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Bioware's Greg Zeschuk says JRPGs lack evolution

Tellaerin said:
No, you're cherry-picking. 'Lacking in combat skills and maturity.' It's right there. Or do you really think most people would want to play as (for example) some single 35-year-old villager who hasn't figured out what to do with his life yet and still has growing up to do? Would a character like that strike you as appealing to play? Likeable? Sympathetic? I don't think most people would have a lot of respect for a character like that, especially not as a protagonist.



Probably because you don't often hear about complete newbies taking up arms for the first time when they're in their mid-30's or older and going from there to masters of the battlefield/ring/dojo/whatever after such a late start, in fact or fiction. Combat prodigies like that usually seem to start young, have their talent recognized by someone, and develop it from an early age. RPG's with young protagonists key into that trope.

I wasn't aware ability to fight effectively was tied to maturity. Or career satisfaction, for that matter.

Of course, there have many numerous examples given to you throughout the thread and you still call it unrealistic. Real life, literature, movies and video game examples have been given to you, but it remains unrealistic to you. That's no longer an opinion. That's being purposefully obtuse.

Your "man-baby" mantra is also slightly disturbing. Are you against people moving in their 30s? Changing careers? Starting families?

Can you sincerely not think of stories that could be told within those examples?
 
Tellaerin said:
No, you're cherry-picking. 'Lacking in combat skills and maturity.' It's right there. Or do you really think most people would want to play as (for example) some single 35-year-old villager who hasn't figured out what to do with his life yet and still has growing up to do? Would a character like that strike you as appealing to play? Likeable? Sympathetic? I don't think most people would have a lot of respect for a character like that, especially not as a protagonist.
Uh, right above your post I posted two famous and beloved books about adult men who change their lives and grow vastly in maturity. These books are even considered key parts of the literary canon.

People are clearly fine with this.
 
WanderingWind: Well to be fair to the Japanese, which JRPGs are targeted towards, the 30's is a little too late to be changing a career, or moving and a little too early to be starting a family...

And no the ability to fight isn't directly related to maturity, the development of maturity durring the game is there because of the story, which keeps the Japanese players engaged between fighting. Otherwise the game becomes too 1 dimensional, just fight after fight. If that was the case, they could just keep releasing the same game with different gameplay mechanics (However from the sound of some of the people here, they already seem to think that's what JRPG developers do).
 
Coxswain said:
Except you didn't post a scene, and there was nothing to be nullified in the video because there was essentially no relevant content. You posted random smatterings of combat from the first hour of the game, across four or five different scenes; in most of these scenes, your video cut all of Yuri's dialogue, and those that didn't left in one or two lines at most, usually unspoken dialogue.
Had you posted the uncut sequence from the actual game, the game more or less opens with Yuri visibly angry at the class divide between the nobility and working-class citizens of that city, and he gets himself arrested - while making sarcastic barbs against the knights who came to catch him. I mean this is from the first ten minutes of the game. The catalyst for a good deal of the story in the game is Yuri's dissatisfaction and outrage at the way that world's government is run, and one of his more defining character traits is that he doesn't hide that no matter who he's talking to. Further, one of the game's larger themes is of Yuri testing his convictions against the world, up to and including
two clear cut counts of outright coldblooded first degree murder
.
Estelle healing the tree is almost literally the first thing that happens in the game once you leave the starting town. There is no way in hell you played the game and misremembered events from the first two hours as having taken place a third of the way through a 40+ hour game. On top of that, Yuri is not particularly emotive there - he just kinda goes "whoa" and they all move on.

His personality and morality really never change much through the game, either. His character growth is almost completely in terms of maturity, leadership, ambition, etc. The guy at the end of the game is the guy at the beginning of the game, on a larger scale. Frankly, even if you played the game, which I'm pretty fucking doubtful of, you didn't understand it - and it's not a particularly complex bit of writing.

I'm really surprised people are still responding to this WanderingWind troll honestly. He has no idea about what he is talking about, and hasn't for some length of time now in this thread. Saying that the tree scene in ToV happens a third of the way through the game is just the icing on the turd cake.
 
I always heard that it was a cultural thing as to why JRPGs and heroes are so young compared to West.

Something like how HS is seen as the prime of your life over there where as over here its more your 20s-30s which explains the Naruto's vs the SuperMans.

