent projects, or leave it as-is? *moca: Well, by the time this interview comes out, there should be a new update for the game. The update should include 100% custom music by a talented composer, and a nerf in difficulty. As for sequels, who knows! The next time you see acai cOrner may be in 3D.

What do you most look forward to upon finishing the game? *moca: Definitely the fan reaction! The satisfaction of seeing your work being noticed by people and actually enjoying makes me happy. It's also the relief of just... finishing something! *Mitty: For this particular project I was obviously looking forward to seeing what people said about the little animations and such ahaha! I also was curious about the reaction to the timed difficulty mechanic, I had never seen anything like that before Moca presented it to me, so I had no idea on what people's feedback would be.

Is there something you’re afraid of concerning the development or the release of your game? *moca: How people will handle the difficulty. The game isn't supposed to be completed on your first playthrough, but in 2-3 playthroughs. There are rooms and places that are meant to waste your time that you should ideally skip the more you play. By later playthroughs, you should be shaving time and be better. I understand that it's not handled as best I could, but I think the experience should still be challenging and hopefully fun! *Mitty: I was a little conflicted on the timed mechanic, I loved it because it's pretty original and helps set an interesting athmosphere of worry and unease, and also seems to tell a bit of the vague story; and at the same time I don't like it much because I prefer more story-driven games and the vagueness mixed with the mechanic feels different from what I'm used to playing! I think it's more of a personal taste kind of thing, it was an experimental jam game, after all!

Do you have any advice for upcoming devs? *moca: Take it easy! Take short breaks throughout development. And most importantly, have fun. If it's a hobby and it's making you overly stressed, just take a step back!

Question from last month's featured dev @ressurflection: What would you say is the weakest part of your game development? *moca: Procrastination. I'm so bad at sticking to my own schedule, it's something that I try to keep in check when working with a team especially.

We mods would like to thank moca & Mitty for agreeing to our interview! We believe that featuring the developer and their creative process is just as important as featuring the final product. Hopefully this Q&A segment has been an entertaining and insightful experience for everyone involved!

Remember to check out acai cOrner if you haven’t already! See you next month! 

- Mods Gold & Platinum

[super-famicom-star-inactive]

Friday Special #7

January 9th, 2021

So it has come to my attention that when people talk about RPG Maker the series, many aren’t aware of how far back the series goes.

Did you know that series dates back to almost thirty years?

That’s right, next year will be the 30th anniversary of RPG Maker!

So why don’t we have a history lesson into arguably one of the most important franchises in gaming history?

Alright, where does the story begin for this iconic series?

According to sources, there has been games similar to RPG Maker that were made by ASCII (the original company behind RPG Maker) and that were released as far back as 1988, with the following titles:

Mamirin (1988)

Dungeon Manjirou (1988)

RPG Construction Tool: Dante (1990)

Dante 2 (1992)

Chimes Quest (1992)

The very first official RPG Maker title came in the form of RPG Tsukūru Dante 98, released on December 17, 1992. This game, along with its 1996 sequel RPG Tsukūru Dante 98 II, was originally made for the NEC PC-9801 Japanese home computers at the time. It was originally made when ASCII pulled from other games (listed above) and combined them together to create a RPG-making development title with its own toolkit. The genre of RPG specifically was thanks to the rise of JRPGs in recent years like Dragon Quest and Final Fantasy to name a few. 

The next major release of RPG Maker was in the form of RPG Tsukūru: Super Dante in 1995, which marked the very first time that the series has landed onto a console. The console was the Nintendo Super Famicom and it was later broadcasted a year later using the Satellaview service. While it did exhibit some restrictions in terms of content due to system limitations, it was famous for providing hundreds of character, monster and scenery assets with color swap palettes to save on memory in the cartridge as well as designing the stats of characters and monsters pre-determined by the player. It was said that the game was popular with players but sources are limited about actual reviews. RPG Tsukūru 2 is the sequel and it was released in 1996 on the Super Famicom as well. 

Windows saw the release of the third installment with RPG Tsukūru 95, which was released in 1997 and was the first of many RPG Maker titles for Windows. Unlike its predecessors, it boasted higher resolution in sprites and tilesets as well as higher screen resolution. It also has the honor of being the first version to have an unauthorized English translation and release due to demand. Also with this version, the number of party members was boosted to 8 people with the first 4 acting as the main battle party. RPG Tsukūru 95 Value! was released not long after with the added bonus of having Windows XP support, which was new at the time and very valuable. 

So when did the West finally receive an official version version of RPG Maker?

On November 27, 1997, Enterbrain released the following title RPG Tsukūru 3 for the original Playstation and chose to release the software simply as RPG Maker in the West three years later on October 2, 2000 under Agetec. This was the first time the West would finally receive a version of RPG Maker and experience the magic of RPG development, but it was reported that a limited run of copies were released outside of Japan. It was also one of thirty games that utilized the now-rare Playstation Mouse (which is usually an arm and a leg to import). Players got to customize their own assets using the Anime Maker that was also built into the game and, like the original Super Famicom versions, utilized color-swap palettes to save on memory. Another cool feature that was a first for the series was saving your created game onto a memory card so that you could share your creation with your friends.

One of the most beloved and popular versions of RPG Maker is next on the list and it is RPG Tsukūru 2000 for Windows on April 5, 2000. Despite the popularity, it was Japan-exclusive and it featured a lower resolution for graphics and assets overall than its RPG Maker 95 predecessor. Despite this, it boasted more functionality with unlimited sprite sheets and tilesets.

