What is it about JRPG’s? (part 5)

In my opinion, I prefer JRPG's to Western RPG's, most of the time. There are a number of reasons, but regarding open-world vs. linear story-telling, my vote is for JRPG's because I like feeling that the game is moving forward with purpose. Open-sandbox RPG's can certainly be fun, and many of them do have incredible stories to tell. I just don't like wandering around doing side quests, aimlessly exploring, and grinding to level up without any pressing incentive to do so. JRPG's, on the other hand, give me a sense of urgency, and essentially force me to level up through random battles as I move from one area to another towards the next story objective. I like feeling like I'm making progress through a story while spending time with the different characters in my group as we journey together--I prefer solo gaming, but I don't necessarily like for my game character to be all alone. To me, JRPG's are more immersive because I feel like the story is carrying me forward, rather than Western RPG's where I feel a lack of urgency with the story, as it is left up to me to decide when I want to get around to pursuing it. The lack of an urgent story may be the problem itself, because I feel less invested and involved in something ongoing. Not only does the linear fashion of a JRPG provide that, but interactions with the other characters in my group also remind me that we're all on an epic journey seeking to solve a quest together.

What is it about JRPG’s? (part 4)

Combat in JRPG's has somewhat of a reputation that can almost be described as a stigma. Early JRPG giants like the Final Fantasy and Dragon Quest games involved repetitive combat that has often been described as "grinding." Moving through the game world between story segments was usually broken up every 8 to 10 seconds by an unavoidable random battle encounter, though more recent JRPG's sometimes allow for you to navigate around battle encounters to avoid them. Battles provide a fun distraction from the main story and feel like progress when, after each battle, a display indicates how much new experience and wealth you have accumulated. Leveling up itself becomes a motivator, because new items and unlocked abilities keep battle fresh and allow for new tactics and customization options. The level of player involvement with this aspect of the game is much more active and is part of the necessary balance with the somewhat passive experience of enjoying the story. However, these battles feel more like definitive progress, because they are usually a means towards moving forward in the story—travel from point A to B and the story will unfold with a new chapter. In open-world RPG's, however, sometimes hours can be spent in random combat while wandering around, and unless the player decides to pursue the main story line intentionally, the game can become what the player makes it. Why, then, is the JRPG formula still so successful? My theories, tomorrow...

What is it about JRPG’s? (part 3)

JRPG's have been influenced somewhat by Western RPG's, with one example being the optional quests presented alongside the main storyline. This itself blurs the line between the two genres because the strength of the JRPG is the main story. If too much time can be spent away from the main storyline, an RPG tends to more easily become judged by the sum of its parts. Is the combat system fun? Is there enough item variety? How interesting and involved is the crafting system? Are the abilities learned upon leveling worthwhile and fun to use? All of these factors are standards in the RPG genre, but a JRPG feels less and less like a JRPG if these elements become more of a focus than the story. In a JRPG, the story and cast of characters is the focal point throughout the game, balanced with a type of combat model that can ultimately make or break the game...

What is it about JRPG’s? (part 2)

To understand the JRPG, we also need to consider the western RPG. The distinctions do sometimes cross over between the two genres, but it is safe to say that JRPG’s have a few elements they are known for. Turn-based combat as opposed to free-form, a straightforward, set storyline rather than a choice-driven open-ended story, a cast of characters traveling with you as opposed to one solo character, and often an established protagonist character rather than a “name and define yourself” character. Although the current trend in gaming seems to have moved heavily towards open-world free-form play, the JRPG has still survived, despite the impressive options game developers have managed to generate through their massive open world environments. Another trend over the years has been a movement away from fixed levels that must be repeated until solved, with many rogue-likes and other RPG’s opting for procedurally-generated levels that are different each time you play. With the freedom from repetition that is afforded by modern technology and programming developments, why has a genre like the JRPG still managed to survive, and surprisingly, even flourish?

What is it about JRPG’s? (part 1)

Last week there was a sale on Sony’s PSN Store, and I decided to purchase Star Ocean: Integrity and Faithlessness. This game was made by Square Enix, one of the biggest producers of Japanese RPG’s in the industry, and for good reason—they do it well. Epic stories, likable and intriguing characters, immersive and detailed settings with deep world building, stylish graphical design, and memorable soundtracks all contribute to making their games a fun and often powerful experience. As soon as I began the game and completed the tutorial, I was plunged into a story with characters that made me want to know more about what was going on and what my place was in a world that already felt like it had an expansive history waiting to be uncovered. Yet all this felt familiar to me, like I was finally home after being away for a long time. The magic of a well-made JPRG always does this to me—I felt the same way with the Dragon Quest, Final Fantasy, and Tales series, among others. This week, I want to examine what it is about JRPG’s that has kept them as a viable, competitive genre in the video game market.