And as fare as gymnastics the younger the person the better for competition . . . but not because they "learn faster" but because they don't have the installed fear for their health. From what I remember the big deal about some 13 yo Chinese gymnastics girl filing to be older (so that she could compete) is because the older you get (even by a few years) the less likely you are to take that risk of trying to pull off something dangerous that might fuck you up.

Younger people have much less of a fear of death because they lack experience and what they lack in that area they gain in arrogance. And being in college I can see first hand how much of a up side there is to being older compared to coming right out of HS.
 
Segata Sanshiro said:
I'm curious. Do you also think there's no such thing as "American" or "Japanese" films? I mean, I can appreciate the Saturday Morning Public Service Message of it all, but there's at least one definition of these terms that undeniably exists.
This is exactly what I'm talking about. The fact that you classify all of "Western" culture under "American" shows that these genres are nothing more than constructs created by the ignorant general public.

I watch plenty of non-American films, but I don't try to place Chinese movies under the same category as Japanese nor French films the same as Russian. In fact, I stopped bothering with regional origin and instead classify them based on their directors.

Same thing with games, and consequently, RPGs: If I know the development team behind them, I could probably tell what to expect, and sop far I simply dislike Tetsuya Nomura's division or whoever's heading Final Fantasy nowdays. Does that have any bearing on how much I like Japanese made RPGs, or even Final Fantasy, in general? NO! I'm actually intruiged by this Akitoshi Kawazu's approach for Crystal Bearers. I liked Etrian Odyssey's return to Wizardry-style role-playing. That doesn't mean I don't like Fallout (although admittedly I haven't had much time with it), or Diablo. Heck, I'm really interested in Tourchlight because of the influence.

And speaking of RPGs, why aren't games like Freelancer, Privateer, Elite, the X series, and Independence War 2 considered as RPGs? Is it because most of them are made in Europe? In fact, all of the comparisons for so-called "Western" origin have largely been Canadian (BioWare) or American (Bethesda).

I just don't see where the cultural gap comes into play. I mean, the Japanese-made Soma Bringer has plenty of inflence from Diablo (heck, Diablo has influenced many subsequent games as well), and the Australian made Shadowrun for SNES definitely picked up plenty of the streamlining from console RPGs. I don't see how the stereotyping has ended up with only post-Playstation era examples of emo teenage protagonists when during the SNES era there were RPGs were there wasn't even a central character. This has become another case of the ignorant majority displaying their lack of comprehension about the subject matter.

If you ask me, it doesn't matter whther theire from Japan, America, whatnot...Videogame RPGs in general have not evolved at all. Dialogue trees? Full customization? NPCs? It doesn't matter: Nobody has been able to emulate D&D's Dungeon Master concept. The best they've been able to do is created prescripted events which everybody could determine on their second playthough. When was the last time a videogame replicated an enire tabletop experience? It has nothing to do with stats, it has nothing to do with systems, it has nothing to do with story. It has everything to do with predictability.
 
ivedoneyourmom said:
WanderingWind: Well to be fair to the Japanese, which JRPGs are targeted towards, the 30's is a little too late to be changing a career, or moving and a little too early to be starting a family...

And no the ability to fight isn't directly related to maturity, the development of maturity durring the game is there because of the story, which keeps the Japanese players engaged between fighting. Otherwise the game becomes too 1 dimensional, just fight after fight. If that was the case, they could just keep releasing the same game with different gameplay mechanics (However from the sound of some of the people here, they already seem to think that's what JRPG developers do).

I never once debated against the fact that JRPGs are meant for a Japanese market. I'm glad both flavors of RPG exist, it keeps the landscape from becoming too homogeneous. I do wish both JRPG and WRPG developers would move outside of their comfort zone more often.

Gestahl said:
I'm really surprised people are still responding to this WanderingWind troll honestly. He has no idea about what he is talking about, and hasn't for some length of time now in this thread. Saying that the tree scene in ToV happens a third of the way through the game is just the icing on the turd cake.

IIRC. If I recall correctly. Meaning I was fully aware my memory might have been hazy as to when the scene happened. You also don't seem to understand what a troll is. TBH, I wasn't aware ToV was such a GAF darling. I'll be sure not to speak ill of it again

I've been looking up ToV scenes on YouTube and my memory on the overall character still seems right on. The "emotion" most people keep attributing to the character of Yuri is exceptionally vague - even to the point where one supporter said he was cool headed, and another said he was angry and sarcastic.
 