The last in that trio was RPG Tsukūru 2003, first released only in Japan in 2003 before being released worldwide in 2015. Improvements to this version included the side-view battle system that was popular in Final Fantasy, and interchangeable resources. From this point, the development company Enterbrain would take over RPG Maker as it was part of the ASCII company. 

Starting with the released of RPG Tsukūru 5 on the Playstation 2 in 2005, Enterbrain was starting to look into developing the series for an international audience of players. They would beginning to craft titles that are now iconic in the RPG development community, with the first of these releases being RPG Tsukūru XP (RPG Maker XP as it was known world-wide) released on Windows in 2004. While many of the simplified features have been removed from this version, it was the first RPG Maker game to use Ruby, a type of programming language first seen in 1995, and it was the first title to distribute assets online amongst the community thanks to the rise of the Internet. It allowed greater control over sprite size other gaming aspects, which helped it become more versatile than previous titles. However, a drawback is the steep learning curve, which was intimidating to new players. It was released to Steam in 2015.

The next modern RPG Maker title was the release of RPG Tsukūru VX (RPG Maker VX as it was known world-wide) in Japan in 2007, world-wide in 2008. It has the one-up over XP for its more user-friendly layout and faster framerate of 60fps over XP’s 40 fps. The programming was completely done over to be more accessible in scripting and the battle systems were now similar to Dragon Quest with a front-view battle system and detailed text. Because of these aspects and other improved features, it became a popular choice for modern developers since release. However, one of the biggest drawbacks was the lack of support for multiple tilesets when mapping that frustrated players. It was released to Steam in 2016.

Right after that, RPG Tsukūru VX Ace (RPG Maker VX Ace as it was known world-wide) was a direct sequel to the version mentioned above. Described as an “overhauled version of RPG Maker VX”, it removed the multiple tileset issue that plagued players in the previous version and re-introduced battle backgrounds during battle scenes. Magic and skill systems were re-worked to have their own recovery and damage formulas in the programming, and a new set of music tracks were accompanied in the database files. It was released to Steam in 2012.

Having the distinction of being released by Degica for the first time world-wide, RPG Tsukūru MV (RPG Maker MV as known world-wide), underwent quite a few adjustments by introducing multiplatform support as well as side-view battles and high resolution features and assets. For the first time, JavaScript replaced Ruby as the default programming language. Players also saw the return of layered tilesets, which were missing from the previous installments. Not only was it released for Windows, but also for PS4 and Nintendo Switch (A XBox One version was planned but unfortunately scrapped), giving players new ways to share games. It was released to Steam in 2015.

The newest installment to the famous series is RPG Tsukūru MZ (RPG Maker MZ as known world-wide), and it was just released last year in August of 2020. Reviews for the game were mixed as players noted that the trailers leading up to release were very similar to RPG Maker MV. It did have some positively-received features such as autosave functionality and XP-style autolayer mechanics. It was released to Steam in 2020. 

So with the history side taken care of, what about some of the most iconic games ever made using the software?

Good question! Given the extensive list of successful games to come out of RPG Maker, that will be a separate Friday Special so I can cover them more in-depth. Maybe next week perhaps?

So there you have it, a comprehensive history of RPG Maker!

(Now, there were some older Japanese titles that weren't mentioned because of lack of sources, I do apologize. I also wanted to stick more to the major installments of the franchise itself.)

Thoughts From The Head

I was formally introduced to RPG Maker by some mutuals of mine on Discord a few years ago when I expressed interest in wanting to create scenes like a movie of sorts. My software of choice is RPG Maker VX Ace as it was suggested to me for being better at creating events than any other version. It's understandably intimidating at first, especially for newcomers, but there are hundreds of tutorials on Steam, Youtube and all over the internet.

I also have other copies of RPG Maker, including the PS1 version of RPG Maker and even RPG Tsukūru: Super Dante for my Super Famicom that I just received a few days ago! It's definitely wild how much the series has grown and improved upon over the years.

From what I have been recommended by friends who are long-time players of this series, either go for RPG Maker MV (if you're interested in mapping) or RPG Maker VX Ace (if you're interested in creating events). From what I have seen, those two are some of the more popular choices. In terms of platform, always go for Steam (and get them on sale when you can) because you will have better accessibility and it's more user-friendly than the console versions. The abundance of community-generated assets also help.

To end this post, here's some pics from RPG Tsukūru: Super Dante!

[sazorak]

Every Game I Played in 2019, Ranked

 2019 sure was a year that happened where I happened to play some video games. Here’s the ones I played enough to form opinions, in a rough ranked order of preference.

It’s kind of weird that I’ve done this for five years now, but hey. I like to talk about things that I like / dislike. Hopefully you’ll empathize with my complaints, and give ones I enjoyed a try.

As a bonus, I also tweeted about the anime I watched and enjoyed this year.

2015 | 2016 | 2017 | 2018

Orm & Cheep: Narrow Squeaks – 1985 – ZX Spectrum – ★

How far would you go for a joke? For the sake of a joke, I spent an hour beating an incomprehensible, shitty ZX Spectrum Game about Orm & Cheep, an 80s British children show I only know about from a Trash Night video making fun of it.

Orm & Cheep: Birthday Party – 1985 – ZX Spectrum – ★

… and also this one, though Birthday Party is marginally better than Narrow Squeaks. Marginally. Extremely marginally. Congratulations to Orm & Cheap: Birthday Party.

16. River City Girls – 2019 – Switch – ★★★

The style of River City Girls is great. I like a lot of what it’s doing in terms of look and sound. It’s just that… well, River City Ransom’s gameplay was interesting something-like 30 years ago. Gameplay wise, this game hasn’t evolved that much from OG RC Ransom. The combat certainly feels better, but as far as it controls… I can’t tell if it’s not taking advantage of modern controllers and just sticking too close to the original’s control scheme, or if side-scrolling beat-em-ups are themselves just so staid and dated these days that there’s not much to be done. I just wasn’t having much fun, and the RC Ransom progression of new techniques and stat boosting didn’t exactly make me want to keep going.

