Design for Final Fantasy Style Game

[DreamWayfarer]

There are many events and characters that can be imagined in reference to just the cover art.

Again, many things can be imagined in a blank page. Symbolism is an interesting design element, but just it and vague concepts aren't enough.

[s13ep]

 

There are many events and characters that can be imagined in reference to just the cover art.

Again, many things can be imagined in a blank page. Symbolism is an interesting design element, but just it and vague concepts aren't enough.

 

I told you it's not a blank page and I'm contesting your metaphor with my own artistic aptitude that I have earned.

 

My imagery, is different to the imagery of a blank page.

 

To think the two are the same, is to have little creative aptitude.

 

Blank Page versus Good Light & Evil Light - both influence our imagination in different ways.

 

Let's say we both create a story, mine is about Good Light & Evil Light, and yours is about Blank Page; does our writing differ in the end?

 

What I do like about this 'story setting' is that the protagonist is unable to defeat the antagonist on his own...

 

Perhaps he enters, hunted by the antagonist, and sepia and greyscale characters save him, or are already in the process of war. 

 

He has to be a tactician, and give orders that are good for battle ( in every sense of the word ).

 

To build on that idea, there is an tactics system, and there is an active system. there would be the part of the battle you control and part of the battle you do not, but the latter you prepare beforehand. 

 

An order of his may even be made to cause a reaction from other heroes.

 

Another idea is that he is a critical hit character, like the gunblade in Final Fantasy X, but more complex.

Edited August 4, 2016 by s13ep

[DreamWayfarer]

I am not affirming that your imagery is the one of a blank page. I am merely saying that it could benefit from further work. For exemple, could you elaborate on the philosophical basis of good and evil light? You wrote that good light needs war, and evil light wants it. Does that means that peace is found in darkness? Are there good and evil dark as well as light? What is this "promise" so often mentioned?

 

And since this is supposed to be a game, how is the narrative going to be integrated with the mechanics?

Edited August 4, 2016 by DreamWayfarer

[s13ep]

I am not affirming that your imagery is the one of a blank page. I am merely saying that it could benefit from further work. For exemple, could you elaborate on the philosophical basis of good and evil light? You wrote that good light needs war, and evil light wants it. Does that means that peace is found in darkness? Are there good and evil dark as well as light? What is this "promise" so often mentioned?

 

And since this is supposed to be a game, how is the narrative going to be integrated with the mechanics?

These are questions we all face because of the concept.

 

I treat good as the sensory aspects of the game, and evil as the other aspects of a human.

 

Whatever you treat good as, it doesn't matter, the questions we faced earlier are still present. You can have your own philosophy, but the visual aspects are surely good. They were made by someone wise, they were expressed wisely.

 

The most you could do is look like the antagonist, to the creator of the story.

Edited August 4, 2016 by s13ep

[s13ep]

FINALE

The story is of a war of good light and evil light.

 

Good light and evil light are dual concepts, The good of the matter is the sensory aspect, and evil is what's against it.

 

The cover art would be the antagonist in cutting-edge black crossing the calm blue face of protagonist in two places, with dual handguns.

 

The protagonist's temple and mouth are crossed.

 

The protagonist's expression is to depict knowledge of the antagonist.

 

The protagonist must cross the antagonist with forethought – the antagonist is to be depicted wrathful. This shows the antagonist's knowledge of the protagonist.

 

On the protagonist's expression, because of his knowledge of the antagonist, he is depicted to counter the crossings naturally. The protagonist's eyes are to register the antagonist, and his mouth is to react to the entirety.

 

He looks focused on the thought of the antagonist, his mouth straightened. A mark on the antagonist's gun draws half a sad expression.

 

To conclude on the cover art, the visual side has the capacity for a story, fine details of the crossing are symbolic of the cohesive art. It explains the concept, but not the story.

 

The antagonist, evil light, has harnessed the speed of light, but the technology is for himself. Nature, in turn, becomes abstracted and diseased by the antagonist's power, but some nature is apt enough to fight it.

 

The speed of light is the theme to all stylistic aspects, and is the source of the super-natural.

 

The protagonist, good light, is at the forefront of war.

 

He is not diseased or abstracted, but he is aware of the danger. The protagonist is sad, but his sadness is a mystery.

 

Magic artists are those who had an alternate reaction to the antagonist's power. A magic artist is stricken by nature, and is immune to evil light. Magic artists are unstable, but great in war.

 

The protagonist is a tactician and marksman, with one handgun. He commands six characters all symbolic of colours: a super-solider symbolic of Sepia, a spy symbolic of Grey, a duo of magic artists symbolic of Red and Blue, and an abstract character and a diseased character symbolic of Black.

 

The super-solider and spy are in a relationship; the super-solider is the strengths, and the spy, the weaknesses. There is duality, and they support each other. The super-solider is fatherly and the spy is motherly.

 

The duo of magic artists are opposed in character, and they are related on this basis. The Blue magic artist is defensive, and stricken by water. The Red magic artist is offensive, and stricken by fire. The dual personalities reflect their art, and the instability of magic.

 

The abstract and diseased characters, are an alternate super-solider and spy. The way that they differentiate is the absolution of their personality. Their strengths are stronger, and weaknesses, weaker, but overall less strengths and weaknesses.

 

The seven heroes can win the war, but only in unity.

 

The antagonist is the depiction of war, and the heroes reflect the antagonist – they are the depiction of peace, together.

 

The story revolves around the antagonist, and the protagonist is a symbol of this revolution. The story is the protagonist's revolution of the antagonist, therefore, the protagonist is the story.

 

Worldly events are to depict aspects of the protagonist's revolution.

 

In reference to the conceptual cover art, the details symbolic of the cohesive concept define the limits of these events.

 

Remember the protagonist's expression, the antagonist's crossing and more, but forget not the protagonist, nor antagonist. The 'thought of the antagonist', that's depicted by the protagonist, can be expressed again and again.

 

Where the cover art shows the protagonist's thought of the antagonist, there could be an event that is symbolic – this event is one of numerous key events.

 

The thought of the antagonist was stimulated by the crossing at the temple.

 

A scene: the protagonist crosses the temple of the antagonist, to pacify his own thoughts.

 

Another scene: the antagonist first crosses the protagonist's temple, leading to his thought of the antagonist.

 

These are key beginning and end events, and are scarce; however, the passage from beginning to end is worldly.

 

Any normal event is limited by key events, and is symbolic of the story.

 

The world is divided into places that symbolize key events of the concept. A place that's like the crossed temple, and a place like the crossed mouth; a good climate and a bad climate, are the most significant environments, and then the additional transitional environments.

 

There are four types of magic: white, black, dimension and evil. White and black are unchanged.

 

Dimension magic is swirling and is a sign of good.

 

Evil magic is singular, and is a sign of evil. A black substance.

 

The finale is when dimension magic conquers the evil magic, and the universe becomes heavenly.

[Hurlshort]

Bravo!

[s13ep]

Bravo!

Thank you.

 

My apologies that I can't fill in what's blank, I'd need the additional graphics.