And I don't understand why we should keep using classifications such as "WRPG" or "JRPG" when there are far better descriptors for the type of games they represent: Roguelikes, Dungeon Crawlers, open-world...
 
sfried said:
And I don't understand why we should keep using classifications such as "WRPG" or "JRPG" when there are far better descriptors for the type of games they represent: Roguelikes, Dungeon Crawlers, open-world...


That requires too much thought. But I think it's generally understood, when speaking in idle conversation what a JRPG or WRPG is.

If more games like Demon's Souls get made, I think even that will change.
 
Gestahl said:
I'm really surprised people are still responding to this WanderingWind troll honestly. He has no idea about what he is talking about, and hasn't for some length of time now in this thread. Saying that the tree scene in ToV happens a third of the way through the game is just the icing on the turd cake.
Well, it was mostly obvious to begin with that he was just trolling, but this one in particular was so easily falsifiable that I figured I'd go ahead and make sure. Unfortunately it looks like the whirlwind of shit is going to continue unabated anyway, but I can't say I didn't try.
 
WanderingWind said:
That requires too much thought. But I think it's generally understood, when speaking in idle conversation what a JRPG or WRPG is.
I don't think the "differences" are made clear with those definitions. And if you're going by thematics, you might as well bring up the whole "kiddy"/"mature" argument as well.

I don't care it it requires too much though. Better to make considerations than make erroneous assumptions.
 
sfried said:
I don't think the "differences" are made clear with those definitions. And if you're oing be thematics, you might as well bring up the whole "kiddy"/"mature" argument.

I don't care it it requires too much though. Better to consider that than make erroneous assumptions.

I see what you're saying. But even those classifications have started to bleed together somewhat. For example, look at Valkyria Chronicles. Is it a SRPG (I think so, others don't) etc.


Coxswain said:
Well, it was mostly obvious to begin with that he was just trolling, but this one in particular was so easily falsifiable that I figured I'd go ahead and make sure. Unfortunately it looks like the whirlwind of shit is going to continue unabated anyway, but I can't say I didn't try.

Oh, for fucks sake. Get over yourself.
 
sfried said:
This is exactly what I'm talking about. The fact that you classify all of "Western" culture under "American" shows that these genres are nothing more than constructs created by the ignorant general public.

I watch plenty of non-American films, but I don't try to place Chinese movies under the same category as Japanese nor French films the same as Russian. In fact, I stopped bothering with regional origin and instead classify them based on their directors.

Same thing with games, and consequently, RPGs: If I know the development team behind them, I could probably tell what to expect, and sop far I simply dislike Tetsuya Nomura's division or whoever's heading Final Fantasy nowdays. Does that have any bearing on how much I like Japanese made RPGs, or even Final Fantasy, in general? NO! I'm actually intruiged by this Akitoshi Kawazu's approach for Crystal Bearers. I liked Etrian Odyssey's return to Wizardry-style role-playing. That doesn't mean I don't like Fallout (although admittedly I haven't had much time with it), or Diablo. Heck, I'm really interested in Tourchlight because of the influence.

And speaking of RPGs, why aren't games like Freelancer, Privateer, Elite, the X series, and Independence War 2 considered as RPGs? Is it because most of them are made in Europe? In fact, all of the comparisons for so-called "Western" origin have largely been Canadian (BioWare) or American (Bethesda).

I just don't see where the cultural gap comes into play. I mean, the Japanese-made Soma Bringer has plenty of inflence from Diablo (heck, Diablo has influenced many subsequent games as well), and the Australian made Shadowrun for SNES definitely picked up plenty of the streamlining from console RPGs. I don't see how the stereotyping has ended up with only post-Playstation era examples of emo teenage protagonists when during the SNES era there were RPGs were there wasn't even a central character. This has become another case of the ignorant majority displaying their lack of comprehension about the subject matter.

If you ask me, it doesn't matter whther theire from Japan, America, whatnot...Videogame RPGs in general have not evolved at all. Dialogue trees? Full customization? NPCs? It doesn't matter: Nobody has been able to emulate D&D's Dungeon Master concept. The best they've been able to do is created prescripted events which everybody could determine on their second playthough. When was the last time a videogame replicated an enire tabletop experience? It has nothing to do with stats, it has nothing to do with systems, it has nothing to do with story. It has everything to do with predictability.

You cant get a DM experience in a video game. We have gone over this. What works in a tabletop game wont work in another medium. Video games ARE scripted events.