It’s a real shame because in terms of pure aesthetics and concept, the game is amazing. I just don’t actually enjoy playing it. Oh well!

15. Baba is You – 2019 – Switch – ★★★

The core gameplay concept of Baba is You is fantastic. The way you manipulate nouns and verbs to construct phrases that operate as equations in a physical environment is super interesting. The early goings of the game were quite fun.

The problem I have with this game is that when you hit a wall in it, that wall can sometimes be impenetrable. I found that Baba is You is at times too subtle with its attempt to “teach” you tricks or onboard you into approaches to puzzles; it’s possible to come to solutions without taking away the lesson the designer intended, which can make later puzzles basically impossible.

The difficulty curve feels all over the place; I was extremely high on this game early on, but after getting completely blocked moving forward for hours on end, with the only real recourse being to either look stuff up or stare at past puzzles to try to figure out what apparently crucial lesson I missed despite coming to my own solutions, I ultimately decided to just do something else.

14. Cadence of Hyrule – 2019 – Switch – ★★★

Zelda has great music. Crypt of the Necrodancer has pretty good rhythm-game action. Combine them, and you get… well, it turns out you get a pretty OK procedurally generated Zelda-game with Necrodancer mechanics, I suppose. The appeal is easy to understand, though I’m personally not sure I care much for the final product.

I enjoyed the original Necrodancer well enough as a simple run-based, short-ish rhythm dungeon crawler. The brevity of each given “run” (stemming in part from my own inadequate skill, I suppose) worked well with the style of gameplay, in that it never really became much of a chore.

Meanwhile, I enjoy Zelda as an extended puzzle adventure game where there’s an innate unthinking flow to the actions. I’m not typically thinking much about the moment-to-moment about the actual mechanics of the action; the brain’s desires flow directly to the motion on the screen, as it were.

Combining the two results in a Necrodancer experience that’s way too long, and a Zelda experience that is way harder to control. Add the fact that the procedurally generated world isn’t that interesting and I’m just rather lukewarm on this. Meh!

13. Super Robot Wars T – 2019 – PS4 – ★★★

It’s fantastic that Super Robot Wars is finally getting proper, high-quality localizations again. It felt like a dream to finally be able to play this franchise again after being forced to stop after the DS era. Playing through the rather roughly translated, and somewhat monotonous SRW OG: Moon Dwellers was good because the OG games tended to have the highest production values and narrative quality (missing out on 2nd OG may have also helped). SRW V was my first foray into the more recent non-OG games, and so shined as something rather fresh to me.

Two years on, and two Super Robot Wars releases later, it’s plain to see that Super Robot Wars’ current annual release cadence is not great. It results in incredibly repetitive, monotonous games that rely heavily on asset reuse— both between games, and even within the same game. Part of the problem is that the derivativeness doesn’t feel additive. It’s not like SRW T is SRW V + SRW X + New Stuff; it’s more that SRW T is a reskinned SRW V, with some heavy series-asset reuse to boot. I think it’d be a bit more tolerable if it felt like these games were building on each other, but every single one feels exactly as slight and mechanically weak.

Super Robot Wars’ combat have not been particularly good from a tactical sense for a long time now. The original OG games were probably the last time the combat was particularly interesting for me, as it presented an actual challenge and difficulty curve. Nowadays, they are entirely fanservice cakewalks, even on the hardest modes. Hell, they’ve apparently decided that increasing the difficulty of the game means you don’t get to chase the special challenge goals, which actually can paradoxically make portions of the hard-mode actually easier than the normal. Bizarre!

 I guess the idea is “well, folks are playing this to see the bits, so if it’s hard they won’t!” Which… I disagree? If the gameplay is deeply unsatisfying, why wouldn’t I just watch the damn series? Crossover shenanigans don’t mean much whey you don’t do much with it. Fanservice talking heads ain’t enough!

The addition of Cowboy Bebop and the return of GaoGaiGar and Gunbuster should have had me onboard. The series list for this game is fantastic. But what they do with it is so flat that about 30 chapters in, I just… stopped. It wasn’t worth it. I’d plainly seen all that it had to offer. Easy, slow, and repetitive gameplay isn’t appealing to me, even if I do get to see Spike Spiegel doing sky donuts to take out a Zaku.

Additionally: stop putting Nadesico in these games. The units are boring, the plot is boring. Stop devoting so much time to it! It sucks!!

12. Ape Out – 2019 – Switch – ★★★★

Ape Out is a game where you’re a big ol’ gorilla murdering guys with guns while dope ass percussive jazz drums play to the action. It’s cool, it’s short, it could honestly probably do with being somewhat shorter, but whatever. I enjoyed it.

BattleTech – 2018 – Steam – ★★★★

Despite being famously a “mecha guy”, BattleTech has never really been my thing. While I’m not opposed to mecha-as-tank-analog, it’s not my primary focus in the genre; I like my robots to be fast, really. I like mecha getting into melee and fucking shit up. Mecha for me is a power fantasy. That’s not really BattleTech / MechWarrior’s thing. That all being said, I quite enjoyed my time with BattleTech, the PC-game rendition of the tabletop thing. It’s a neat turn-based tactical robot combat RPG with an interesting overarching campaign structure… to a point.