World Building 101 (part 5)

My personal approach to world building may or may not work for you. World building doesn't necessarily pertain to a single world, and in my case with the Solar Echoes universe, world building encompassed quite a number of different worlds. My method involved starting large, rather than small. What was the planet like? How did life on that planet respond and adapt to those planetary conditions? What kind of civilization developed out of those circumstances? What sorts of values did the people of that civilization have, and how did their situation influence them on a personal level? What sort of technology was developed in order to adapt to and eventually thrive in their environment? What type of government emerged from those circumstances to govern that society, and how did it affect the people? There were many more questions that I asked myself, but I tried to keep things as relevant to my intended story and characters as possible. The world you design can become a backdrop used to stage your characters, or the world itself can almost become a character in a way—a harsh world could serve as the antagonist your characters struggle against, and a plentiful utopia could become a setting that better focuses attention upon the characters' individual problems. It's all up to you, but remember this: your world building is symbiotic with your characters and story, so I recommend developing it alongside them.

World Building 101 (part 4)

How much of your world should you reveal? The temptation for those who have invested vast amounts of time into their world building are the creators that are at the greatest risk—they feel an ownership and responsibility for all of their imaginings, and respond by trying to cram too much of this information into their writing. The exposition can easily become too long and burdensome to the hungry audience that is eagerly anticipating discovering a point to it all. It is best to describe your world through your characters, subtly or overtly, depending on your writing style. Nebula and Hugo award winning scifi author, William Gibson, had a unique approach with world building in his novel, Neuromancer—he revealed the world his characters lived in through inference. Rather than explaining how things worked or identifying the terms he used, everything was left to uncover through context. This may not be an approach that works for many (and Neuormancer is not exactly an easy read), but it is one example of a way to reveal the world you built. Instead of defining your world through narrative exposition, let your audience discover it through the eyes of your characters and through the memories they reveal as the story unfolds. To be safe, keep the description of your world on the shorter side--detailing a location that requires two or three full pages of narrative is an approach that will likely begin to lose all but the most dedicated readers.

World Building 101 (part 3)

It is easy, however, to get too caught up in your own world building. Some writers become so involved in developing their worlds that they find themselves over-detailing their concept. You need to have your story in mind when you begin your world building, or the world building can become a neverending project, even distorting into a form of writer's procrastination. Have an idea about who your characters are and where they will go in your story—the places the came from and the places they'll go. Nobody cares about the internal politics of some nation that your characters will never visit or mention during the entire story, so spending time detailing irrelevant parts of your world can actually detract from your progress. If you've found yourself tiring of a project or you feel like it's not moving anywhere, it could be because you've allowed yourself to become distracted by world building. Admittedly, it's a fun diversion, but if it's not going to benefit your characters and the actual story development, then move along.

World Building 101 (part 2)

But how do you build a world? Regardless of genre, there are several fundamental questions you'll need to answer for yourself. Is the planet Earth, and if it isn't, how is it different from Earth? Is there civilization, and how civilized or advanced is it? These questions determine the technology available, how people travel, and how they communicate. All of this is essential towards having a larger understanding of the setting you are creating, because the era in which your story takes place determines a lot about how your characters will be able to relate to each other. Must they travel on horseback to visit each other, or can they hop in a car or an airplane? Do your characters need to wait days or weeks for a postal message to be delivered, or can they instantly call or text each other? Even if you are writing outside the constraints of our reality, such as with science fiction or fantasy, you'll still have to decide upon the rules of your own world. Consistency within your own design is key to a successful story because people will more readily accept the world you have imagined.

World Building 101 (part 1)

Several years ago at a science-fiction convention I was part of a writer's panel, and someone asked me a great question: How much time should be spent on world building? This might vary depending on whether you're writing a novel, a table-top RPG rulebook, or a video game, but in all cases, you do need to spend some time developing the fictional world of the story you want to tell. Regardless of whether the setting is fantasy, science-fiction, or some other genre, you need to have a good idea of the setting that your characters will be living in. This setting affects many aspects of your story, such as the overall tone and the options your characters have available to them; it can even have a significant affect upon the characters themselves. If your setting is a prison-world, your characters will likely have severe restrictions upon them and they are unlikely to be carefree and optimistic about their lives. If your setting is an upscale, wealthy community obsessed with status, your characters might be focused on entirely different concerns. The world you build for your story is the first major factor that will shape your characters.