Also I think when Segata said American films, he meant American made films. Possibly British films would also be included.
 
HK-47 said:
You cant get a DM experience in a video game. We have gone over this. What works in a tabletop game wont work in another medium. Video games ARE scripted events.
Mah boi, DMs are what all true RPGs strive for!
 
HK-47 said:
You cant get a DM experience in a video game. We have gone over this. What works in a tabletop game wont work in another medium. Video games ARE scripted events.

Also I think when Segata said American films, he meant American made films. Possibly British films would also be included.
Yeah, there's no way to simulate a DM in singleplayer as such a robust AI would just be completely unfeasible.

However, I did like NWN's approach of letting someone DM in a multiplayer server. That is one thing I'd like to see more RPGs expand upon.
 
sfried said:
I think Greg is overgeneralizing, and so is everyone else.

Despite that, videogames can still arbitrate the experience. It's all a matter of smart coding.

It's still scripting events though. And ideally you want a few branches or routes with polish and constant writing and design then a tons of watered down, boring or randomly generated ones.
 
HK-47 said:
Also I think when Segata said American films, he meant American made films. Possibly British films would also be included.
And it shouldn't be included. Are you telling me 1971 Get Carter is the same as the 2000 remake? What are you, a yank?
Nirolak said:
Yeah, there's no way to simulate a DM in singleplayer as such a robust AI would just be completely unfeasible.

However, I did like NWN's approach of letting someone DM in a multiplayer server. That is one thing I'd like to see more RPGs expand upon.
I don't think it's a matter of needing AI as it is a matter of creating a real-time sequencer. The NWN's approach is one, but we need more people who could pull off crazy shit like the guy Greg mentioned in Retronauts about some modder flying around on a grappling hook, only this time with a greater scope other than just a few hacks.

It's like asking for a game to make its own hacks.
 
Regulus Tera said:
P.S. I don't think I've seen any recent JRPG pull the "repeat question until you answer yes" stunt in a long time. I think the last one was MOTHER 3, and that subverted it by (finale spoilers)
having Lucas pull out the last needle by his own choice, not yours
.

Just want to say that DQ has one of these questions in like every game
 
Margalis said:
It's funny to compare this thread to the FF13 thread where many people are complaining that the game changed too much.

How did the game change too much? Absolutely everything about Final Fantasy XIII is down the same evolutionary path of X and X-2. Absolutely everything about XIII screamed X-2 from the start. Fun battles! HORRIFYING dialogue!
 
I'd say he's spot on.

But as others have said, MOST genres rarely break away from the 'norm'.

The only genre that has REALLY changed much since the beggining is platformers. Goign 3D changed EVERYTHING for platformers.

Aside from that though, pretty much every other genre has stayed the course.

I think the issue here is more that JRPGs are just so fucking boring and repetitive that it SEEMS they've evolved less than other genres.

Which is understandable.
 
Zissou said:
2. Guide-required: It really seems like you NEED a guide to play JRPGs half the time (at least 'correctly'). There was the ridiculousness that was the zodiac spear thing in FF12, and things like that aren't uncommon. Both Mass Effect and Persona 3 have social interactions with other characters, but the difference is that in ME there aren't really any right or wrong choices, while in P3, there's the choice that raises your social link and the ones that don't. The correct choice isn't necessarily obvious, and due to the way time progresses and the famed difficulty in the latter portion of the game, I was playing with one eye on the screen and one eye on the FAQ half of the time.

This is really only a problem for anal completionists and min-maxers. You don't need to get the Zodiac Spear or max every S.Link to play the games 'correctly'. In fact, the evidence is that you are not intended to get those things on your first playthrough. Believe me, once you rid yourself of the concept of needing 100% completion you will enjoy the games a lot more.

By the way, there are plenty of WRPGs that have the same 'require a FAQ' issues. Fallout 3, for example.
 
tokkun said:
This is really only a problem for anal completionists and min-maxers. You don't need to get the Zodiac Spear or max every S.Link to play the games 'correctly'. In fact, the evidence is that you are not intended to get those things on your first playthrough. Believe me, once you rid yourself of the concept of needing 100% completion you will enjoy the games a lot more.

By the way, there are plenty of WRPGs that have the same 'require a FAQ' issues. Fallout 3, for example.

Yeah, I'd like to know how many got the unique chinese assault on their first playthrough without using a guide. Or the pistol from
the mechanist
.