The first issue I had is pacing. While the game is turn-based, the combat and movement plays out in real-time. And given how lumbering these robots are, this means that a single mission can take aaaages. Think 45 minutes to an hour for a single mission. It took me about 20-30 hours to get to the campaign’s halfway point, which is when the game really started to sour on me.

The second issue is one of variance. Let me run you through the fundamental loop of the game. You are a mercenary captain that has a ship of mechs and mech pilots, and you fly around from planet to planet taking on jobs. You need money to pay for your ship to keep going, as well as to pay your pilots. It’s expensive to outfit your mechs, and severe damage to them can both REALLY eat into your budget and also take weeks in-game to repair. Missions are rated based on difficulty, and you are expected generally to field a greater “tonnage” of mechs in excess to that difficulty. This all plays out pretty well.

The game starts with you possessing mostly lighter mechs, and as you progress, you’re presented more and more missions in the campaign that require increasingly beefier mechs with more armor and more guns. Whereas in the tabletop game there’s presumably a kind of “point” system by which players are given a limited amount of tonnage that they can field on any given mission (for purposes of balance), there’s no such limit in the game; as such, you’re encouraged to field the four-ish beefiest robots you have, as they’re the most likely to kill everything fast while coming out with the least damage.

How do you get these beefy mechs? Well, you don’t buy them; instead, you’re aiming to kill opposing pilots and leave their robots as much intact as possible so that you can salvage or steal them. It’s kind of amusing; your entire gameplan after a point becomes “how the fuck do I shake this robot around a bunch such that its pilot dies???” It makes sense in practice, but if you think about it for even a second it comes across rather silly. Given you need good mechs to progress, you don’t have much other choice other than just running tonnnsss of missions and hoping you eventually get enough mech fragments to reconstruct some of your own. But beefy-ness isn’t the whole story, as some of the robots you can get just plain suck, regardless of their tonnage. You’re basically rolling dice again and again hoping a robot worthy of stealing shows up so you can kill its friends, and try to kill its pilot as gently as possible. You go through this cycle four times, across the four different weight-classes, until you’ve got what you need in terms of a team of class-appropriate mechs.

The fundamental lack of variety in what you field combines with every single mission really being “how do I kneecap everyone” instead of the given mission objective to make the game quite samey. Mission types don’t vary much, and the environments don’t constrain you all that much, either; the only ones that are particularly interesting are moons and Mars-like planets where your mechs’ ability to regulate their heat become much more constrained, which can necessitate loadout changes.  

I enjoyed the story enough for what it was, but honestly? After 30 hours, I was pretty much good. I had a good time with BattleTech, but I’d had my fill.

Mortal Kombat X – 2015 – Steam – ★★★★

In my ongoing adventure of playing the Mortal Kombat games for their goofy plot / story modes and nothing else, I played Mortal Kombat X. I’m not sure there’s much to talk about these other than “Hey I enjoy their dumb ongoing narrative; I wonder where they’ll go from here!”

11. Mortal Kombat XI – 2019 – Steam – ★★★★

Ditto. The plot for these games are getting sillier and sillier, and the ending of XI may be the most ridiculous yet. In a good way.

10. Devil May Cry V – 2019 – Steam – ★★★★

Character action games are heavily predicated on the question of “How do we spice the game up over time so that it stays interesting… without overwhelming the player?” Devil May Cry V’s answer is “well, we’ll slowly give them more characters with their own expanding skill sets, that’ll be neat!”

It is neat, but I’m not sure it was actually a good idea. The three protagonists all have extremely different move sets, meaning that the forced switches between them on a chapter-to-chapter basis results in you never really mastering any one of them. Each character has a ton of depth, but… take, for example, Nero, the “main” protagonist. He has a sub-mechanic involved with revving his motorcycle sword to boost damage. I never actually figured out how to get to work. Never really had to, because he had so many other mechanics that were also effective, and I never had much time with him alone to dial in the weird motorcycle thing.

DMCV also does probably my least favorite gameplay gimmick of “introduce new mechanics in a boss battle!” Like great, you gave me a whole new move set here, and are now going to rate me on my performance when you’ve never given me a chance to learn these skills? Oh wait, you’re giving me new mechanics in the final boss battle!?! Fuck off. That sucks!

Also, I think I’m an outlier, but I actually preferred playing as V, the control-three-characters-at-once-while-reading-a-book guy. Just felt like I dialed his move set in easier. Weird.

9. Untitled Goose Game – 2019 – Switch – ★★★★

I’m not going to pretend that this is a deep game, or an enduring game, or even necessarily a great game. But I had a lot of fun with it, I have a lot of good memories thinking about it, and I am glad that so many people out there are now wrestling with the fact that birds can be both terrible and also good. Untitled Goose Game carries a powerful message about avian kind. You would do well to learn from it.

8. Super Mario Maker 2 – 2019 – Switch – ★★★★

Mario Maker 2 is such an incremental upgrade to Mario Maker that it hardly feels like it earns that “2”. That being said: Mario Maker 1 is pretty darn good so it’s not like that’s all that bad. The additional mechanics and story mode are good, granted, but like… I had been wanting more than just Mario Maker 1.5.

As is, it was pretty easy to get bored with Mario Maker pretty quickly, given it was mostly a game I’d already played quite a bit before. The addition of the campaign held my interest for a fair amount of time, but I’m not exactly coming back to this all that often. Hopefully the content updates they seem to be rolling into it keep up.

7. Kind Worlds: Lo-Fi Beats to Write To – 2019 – Steam – ★★★★

This is less a video game and more a sort of vague pen-pal application masquerading as a game, but man… the existence of this thing is neat. It’s just a program where folks write letters about their problems, and people send them stuff back. That’s it.  It’s kind of a sweet thing to just exist.