GMing and VN Writing (part 5)

Try to make sure that all the choices in your game feel really organic to the story, and let the choices appear when they feel that they would naturally occur, just like they do when GMing an RPG. You may need to exercise caution as you write, because it can be very easy to allow your story to balloon beyond your control. The choices you present during the story should lead in some way towards the different endings you have planned. How many choices should you have in your game? According to a poll I ran online, out of 47 votes, the majority of voters (55%) preferred “Choices once in a while,” while 34% preferred to have “Lots and lots of choices.” Only 9% liked having “Only a few choices,” and 2% preferred to play a kinetic novel, which involves no choices at all. Your visual novel is going to be a huge endeavor to program, but once you've finished writing the story, you'll have the drive and conviction to do all the necesssary work to bring it to your audience.

GMing and VN Writing (part 4)

One thing you should try when writing a visual novel story is to outline the major plot points that have to happen. The details of those goals are formed into the mission that is presented to the protagonist, and then the story will be off and running. From that point, role-play and act out each of the different characters in your writing, letting them drive the direction of the story through their personalities, culture, and personal motivations. You'll already know where you have to lead these characters, but just like a GM, simply guide them there through circumstances and peripheral characters, sometimes even through each other. The interesting thing is that when you are acting as the protagonist or as one of the other main characters, sometimes more route options will surface than you anticipated. It makes for an interesting story with a few extra possible side-routes. However, similar to GMing a live tabletop RPG with players, you'll need to make sure things don't get too side-tracked, so connect everything back to the main storyline.

GMing and VN Writing (part 3)

When you GM a game, you usually have a clear picture of the main plot, as well as the main plot points that need to happen along the way. However, the players themselves are the actual storytellers in a way, because they each act out their characters in response to the situations you place them in. Though you may steer them a little with certain events and interaction with the characters you act out, the way the story develops is largely determined by the players choices. As an example, I have run the Solar Echoes demo “Operation: Flash Strike” countless times at conventions over the years, and though every time I use the same demo with the same events and characters, the players always choose to play different combinations of characters with different abilities and personalities. I can honestly say that, in the hundreds of times I’ve run that demo, the game has never once played out the same way. Take that player-driven concept with you as you begin writing your visual novel, and as you write, pretend that you are GMing a game while also playing in that game yourself, as your characters.

GMing and VN Writing (part 2)

For the past year, I’ve been trying my hand at video game development, which is a change after my 8 years of tabletop RPG development and publishing. I decided to keep it as “simple” as I knew how, and started working on a visual novel. Visual novels (VN’s) don’t usually involve complex programming, intensive animation, or complex physics engines. Instead, they focus on telling a text-based story told through character “sprite” art over artistic backgrounds with accompanying music. Though VN’s vary and some do involve animation, most of the time this game genre is focused on storytelling. As an experienced GM, the idea of writing a visual novel immediately appealed to me, because I could focus on the story over almost everything else. I began writing the Star Legation story in August of 2018, and I’m happy to say that I have finally finished writing the script for the story! Looking back, I can now see how much my time as a GM helped me put together this dialogue-driven tale that is full of choices to make along the way.

The Solar Echoes table-top RPG

The Star Legation visual novel

GMing and VN Writing (part 1)

I’ve played table-top role-playing games for most of my life, and I usually prefer to play as the Game Master (GM). For those of you who are unfamiliar, the GM is responsible for narrating the story, acting out the various characters the players will meet, and enforcing the rules of the game. I’ll admit, I’m not a rules encyclopedia like some other GM’s are, but I make sure the game is fair and I focus on keeping the game more story and character focused. Combat is often a part of RPG’s, and because I love strategy games, I definitely like to mix tactical battles in where they fit naturally within the story. One of the most important abilities a keep needs to possess is the ability to creatively improvise when players decide to do something unexpected. The experience and skills that come from GMing role playing games can really help in other jobs, especially in video-game development!