Heck, I'm willing to argue that the reason many people disliked FF12 was precisely the guide-faq mentality. Using mostly what comes up on a regular (non faq'd) playthrough and without grinding the gambit system meant the bulk of uninteresting encounters were dispensed from party micromanagement while requiring fine control for engaging encounters (which doesn't mean just bosses). However as soon as you go with all the unique crap and overlevel the game literally played itself. I am generally against monster-scaling but FF12 is the kind of game that really needed monster adjustment based on party level and gear quality.

Still, Greg's sort of right. Many JRPG mechanics are still firmly rooted on early 80's developments. There is some degree of experimentation on the fringes but the two anchor series are quite conservative. FF is a bit more prone to experimentation than DQ but still...
 
Not to contradict him on his claim, but him saying that is utterly ridiculous and ironic. In what way have WRPGs evolved in say the last 15 years? I can't think of a single thing besides graphics and sound quality. What did Mass Effect and Dragon Age do that games like Fallout, Deus Ex etc. didn't do over a decade ago? What's that? Huh? You mean nothing? You betcha!
 
Bitmap Frogs said:
Still, Greg's sort of right. Many JRPG mechanics are still firmly rooted on early 80's developments. There is some degree of experimentation on the fringes but the two anchor series are quite conservative. FF is a bit more prone to experimentation than DQ but still...

What was it about Final Fantasy X, Final Fantasy X-2, Final Fantasy XI, or Final Fantasy XII that is firmly rooted in the 80s? How is it justifiable to argue that these games have not evolved since the 80s -- substantially, even?

As far as Dragon Quest goes... it's a very traditional series. But I can't understand how the fact that a traditional series coexists alongside plenty of experimental/evolutionary games is in any way a bad thing or indicative of genre stagnation. How does the traditionalism of one series nullify the stuff being done by Atlus or Sting or Level-5? I posed this question earlier, and I still don't feel it's been addressed.

ethelred said:
That is not necessarily a bad thing, and to say that there are games which to continue to exist that hew to an older formula does not say anything about whether the genre as a whole continues to evolve. There is no reason whatsoever why both types of games cannot continue to coexist -- I would actually say it's a very healthy sign, rather than an indicator of stagnation, for a genre to be diverse enough that it allows for older school fare alongside continual, constant variety and evolution.

How is Dragon Quest the "anchor" of Japanese RPGs? If you look at the release lists, I think it's blindingly obvious that these days there are far more Japanese RPGs released that are dissimilar to Dragon Quest than those that are identical to it, whereas on the NES and SNES you had tons and tons of RPGs that were essentially clones of the series.

I don't think you can argue that all of the evolution and experimentation are taking place on the fringe. A lot of the games that have pushed lots of radical gameplay changes have come from big developers, and a lot of them have been highly successful.
 
Zissou said:
2. Guide-required: It really seems like you NEED a guide to play JRPGs half the time (at least 'correctly'). There was the ridiculousness that was the zodiac spear thing in FF12, and things like that aren't uncommon. Both Mass Effect and Persona 3 have social interactions with other characters, but the difference is that in ME there aren't really any right or wrong choices, while in P3, there's the choice that raises your social link and the ones that don't. The correct choice isn't necessarily obvious, and due to the way time progresses and the famed difficulty in the latter portion of the game, I was playing with one eye on the screen and one eye on the FAQ half of the time.

In P3 you only read need to use a FAQ to find out what presents boost S.Links the most. Common sense will see you do well (not perfect) in most of the S.Links you encounter.

And the difficulty of battles in the latter part of P3 is only marginally affected by your S.Links.
 
Kapsama said:
Not to contradict him on his claim, but him saying that is utterly ridiculous and ironic. In what way have WRPGs evolved in say the last 15 years? I can't think of a single thing besides graphics and sound quality. What did Mass Effect and Dragon Age do that games like Fallout, Deus Ex etc. didn't do over a decade ago? What's that? Huh? You mean nothing? You betcha!
Both games have streamlined custom combat systems that are an evolution from their previous games and other games of the genre. Evolution is different to revolution.
 
eggandI said:
344trvk.jpg

Who's the "evil gay kid" antagonist in Persona 3?
Pharos/Ryoji?
 
WanderingWind said:
What does keeping ones cool mean? It means hiding your emotions....meaning stoic.

