I haven't updated much because as far as I know, the only two people who might actually read this have little to no internet at the moment. However, I felt that this was a huge thing and when/if they read this they would agree. Be warned, it's long.Let me ask you something. What is the one thing that makes all the great dramas . . . great dramas? Emotion!
What do most games lack? Emotion.
Let's take a look at what might arguably be the most successful RPG of all time: Final Fantasy 7. Say what you will about the game, love it or hate it, it sold like nothing else and still has a tremendous fan base. Why?
Personally, I think it had a lot to do with the scene at the end of Disk 1: the death of Aeris (apologies if you never played the game and I just spoiled it for you). Here players are presented with something they have not had before in a game: a sense of loss. This can be quite profound. They played through the game watching romance blossom between this woman and the main character, only to have it plucked away by Cloud's (the main character) arch-rival.
I imagine most people sat there in complete shock, not sure if what they were seeing was real. Many may have had my reaction: "oh . . . shit . . . ". There's a reason the internet buzzed with rumors of ways to bring Aeris back to life, or unluck a sectret ending where she is revived. People wanted her to live and felt real sorrow at her passing. Keep in mind that this is a very basic polygonal character in a video game. Graphics quality wise, this game was quite low quality (although breakthrough for it's time). So the only thing people had to go on was a percieved personality and the interactions of the characters. Square managed to evoke real, true, honest-to-god feelings in people for this collection of polygons on their screens. That, my friends, is story telling.
I have yet to really see any other game do this quite so well. Perhaps they're afraid of being labled 'copy cats'. Perhaps they don't want to deal with the outcry that is associated with real emotion. It's my understanding that there were actual petitions written and campaigns waged over this.
All of that is more of an intro the real thought for the day. I was driving home, trying to come up with a winning idea for a game, and had an ipiffany; every RPG I've played has centered around saving the world. Not their country, or loved ones. Just the world. Each and every time. When I play I have this sense of "I'm the PC, I'm the head ass-kicker in these parts". It's very over the top. Which is fun, don't get me wrong, but it stops leaving a lasting impression the umpteenth time you save the world. I'm not sure about anyone else, but I'm tired of playing games featuring larger than life characters. Characters that are special and just happen to be that much better than everyone else and have the ungodly skills to back it up.
Game Idea Rule #1: Move away from world-saving and larger-than-life
Straying back to FF7, I realized that real emotion is a power thing. If I can make someone cry because of a tradegic event in my game, I've achieved a large feat. If I can make some one feel joy in the same game, I've done the near-impossible. Keep in mind that these emotions are not counting a persons overall personality. If you get a kick out of hearing the dying sound of a virtual enemy, then you'll feel happy after each battle. That's not the point. I mean emotion from a stroyline stand point. I'm talking about scenes that make you sit back and go 'damn, that was fucked up . . .' or 'oh my god, that was beautiful'. I'm talking about the times where you almost (or actually do) sit up and cheer for the good guys.
Game Idea Rule #2: Emotion makes memories
With this in mind, I realized that the game I wanted to make was a far cry from the one I was working on. I had been designing this whole 'chosen one' plot, complete with 'only the hero has this power, and it kicks ass' kind of concepts. And today, I realize that about six years of design and reworking has been for naught. I'm actually glad for it, because I was having trouble keeping up with my own grandiose idea.
Instead, I present this idea for a game, tenatively called Romancing the Stars:
This could be any time period, but for the sake of the idea (and the working name), we'll put it near-future to late-future with a galaxy spanning civilization. The civilization is run by a galactic empire (naturally), with republic tendancies (think a merger between the U.S., U.K., and Japan). Dissent has been growing in the past decade among the galactic worlds, and rumors of an uprising have been floating around.
On a rimward world (yet unnamed) lives a young man, Jacob, with his wife Kaely whom he loves very much. He's not always good at showing it, but he'd die for her in an instant. Kaely is a strong woman who in recent years gave birth to a son. She is fiercely loyal to Jacob, and loves him with all her heart.
About the time that their son turns five (or eight, some young but not too young age), civil war breaks out in the Empire. The fighting reaches the rimward world in short time. Jacob is frantic with fear, for his son has gone missing. He and Kaely are hurrying to find their son and make it to the transport to the starport for the evacuation when all hell breaks loose. One side (no one is quite sure who), begins orbital bombardment of the planet. Under this onslaught the skies are darkend with fighter craft of both sides, flying into combat. Bombs are dropped, missiles go wayward . . . the farm/city/town Jacob and Kaely live in is reduced to burning rubble in short order. During this whole time, Jacob and Kaely are scouring the area for their child, hoping against hope that he still lives. Troops invade the area after a particularly vicious bombardment. Fighting begins in the streets. Jacob and Kaely are seperated at some point. Jacob is taken by one side and Kaely by the other. As they are being lead away - shots firing all around them, explosions throwing dirt and worse into the air near them - they see each other across the battlefield. Jacob and Kaely struggle mightily against their captors, calling to each other with voices filled with passion and dread. And then they're gone.
That's the basic idea I have for the intro sequence to set the stage. From there you will play as either Jacob or Kaely. Jacob has been pressed into service by the side which captured him. However, his thoughts are ever on his wife and son. The story line for both essentially revolves around the one trying to find the other and their child in the middle of civil war. They will keep passing each other by barely a day, tracking down rumors of their loved ones.
The concpet is to have the storyline for both Jacob and Kaely appeal to the relevant gender. I want women to be intersted in playing this game and follow the trials and tribulations of Kaely as she searches for her love and child in a war torn galaxy. I want them to sympathize with her loss, to feel her pain and grow steeled as she does through the ordeals she endures. I do not have much thought out for Kaely at the moment because I want her storyline to be guided by women. I can't even begin to truly understand how their emotions interact with what is going on and so I will not write for them. I will leave that to those who can put themselves in her shoes and feel what she would feel.
Similarly I want men to associate with Jacob, the feelings of primal rage and passion at having lost all that was dear to him and his quest to find it again. I want them to know, if not feel themselves, the raging fire that burns in Jacob so hot that it is cold. Make no mistake, Jacob is not a 'bad ass'. He's just a man. It's his emotion and mentality that will make him stand out to players. The cold rage that carries through his body language and his voice. He isn't sure he can succeed, but he's determined to die trying. I want to tap into that often unspoken pool of emotion that all men have. Most men associate with rage and betrayal. They pick up on darker emotions and ideas such as vengance. That's only part of the story though. In order to be betrayed, you must trust. In order to want vengance, you must care deeply. Both betrayal and vengance come from a root emotion: pain and sadness. That pain is the direct result of love (usually). I want to touch the emotional side of men, without them knowing it. I want them to get as pissed as Jacob is, I want them to feel his pain, to cheer when he finds his wife and/or son. I want a guy to play this game and walk away with a 'wow, that was intense' feeling.