I’m not a person with what would one term especially Heavy Problems, but just going through other folks letters and giving them an encouraging word is itself nice.

6. The Outer Worlds – 2019 – Epic Game Store – ★★★★

Having been deeply disappointed with the quality of Fallout 4, I was very happy to see Obsidian come back to do their own Fallout-a-like. The Outer Worlds isn’t perfect; I wish it had a bit more of a bite, the gunplay was… fine, the environment design was kind of dull, and the gameplay loop did not outlast the length of the game itself. But I had a fun enough time with it.

That said, I think the dearth of me having much to say here sort of speaks to how… rather unambitious the writing and design ended up being. There’s not a ton to say about it. It’s more responsive than a Fallout 4, to be sure, but even that caps out at a point. It doesn’t necessarily offer much in the way of RPG-style different “paths” to develop your character in terms of who they are or how they behave, beyond the sort-of four-way axis of “grouch to nice” and “corporatist to socialist.” The skill tree ends up being pretty flat, and you can basically become a master of everything by the end.

Shruggo.

5. Pokémon Sword – 2019 – Switch – ★★★★

Pokémon Sword/Shield is a bizarre thing— its design is constantly fighting against itself. There are tons of ease-of-use improvements– but it somehow has some of the worst online in the series. It gives you dozens of complex, half-explained systems— but also feels the need to hold your hand lest you get lost in its incredibly linear, dull story. It adds challenging Pokémon raid battles that you largely need to team up with other players to beat— but also has one of the most trivial progressions in the series. It has a huge and varied open “Wild Area” where you can catch hundreds of Pokémon before ever facing the first gym— but that wild area largely exists as a world unto its own separate from the traditional Pokémon “routes”. It doesn’t want to have a plot up until the very end when it decides that gee, I guess we have to, even if it makes no sense.

Let’s go into these in more detail.

Sword/Shield introduces a ton of gameplay improvements. Auto-saving, while problematic in places, is super useful. The ability to move Pokémon directly from the box to your party is great, and removes a lot of process headaches. Single hand controls are a godsend for both improved accessibility and general ease of use. Items are way easier to get, Pokemon are easier to raise, and this is probably the easiest game in the entire series to breed and raise “high tier” Pokemon for online battling.

On the other hand: despite your friend list being loaded into the game, you are forced to use a bizarre password system and request system that is super confusing and prone to issues. You cannot directly trade or battle or play with friends except through this, which occasionally results in headaches anytime someone uses the same four-digit password as you and your bud. The Max Raid battle system is super poorly explained in-game in terms of how you find and join others raids— I only divined it by a tweet someone made. They did away with the “GTS” trading system they had used for the past decade that allowed global Pokemon bartering, presumably in favor of encouraging more natural trades— but didn’t give any way to actually communicate with people in game what you want to trade for. It encourages more in-person interaction, but that’s once again playing into Game Freak’s obsession with the Japanese mode of gaming.

Sword/Shield perhaps has the most sheer amount of systems in any one of these games. It’s not necessarily all good, but in terms of “wow, you’re not babying us huh” it is at least interesting. There’s Pokemon that evolve based on absurd, never-explained conditions like “number of crits in a single battle”, “pass underneath this specific rock when they’re at low health”, “spin baby spin.” The wild area has tons of mechanical stuff that they let you explore without forcing your hand much, and they let you explore it freely without really railroading you. There’s a separate wild-area specific currency system based on raids / dens that you just stumble upon unprompted, really.

On the other hand, the core story progression of the game though… is perhaps the most infuriatingly patronizing thing I’ve experienced. Cutscenes happen every 15 seconds, often-times forcing your movement, and are almost of zero consequence beyond someone going HEY YOU SHOULD GO THAT WAY. The game is completely unwilling to let you get lost when going through the story. It’s constant, it’s unrelenting, it’s maddening. It literally made me mad.

Pokémon Raid battles are super interesting. The battles themselves aren’t necessarily hard, but the kinds of things they present— in terms of providing access to unique Pokémon, rare items, and the fact that they’re not as “rinse-and-repeat” as normal battles— gives the system and game increased longevity. It’s a pretty deep system, with meaningful rewards. A five-star battle is time consuming and you run the risk of failing, but if you pull it off you can get items like TRs, EXP candies, even bottle caps (super useful items that let you increase the baseline stat “DNA” of your Pokémon), and the captured Pokémon can have unique moves you’d normally have to breed and possess extremely high baseline stats. You can even get hidden secret abilities! Nice!

On the other hand: the core game progression is so piss easy and straight forward. The game’s leveling curve is all out of whack, in part because their introduction of a forced “always on” EXP share. In older games, you’d only get EXP from actively battling and beating a Pokemon in a fight, or having participated in a fight. Now, your whole team gets EXP just from being around, and you also get EXP from catching Pokemon, making curry, and all sorts of other small activities. All of this is fine or even good in the abstract as it makes raising stuff easier, but the game isn’t well balanced around it. Encounters don’t scale, which can result in you steamrolling the game if you engage with any of the game’s other systems prior to beating the game. I had to compensate by stretching my normal party of six into a party of 10, constantly swapping members out to keep the average level across the party down. Additionally, the only non-PVP reason to train and breed pokes, the Battle Tower, is so trivially easy this time that… why bother??