I am kind of depressed that you are a "professional writer" but you can't correctly utilize a basic adjective like "stoic" in describing a character. :-/
 
XDXDXD not only is Persona 3 like completely wrong...but DQ and FFVII are only half true. Course adding in evil alien and evil fatass doesnt help much but still.
 
Fredescu said:
Both games have streamlined custom combat systems that are an evolution from their previous games and other games of the genre. Evolution is different to revolution.
Perhaps the same could be said of all the other games as well.

And I still disagree with your view that regional origin needs its own form of genrefication. It isn't even an accurate description.
 
MegaTensei Wiki has
Takaya
down as the P3 antagonist, but he's not a kid and I don't remember his sexuality coming up in the game. He is pretty angsty, though.

However, if the "American government" and "Objectivism" are the antagonists of Fallout 3 and Bioshock, then why does the list pick out individuals as antagonists for FFVII and Persona 3? Surely
Andrew Ryan
is the antagonist of Bioshock?
 
sfried said:
This is exactly what I'm talking about. The fact that you classify all of "Western" culture under "American" shows that these genres are nothing more than constructs created by the ignorant general public.

I watch plenty of non-American films, but I don't try to place Chinese movies under the same category as Japanese nor French films the same as Russian. In fact, I stopped bothering with regional origin and instead classify them based on their directors.

Same thing with games, and consequently, RPGs: If I know the development team behind them, I could probably tell what to expect, and sop far I simply dislike Tetsuya Nomura's division or whoever's heading Final Fantasy nowdays. Does that have any bearing on how much I like Japanese made RPGs, or even Final Fantasy, in general? NO! I'm actually intruiged by this Akitoshi Kawazu's approach for Crystal Bearers. I liked Etrian Odyssey's return to Wizardry-style role-playing. That doesn't mean I don't like Fallout (although admittedly I haven't had much time with it), or Diablo. Heck, I'm really interested in Tourchlight because of the influence.

And speaking of RPGs, why aren't games like Freelancer, Privateer, Elite, the X series, and Independence War 2 considered as RPGs? Is it because most of them are made in Europe? In fact, all of the comparisons for so-called "Western" origin have largely been Canadian (BioWare) or American (Bethesda).

I just don't see where the cultural gap comes into play. I mean, the Japanese-made Soma Bringer has plenty of inflence from Diablo (heck, Diablo has influenced many subsequent games as well), and the Australian made Shadowrun for SNES definitely picked up plenty of the streamlining from console RPGs. I don't see how the stereotyping has ended up with only post-Playstation era examples of emo teenage protagonists when during the SNES era there were RPGs were there wasn't even a central character. This has become another case of the ignorant majority displaying their lack of comprehension about the subject matter.

If you ask me, it doesn't matter whther theire from Japan, America, whatnot...Videogame RPGs in general have not evolved at all. Dialogue trees? Full customization? NPCs? It doesn't matter: Nobody has been able to emulate D&D's Dungeon Master concept. The best they've been able to do is created prescripted events which everybody could determine on their second playthough. When was the last time a videogame replicated an enire tabletop experience? It has nothing to do with stats, it has nothing to do with systems, it has nothing to do with story. It has everything to do with predictability.
Um, as HK already helpfully pointed out, when I say "American films", I mean films that come from America, so things like Spider-Man, Jay and Silent Bob Strike Back, Gone With the Wind, and not things like Lock-Stock, Bon Cop Bad Cop, Porky's, or Wallace and Gromit.

You can deny or reject cultural differences if you like, but they are there. It would be sad if they weren't there, in my opinion. I do agree with you that it's a bit silly to try to hammer everything into some sort of definition of what, for example, a jRPG entails, but I think looking at the country of origin can really help inform some of the decisions behind a product.

As some have helpfully pointed out here, in Japan, high school is pretty much the peak time of choice and chance in a person's life. By the time you're 22, you're probably working at the company you will work at for the rest of your life. Now, that is definitely changing these days, but we have to admit, that's a very different cultural background to be working from compared to Canada or America.

As for video game RPGs not replicating the tabletop experience, well, I don't think they ever will, or at least they won't until we can program "imagination" and somehow allow for limitless choice. Even the labyrinthine dialogue choices of some wRPGs are just a drop in the bucket of what would be needed. Fortunately, I also think they don't have to replicate the tabletop experience. They obviously owe a lot to tabletop games and have a lot in common, but I think they have kind of made their own path in the world.