Tokyo Chronos VR Review (part 5)

I should also mention that, from everything I've played so far and read online, Tokyo Chronos is a “kinetic novel,” meaning that there are no choices for you to make. I have yet to discern how the advertised claim of multiple endings can be achieved without some choice being presented, but after 3 hours so far, everything has been entirely kinetic. For me, this was disappointing, because I prefer VN's with choices to kinetic novels, but that is just my personal preference. I did really like being immersed in the 3D world of Tokyo Chronos, seeing the characters right in front of me--it really did feel like I was a character in an anime. As for the story, I won't reveal anything, but I will say that the tone is dark. The dialogue is well-written, and aside from a few typos and grammatical mistakes, it is effectively constructed and intriguing. The game was funded through Kickstarter, so considering its origins, I think what has been done is impressive. I do feel, however, that there were some lost opportunities, so I hope that game developers are inspired by Tokyo Chronos and decide to push the application of VR to visual novels even further--it's a step deeper into immersive storytelling!

Tokyo Chronos VR Review (part 4)

During the game, there were some instances where I found myself placed in unusual locations that I didn't expect, and this created more immersion for me. For instance, at one scene change I was suddenly sitting inside a car talking to someone else in the driver's seat. I liked that the game framed the scene by positioning me at the best angle to observe the events. Moments of action were highlighted in typical VN fashion with the presentation of a static art image (known as a CG.) These were often displayed as smaller, flat panel art, framed almost as if they were taken right out of a comic book. This approach enhanced the feeling of being inside a manga/anime world, and it was a nice touch. The audio of the game was well put together, with a subtle soundtrack that enhanced the mood, sometimes crescendoing to enhance the tension or dropping out altogether to let silence weigh on my nerves. Sound effects weren't distracting or overused, but served to augment each appropriate moment. The overall presentation was very fitting for an anime setting with a dark undertone. 

Tokyo Chronos VR Review (part 3)

If you were expecting live action anime in Tokyo Chronos, keep in mind that visual novels (VN's) involve mostly static backgrounds and characters with short animations, if any. If you're familiar with Live2D in some VN's, the characters in Tokyo Chronos were animated similarly, with blinking eyes, moving lips when speaking, and a few other small movements here and there. Each character had a good range of body poses and facial expressions, which helped amplify the impact of the dialogue. The dialogue was nicely voice acted and fit each character well, but it was all only in Japanese. Reading the printed dialogue is a must for those unfamiliar with spoken Japanese, though this of course won't be unusual for anime fans. The text is clearly printed inside your sight range, wherever you look. There is even an option to fix the text to a horizontal level so it doesn't stay in your vision if you look up or down. No worries for those of you with VR motion sickness, because you cannot move in Tokyo Chronos. The story places your character in every scene, positioning you to stand, talk, and observe everything around you, taking in the atmosphere as the story unfolds.

Tokyo Chronos VR Review (part 2)

When I started Tokyo Chronos on PSVR, I used the Move controllers because the game was advertised as having that option. Other than using them essentially as laser pointers during menu selection, though, the controllers were otherwise not utilized beyond simple button pressing. I had hoped to be able to see my arms and hands move at least, but I existed in the game as an armless torso--I could look down at myself and see the school uniform my character was wearing. Another thing I noticed right at the beginning of the game was that the scale was off, regardless of the height adjustment option. Perhaps this was intentional, but it felt weird being a 10 foot giant among other 10 foot tall characters, in a world where everything felt larger than it should be. Everything was proportionately scaled within the game environment, but my own sense of scale from my reality was definitely different. However, the art in Tokyo Chronos is all done in a very anime style, so realism is not something to expect. I enjoyed feeling like I was a character in an anime world, and at several points in the game, I actually could see what my character looked like when standing in front of a mirror. The art style had a cel-shaded feel with a color palette that was an odd mix between characters and environment, but the overall tone was consistent. 

Tokyo Chronos VR Review (part 1)

I recently downloaded a new game for VR called Tokyo Chronos. This game is the one of the first of its kind--it's a visual novel in VR! As a visual novel writer and developer myself, I was very excited to see this genre of game enter virtual reality. This week, I'll share my impressions and opinions about Tokyo Chronos, which is a monumental step for visual novels. Although I am nowhere near finishing the game yet, I think that the 5 chapters I have played so far are enough for me to give a fair analysis. I'll focus on the game itself and not the story, to avoid spoilers. A few things really excited and impressed me, and other instances felt like opportunities lost. Is VR a good fit for visual novels? I think it is, and Tokyo Chronos is a step in the right direction for the genre.