The wild area system is brilliant. A big criticism I’ve had with this series in the past is that the kinds of Pokemon any given player is bound to encounter and capture tend to be pretty similar. The limited amount of Pokemon that tend to be put on a traditional Pokemon route, and the limited means you have to encounter them (“hey I walk through the grass, we’ll see what pops up”) doesn’t trend towards players ending up with very different party compositions, just because there’s not a ton of options at any given point. The wild area completely tosses that out the window. As an open space, the types of things someone encounters will vary wildly— and it’s further varied by player-specific weather conditions that dynamically change the encounter tables. It completely opens up the kinds of Pokemon one can encounter early on, presenting hundreds of appropriately leveled options for players. It’s brilliant. The intermixing of both grass-only, overworld-visible, and raid-specific Pokemon also increases the range of encounters. It’s the accomplishment of the core Pokemon concept of “explore and find everything.” Finally.

On the other hand: the wild area is actually kind of boring to explore, visually speaking. It’s basically the Ocarina of Time field with sporadic patches of grass. There’s little actually diversity or mechanics to its exploration, especially when compared to the fact that… the game still has normal routes. They still behave as they always have, except that by the total remove of “Hidden Machine” mobility moves, the ability to explore geographically has been severely hampered. There’s no “gee, I can’t get there yet, guess I’ll have to come back later” except for a single mobility mechanic (the ability to go over the water, introduced very late in the game). It makes revisiting past areas mostly a box-checking exercise, and in general feels like an odd juxtaposition. They either should went all-in on the wild area or better merged the concepts together, because as is it feels… weird. Especially because the wild area could have done with being bigger and more diverse looking.

The game spends most of its time having no story at all, which is kind of boring. Juxtaposed with the railroading stuff where there’s still constant cutscenes with their mostly mediocre characters who don’t do all that much, it almost comes across as padding than anything. There are good characters (Piers and Marnie are the best, the gym leaders in general are good) but man do they try too hard to put Leon over.

But then at the end they introduce the story super quickly and it’s very dumb in a way that made me laugh out loud so congrats I guess.

All in all, I rather liked Sword/Shield. It’s no Sun/Moon— which innovated in tons of places and had an extremely charming story, cast, and progression— but the places that it innovates, and the ease-of-use improvements that they’ve put in the game, are great improvements to the baseline formula. While it’s caused a ton of drama online, the Pokédex and Pokémon Bank stuff are not huge impacts on my personal enjoyment of the game. It kind of stinks a bit, but the overall package is still quite good and fun. 

 The Legend of the Zelda: Breath of the Wild, Master Mode – 2017 – Switch – ★★★★★

Breath of the Wild was my favorite game the year it was released. The harder Master Mode is something that had interested me as something to check out for a replay, but I decided to wait until the shadow of my previous playthrough loomed somewhat less. Breath of the Wild is, after all, both a monumental game and also a monumentally large game. Going back to it for Master Mode would mean (by way of my own obsessive brain) 100%ing it all over again, which is extremely time consuming, even if I don’t go after the all the Koroks.

There was also this sort of reticence in my behind to confront the creeping suspicion I’ve had in my mind that some of the DLC additions have made the core game worse. Which, I would say… is probably somewhat the case. Certain DLC gear items extremely imbalance standard play and really fuck with the exploration of the game (specifically, Majora’s Mask basically making you not have to fight multiple enemy types). Still, I knew I could ignore those, and just focus down on the core experience of Master Mode: harder enemies, regenerating enemy health, and the introduction of floating platforms.

Turns out, BOTW is still fucking amazing, and while the additions Master Mode make aren’t essential, they do make for a fun second run of a fantastic game. The harder enemies make the early parts of that game WAY HARDER (making you really have to get good at using your bombs and stealth), and while that difficulty ramp doesn’t keep up throughout (which, honestly, the platforms are somewhat to blame as they make getting certain bits of higher-level loot earlier easier), it’s still just a great game to go back to.

Breath of the Wild remains my all-time favorite game. Hyped for BOTW2.

4. Sekiro: Shadows Die Twice – 2019 – Steam – ★★★★★

Sekiro is in a sense the purest expression of the Souls formula. Stripped away of the jolly co-op, the PVP, the stats, the equipment, and most customization to speak of, Sekiro asks the simple question: can you do this? Can you learn all the systems in this quite challenging game, and engage with it on its own terms?

In its mechanical simplicity, I found Sekiro to be my favorite game of that lineage, as it has allowed them to really polish the gameplay by its singular focus. It just feels amazing to stealth around and backstab dudes, parry everything, and triumph in nail-biting sword duels. While you do gain new skills and equipment (in the form of the ninja tools), they are just supplementing the fundamental systems of the game, rather than acting as diverging ones. So really, most of your time is spent not learning wholly new methods of combat, but instead improving your mastery of the core one.

And the feel of mastering that combat is incredible. By the end you feel unstoppable; normal enemies that would have been challenges early on are nothing. Even a lot of the bosses become trivial as-time goes on, bar the few ‘mastery test’ bosses interleaved throughout the progression. This isn’t some “hey I got more EXP and now over-level for everything!” thing, either; this is me, the human holding the controller getting skilled enough to become a Sekiro master. It’s an amazing feeling.

I beat every single boss in the game, including the hidden ones, and enjoyed the hell out of it.

3. Bloodstained: Ritual of the Night – 2019 – Steam – ★★★★★

I’m very much on the record as being a huge IGAvania partisan. I fuckin’ love the core loop of that permutation of the Metroidvania formula. Koji Igarashi no longer being able to make Castlevanias hurt me. A lot. Over a decade of time spanned between the last IGAvania game, Order of Ecclesia, and the release of Bloodstained. I was a bit worried.

Thank god Bloodstained is really, really, really good.

Bloodstained is extremely “one of those.” You move about a 2D interconnected world, collect items and abilities until you find the stuff that let you move forward in a new area. It’s kind of an eclectic hybrid of IGA’s past titles. The castle design feels very Aria of Sorrow. The shard mechanics feel close to Aria/Dawn of Sorrow’s soul system. The weapons feel very Symphony of the Night meets Portrait of Ruin. The overall mechanics of movement feel most akin to Order of Ecclesia. All in all: a good mix.