RPGs need to evolve, but I'm not sure evolving towards closer approximations of tabletop games is necessarily the way to go.
 
Curufinwe said:
MegaTensei Wiki has
Takaya
down as the P3 antagonist, but he's not a kid and I don't remember his sexuality coming up in the game. He is pretty angsty, though.

However, if the "American government" and "Objectivism" are the antagonists of Fallout 3 and Bioshock, then why does the list pick out individuals as antagonists for FFVII and Persona 3? Surely
Andrew Ryan
is the antagonist of Bioshock?
Both antagonists represent twisted Objectivism. Hell pretty much all the things trying to attack you represent that.

I agree they dumb down the JRPG side, though DQ and FFVII are pretty general evil big bad dude scenarios. Persona 3 would be
Death in the vanilla game and Despair and Malice in FES
 
WanderingWind said:
I wasn't aware ability to fight effectively was tied to maturity. Or career satisfaction, for that matter.

Of course, there have many numerous examples given to you throughout the thread and you still call it unrealistic. Real life, literature, movies and video game examples have been given to you, but it remains unrealistic to you. That's no longer an opinion. That's being purposefully obtuse.

Your "man-baby" mantra is also slightly disturbing. Are you against people moving in their 30s? Changing careers? Starting families?

Can you sincerely not think of stories that could be told within those examples?

As was pointed out to you earlier, the problem isn't that there aren't stories about older characters that are worth telling.

Let me make this as simple as possible for you.

Most JRPG's tend to combine an epic adventure with a coming-of-age story.

As the story progresses, the protagonist matures physically, and 'comes into his power' as a hero. This is reflected in the increase in his stats/level/combat ability, learning new skills, etc., over the course of the game. Overcoming enemies in battle forms a large part of the experience.

The protagonist also matures mentally and emotionally. They often start out with various personal issues that threaten to hamstring them. They wrestle with those as the game goes on, eventually overcoming them thanks to their interactions with the other members of the party and the game's antagonists.

These growth tracks run in parallel through the course of the narrative. That's obvious to anyone with an ounce of common sense, and shouldn't need to be spelled out. Statements like 'I wasn't aware ability to fight effectively was tied to maturity. Or career satisfaction, for that matter.' are disingenuous at best.

The elements I just listed are common in JRPG's, and I'd go as far as to say that they're defining characteristics in the genre.

And it's easier to sell the audience on a combination epic adventure/coming-of-age story with a young protagonist (16-25) than it is with an older one (35+), because:

  • The hero's level 1 at the start of the game. He's usually presumed to be just starting out in his career, though he might have had some minor experience beforehand. Still, it's usually acknowledged by NPC's, and often the hero himself, that he has a long road ahead. That dovetails neatly with characters in their late teens to mid-20's. At that age, it's easy to believe that they've just finished up their education and are setting off into the world for the first time. Most people I know expect your average person to be settled down and established in their field of choice by their mid-30's. If your hero's a thirty-something warrior with years of experience under his belt, then why is he still level 1? And if he is a settled man with a non-combat trade who suddenly decides to take up arms, why's he making such a sudden, radical decision at this point in his life? You're now faced with the task of selling the player on this scenario. Like I said before, it's not impossible, but you run the risk of a really labored setup, and you won't necessarily end up with a better story to show for it.

  • The JRPG protagonist traditionally grows and matures emotionally over the course of the game. They may lack confidence, feel overshadowed by parents or siblings, have trust issues, etc., and will confront and overcome those problems over the course of their journey. Perhaps things are different for you, but in my experience, people tend to change more radically during their formative years than they do after they reach their 30's. By then, their personalities are pretty well established. Again, it's not unheard of for an older person to struggle with personal issues or experience a radical shift in character, but it is less common than it is in younger people, and that makes it a little harder to sell believably. More importantly, I think people aren't looking for that kind of thing from an older character in the first place. Most of the people clamoring for older protagonists are also the ones who say they dislike the 'emo bullshit' in JRPG's and want Japanese developers to 'move past' it. Giving us older characters, who presumably wouldn't have those kinds of issues to deal with, is their way of addressing that 'problem'. So what do our options for an older hero look like? We might end up with a thirtysomething who's still wrestling with personal issues (which may result in the character being branded as immature by players, and I'm not sure why you find my saying that 'disturbing' - some peoples' negative reaction to Carth in KotOR come to mind), or going in the opposite direction, one who has the maturity to match his age, but whose personality remains mostly static as a result (gutting the character development angle entirely).

