Go. Now.
by 194282646125046492374982689571 on Comments
The music is just beautiful. Enough said.
Q: Do you hate RPGs, or are simply too old-school for the newer ones?
A: I like RPGs, but most of the newer stuff hasn't caught my attention. I am into the older ones more, though..
Q: What's your beef with the modern RPG? Other than becoming more refined graphically, it honestly hasn't changed much.
A: That's it: they haven't changed much. I like newer battle systems or at least well thought out ones. That's why I am anticipating Paper Mario 2 and Final Fantasy XII.
Q: You get new stories, new combat systems, change isn't always required for a genre. That's why you return to them. The innovative ones differentiate themselves, and because the loved methods of the genre, make themselves stand out.
A: The problem I see is that there isn't enough of the well founded and ingenious combat systems around. Every game has its perks (ATB, TB, Action, etc) but none have created something new or done something old well. Chrono Cross sets a good example for this. (New combat system that worked WELL)
Story is something else. With games becoming more graphically focused, I think developers have a harder time saving disk space and time for a grand story. Release dates are another factor. Pluss, much of what I have seen in modern RPGs is less plot twists and more predictable events with the stereotypical cute girl in need of rescue and daring hero saving the world, planet, city, whatever. But I suppose some games change this. I applaud FFX-2 for the fact that it put the player in another character's shoes.
Q: But those are the stereotypes that have been with the genre for a long time. I think, developers decide that they are going for a character drama, so they put out the standard "save the world" plot, and then focus on the characters development. Which isn't bad, but they give up on somewhat original plotlines in the process.
A: I know, but RPGs like FFVI, EarthBound, Chrono Trigger, and Xenogears break those character roles.I don't want to see a boring character develop instead of a brilliant story. Both should be combined, not one sacrificed. Besides, isn't the story what shapes the characters?
Q: Save the world is a good way to bring out everything in a character, but it is overdone. There's either some world threatening monster, evil empire, or a shortage of some critical factor in the world's life.
A: Even Tales of Symphonia, while having a pretty generic plot, was saved by gameplay. So a game can use a save the world plot and recover with other aspects, in my opinion. But the quality could be doubled with a good story.
Q: What about interesting elements to the save the world plot, though?
A: Yeah, interesting inbetweeers help the plot, but it's almost always the same in the end. Then, save the world can be produced in an intriguing manner, such as Metal Gear Solid.
__________________________
Major cookies if you can guess who the person asking the questions is. (It was altered a bit, but just for sake of comprehension.)
Charles and Steve, two ordinary young chaps in a decidedly twisted world. The two boys grew up in 1970 in the same town, attended the same schoolhouse, dated the same girl, but totally missed each other in reality. The two boys grew up, loving and loathing, but never hearing a whisper of one another. Then came the glorious Raining Pies Festival of 1992, the day children and adults danced in the streets, stripping their clothes and letting the filling of pie cover their erogenous zones. Charles and Steve attended this festival, for once locking sights. But as a half uncovered woman ran by, they both turned lusting attention towards her. As the pie festival drew to a close, the putting on of clothes began with much despise (such freedom comes from dessert covered nudity, ya know?). Charles and Steve trudged home to their small suburbanite trailers beached in West Virginia.
Cut to 100 kilometers above West Virginia, a Korean jet flies by carrying the payload of a large vat of chocolate vanilla sauce. Suddenly, an inferior Nerf gun toting Canadian cardboard plane. Darting the Korean ship in the windshield, it makes off in a straight vertical route, crashing into a local residence in Ottawa. The Nerf darts block the Korean’s view. Temporary air turbulence tips the chocolate vanilla pot over onto a small trailer beach located in Virginia’s hick of a brother.
Simultaneously looking up, Charles and Steve wondered at the spectacle before them. Thousands of tones of chocolate vanilla above their heads. All they could think about was how good the sauce would taste on a banana. Charles, being the more sensible one, quickly dashed inside and retrieved the ripe yellow fruits. They were labeled "For use at Banana Slumber Party only", but that couldn’t stop Charles.
The chocolate vanilla concoction hit the earth, blasting various trailer residents left and right, but strangely not up and down. Charles and Steve were exceptions. For some wacky occurrence of the earth’s frequent gravitational shifts, both flew up until banging against the invisible world border found in most restrictive places.
Falling back quickly for lack of wingcaps, a conversation sparked between the two.
Charles: So...
Steve: ...
Charles: Oh, for God’s sake, don’t act like a RPG character.
Steve: Then don’t act like a whiny protagonist, eh.
Charles: Meh. So how ‘bout that explosion?
Steve: Pretty darn tasty. Hey, you got bananas, mate!
Charles: Yup, they’re mine. No bananas for you. When we fall into the predictably vast pit of chocolate vanilla, the feast is for me. :3
Steve: I hate you.
Charles: Great. I like pie.
Steve: OMG me to. Wait...I remember you. You were at the last pie festival, with the naked chick.
Charles: Yah, what fun, eh, Steve?
Steve: Way to kill that overly used jab at funniness.
Charles: Sh’up.
Steve: Wow, look at that tonne of chocolate vanilla we’re about to hit.
Charles: Tonne?
*SCHLOMP*
Log in to comment