The game is massive. There’s so many weird one-off mechanics (something I appreciate), bizarre callbacks, goofs. There’s an in-depth alchemy system (mostly used for cooking, which is funny). The shard system is a bit boring in places— some shards are extremely simple and forgettable mechanically— but the shard leveling system is kind of hilarious in how broken it can become. The familiar system from SOTN is back and has been essentially perfected by making it a dedicated slot so you can just hang with a fairy or sword pal.

I wish the game had more enemy diversity, and the story left something to be desired. Many shards just aren’t very interesting. But the game is just so dang fun. The core gameplay loop is just so compelling, and the game just feels so dang good. I’m glad they took all the time to polish the gameplay feel because hooooooooooo boy.

Looking forward to those DLC characters for some additional playthroughs.

2. Outer Wilds – 2019 – Epic Game Store – ★★★★★

“Space exploration”, “cosmology”, “archeology”, and “sociology.” While these are certainly not the only fields that dominate much of my attention, they are some big ones. The Outer Wilds is a space exploration game where you explore the structure of a strange but exquisitely constructed solar system, and dig through the remains of a mysterious vanished alien species. Also, you’re stuck in a Majora’s Mask-like apocalyptic time loop ‘cuz the sun keeps exploding. Should probably find out why that’s happening.

I went into this game completely blind, entirely based on the way Austin Walker was raving about it on twitter. Austin’s interests in heady space shit is pretty similar to my own, and turns out? Worked out quite well for me. I blindly explored this solar system for about twenty hours over the course of a couple weeks, and came away from the experience misty eyed at the ending. Outer Wilds is fantastic.

It’s a surprisingly touching and cozy for a game that mostly about you going off into space on your own, all alone. And that’s because you’re not, really. Outer Wilds is less about the science of exploration and archeology and the meaning of it, why it matters even in the darkest moments. Why do we explore? Why does science matter, divorced from the parasite of industry and markets? What value does it give to us, to future generations?

The game is built on the notion that even as we individually wander, explore, and discover, we’re all together collectively building on something that may outlive us, even outlive our species, the pursuit of a collective knowledge that transcends personal enrichment and individual accomplishments.

You are but one a few alien explorers, each on their own adventure. As you adventure, you catch their signals as you cruise across space. The things you learn and do are further built on the relics and messages left behind by the Nomai, the species that came before. This sense of a personal and emotional connection in the act of discovery is the heart of this game. We’re not standing on the shoulders of giants; we’re holding hands with those before us and those after us to build a bridge to a future that we may not live to see.

It’s a positive message of hope in the face of oblivion. 

1. Fire Emblem: Three Houses – 2019 – Switch – ★★★★★

I’ve been really on-and-off on Fire Emblem over the years. I first got in on the franchise with Awakening, which I rather liked for its anime-ass sensibilities— though not without criticism. I found the combat kind of obnoxious in its tendency to get muddied down in the Oops You Done Fucked Up, Time To Reset junk. It was too anime-ass in some places, not the least of which being its incredibly one-note characters who had little bearing on ongoing events so as to support the permadeath system without too much wasted effort on the developers’ part. Fates, the follow-up on Awakening, only amped up these criticisms, becoming convoluted, stupid, and kind of obnoxious to play.

I had hopes that Three Houses would be an improvement. Initial impressions made it seem way more serious, way more grounded, with a lot of improved systems. Turns out: it was better than I could have dared of expected or hoped. Three Houses isn’t improvement, or even innovation; it’s a revolution.

Three Houses is great. It’s long, it’s got so many different systems going on that I hardly know where to begin with describing it, but… it’s great. It’s the platonic ideal of what I’d like out of a Fire Emblem. Things feel like they matter. The setting feels weighty, the plot is actually good, and the characters are absolutely marvelous.  

No, it’s not perfect— its handling of representation could DEFINITELY be better. Some of the narrative is hokey as hell in places. Certain routes seem to have gotten more attention than others. The class-based specialization systems could do with more depth such that so many characters don’t end up mostly identically specialized to each other.

But… I found the combat extremely enjoyable.  The charge-based rewind mechanic removed the feel-bad gotchas of unanticipated troop appearances and bad rolls etc. The characters are fun, and they’re kept relevant all the whole way through via creative framing of events. The ability to roam an actual physical space via the monastery made the world feel more alive, and made everything feel more real.

The writing was actually interesting and nuanced, exploring things like faith, race, social classes, feudal politics, and romance. While the three routes are largely similar, it’s interesting just how different the underlying messages of each of them ends up being. I appreciate that in this game where you otherwise spend most of your time hanging around with nobles in a church ends just short of you rolling out the guillotines by the end.

This is a tactical RPG in 2019 that I have put something like 150+ hours into, having beaten only two of the four routes. I was, and still am, deeply invested in everything that is. I’ll probably go back to the other two routes when the final DLC is out next year.

SAKURAI, PUT EDELGARD IN SMASH

[pumpkin-interactive]

January Dev Report Up! You can read about here So things are going really well in development we got a lot of work done. Jayden has been working really hard getting through all the different things we need to finish before we release so give him a shout or thanks if you can in the comments. If things continue to go as well and there aren’t any major hiccups we may be looking at a Beta release in a few months. Keep in mind Beta does not mean the game is done, it means it is playable while we work on polish and bug fixes.  So yeah things are going very well. I know this game has been in the works for a long time, but I mean the average game development for a game is something like 4-7 years (and that’s with at least 15+ people in an actual studio working full time) This game is being developed by 2 developers part-time and hiring freelancers to help with creating game assets when we can afford it and when they are available. So I’m pretty impressed we’ve gotten as far as we have with our limited resources.  Thank you for sticking with us for this long and continuing to follow our development. If you have questions about the game let me know.  Pumpkin Days is a multiplayer, farming, dating rpg currently in development. We’d love it if you followed us and give us some support so we can make it happen. Website | Pumpkin Discord Server

[samrosemodblog]

Whatever happened to that RPG you were working on way back when?

Long Story Short: It’s being remade.

When will it be remade? Currently no idea, but I keep thinking about it and really just gotta find the time to actually work on it.

The way I plan to remake it will require a LOT of art assets that I need to make, a lot more than I was making for it previously, but they’ll also be made faster than previously because of a different method I’ll be using for them.

I also need to decide exactly on how I intend to animate the sprites, as there’s a way to use a program called Dragon Bones to create more detailed animations, but requires me to learn the program to do it right. I can use the default RPG Maker way, but it limits my options.

I’ve also upgraded engines from VX Ace to MV, as it’ll allow for a higher quality experience in the end.

The main reasons I decided to remake it was that all of my beta testing showed that there really was only 1 or 2 main aspects of the game/story that people cared about and remembered, and that didn’t sit well with me. I wanted the game to be memorable and a stick with people, and the version I had didn’t do that.

So not only am I upgrading the entire game visually, but the story is getting a drastic overhaul, and when it does come out, it should be everything I wanted it to be to begin with.

[leftfieldgames]

Platformer Game Elevator Pitch

PREAMBLE

At some point during this post, I will need to humblebrag about my 248-day streak in Duolingo, so I might as well get it out of the way. There you have it-- at some point, last December, something just snapped in my head and I haven’t missed a single day of Duolingo since.

Now, obviously, in terms of language-learning, this can amount to very little-- a case of quantity over quality. Over the past week in particular, owing to some general life busy-ness, it’s been something of a chore to get into bed and determine that I Must, at All Costs, maintain my Duolingo streak.

So what happens? I revise Hiragana 3, for about the hundredth time, and call it a night. I blaze through a vocabulary list of words like “eye” and “back” and “dog” without once having to engage in the mental hoop-la of grammar, syntax or even spelling, really. I haven’t challenged myself, I haven’t actually acquired any new learning-- just barely consolidated a skerick of some previously-acquired learning. I’m going through the motions. But I have maintained my streak! I have won!

And that is the absolutely monkey-brained genius of gamification. My actual skill in Japanese is at the level where I’m able to use more complex grammatical structures, such as those needed to give directions. And here I am, somehow perceiving greater success in the increase of an arbitrary number, while I practise vocabulary used by a three-year-old.

A full discussion of the true effectiveness of the gamification of learning (language or otherwise) is is beyond the scope of this post, but suffice it to say that it was observing my own response to Duolingo that provided the springboard for the concept of my platformer game.

Basically, I wanted Duolingo, but as a platformer, with the conceptual material of Majora’s Mask (2000), and the skin of Okami (2001). Putting the player’s enjoyment at the forefront of the design process, per Tracy Fullerton’s “Game Design Workshop” (2016), I wanted a language game that was truly more adventurous and compelling than the standard quiz-based fare on offer from Duolingo, Lingodeer, Quizlet, et al.

THE PITCH

Title of game: “KitsuKana”

Pitch: A Japanese language learning game in which each level focuses on a particular grammatical structure (starting with, for example, はじめまして　for “nice to meet you!”), which must be used to solve puzzles by interacting with other entities. You are a kitsune (stick with me here), a white fox, a traditional messenger of the prosperity kami, Inari (Smeyers, 1999). Your form and abilities change throughout the game as you collect masks, inspired by traditional kabuki and noh masks, each of which confers particular abilities, powerups, and traits. The visual and narrative frame of the story is a scroll, which unrolls as you play, depending on the direction.

Each level has two phases:

1. A Right to Left phase, and

2. a Left to Right phase.

During the Right to Left phase, the target grammatical structure is in Japanese, and the player must interact with other beings and entities in the level using the target grammatical structure (with a view to invoking “incidental language acquisition” through context (Alley & Overfield, 2008)).

During the Left to Right phase, the target grammatical structure appears in English, and you therefore must use English to interact with beings and entities.

Images:

Above: A rough collage of reference images I felt best encapsulated my vision. Features masks by MissMonsterMel in the top right and bottom left; the art on the centre left is by スローロリス１号. The central image is a depiction of Inari Okami from a deck of cards depicting the kami which I haven’t been able to locate online again!

Above: A few mockups I drew in Paint Tool Sai for the background of the game.

Above: Some of the free pixel fox assets I found on good ol’ itch.io. Made by Yltrek.

Control Diagram:

Coming soon!

3 Unique Selling Points:

1. Gamifies language learning within an adventure RPG framework rather than a quiz-based framework (such as Duolingo, etc).

2. Subverts the player’s expectations for left-to-right conventions within the platforming context-- the more I develop this idea, the more I’d like to play with it! (Perhaps further restrictions or prescriptions on when to move L to R and when to move R to L?)

3. Genuinely based on the demonstrably effective language-learning technique known as the “Teaching Proficiency Through Reading and Storytelling (TPRS) Method” (Ray, 2004).

CONCLUSIVELY,

That’s all for now. I’ll post more updates as I prototype on GDevelop-- though I suspect I’ll need to employ some paper prototyping as well, particularly with the direction-changing mechanic.

Naturally I’ll also need to update this post with the Control Diagram!