Now, if we're really lucky, we might somehow end up with a flawed-but-sympathetic older hero who isn't quite done growing up but still manages to start out likeable, undergoes a believable transformation over the course of the game, and ends up a better person than he started, and does all this without the whole scenario feeling incredibly labored and contrived. But again, what's the point? If you want to tell a good coming-of-age story, it's easier to use a protagonist who is coming of age, one where the epic adventure can double as his rite of passage into adulthood.

Sure, I can think of a lot of ideas for stories with older protagonists. It's just harder to develop a JRPG-style story that really sings while still embodying those aspects of the genre. And that's all I'm after from you. An acknowledgment that the reason the heroes in these games tend to be younger is because that makes them a better fit for the stories these developers are trying to tell than an older cast would be, which you seem hellbent on denying.
 
sfried said:
Perhaps the same could be said of all the other games as well.
This is probably true, and I'm not trying to make the argument that the same isn't true for the majority of JRPGs. I don't have enough knowledge of them to make the judgement one way or the other. I've never even played a mainline Final Fantasy game for example. The two most recent JRPGs I played were Demon's Souls and Mario and Luigi: Bowser's Inside Story, so from where I'm sitting they're fairly diverse.

sfried said:
And I still disagree with your view that regional origin needs its own form of genrefication. It isn't even an accurate description.
Is that my view? Maybe it is. I think game genres emerge origanically. Someone saw that japanese developed RPGs were different to western developed RPGs and decided to differentiate them based on country of origin, and it stuck because a lot of people saw the truth in it. The fact that there might be crossovers doesn't render the labels meaningless. A genre label is never intended to be enough information to tell you everything you need to know about a game.

GillianSeed79 said:
Since when is Bioshock an Rpg? And you better add shitty leveling system as the Anta-gonist to Fallout 3.
Go one further and call it Bethesda.
 
Flachmatuch said:
This is a really bad idea. Adults don't learn nearly as fast as children, so this is just not believable. Directly replacing a young character with an old one obviously does not work. The adult picking up a sword will be clumsy and mostly unable to improve. You'd have to show how he gets the experience and knowledge that a young person can get through training.
Tellaerin said:
You said it better than I could. Thank you.
You two must be very angry you are the only people who did not learn any new skills after the age of 25. Must suck. Sorry, I'm going to go enjoy all the things I learnt after 25 now.
 
Segata Sanshiro said:
You can deny or reject cultural differences if you like, but they are there. It would be sad if they weren't there, in my opinion. I do agree with you that it's a bit silly to try to hammer everything into some sort of definition of what, for example, a jRPG entails, but I think looking at the country of origin can really help inform some of the decisions behind a product.

As some have helpfully pointed out here, in Japan, high school is pretty much the peak time of choice and chance in a person's life. By the time you're 22, you're probably working at the company you will work at for the rest of your life. Now, that is definitely changing these days, but we have to admit, that's a very different cultural background to be working from compared to Canada or America.

As for video game RPGs not replicating the tabletop experience, well, I don't think they ever will, or at least they won't until we can program "imagination" and somehow allow for limitless choice. Even the labyrinthine dialogue choices of some wRPGs are just a drop in the bucket of what would be needed. Fortunately, I also think they don't have to replicate the tabletop experience. They obviously owe a lot to tabletop games and have a lot in common, but I think they have kind of made their own path in the world.

RPGs need to evolve, but I'm not sure evolving towards closer approximations of tabletop games is necessarily the way to go.
I'm not trying to deny the cultural differences. What I'm trying to disolve are the cultural generalizations.

The people who think Japan is nothing but girly men and goth lolita are probably the same ones who think the things depicted in manga and anime are accurate representations of a country. Yeah, and apparently the only district they know of is "Akihabara". (Same thing goes with the kind of thematicas used for RPGs: If all you see is postVII Final Fantasies and Persona, then of course it will reinforce the stereotypes people would persume, especially when many of those games lean more towards otaku-pandering). And once again, you speak of Canada and America as "Western" culture, but that does not encapsulate the whole of real Western culture. That assumption is again a generalization.

As for RPGs, this debate is pointless unless RPG evolution does capture more of a programed "imagination" instead of focusing on just numbers and/or story. It's really the experience one enjoys role playing and reacting to any current situation, but what's more important are the reactions people get when they end up doing something unexpected, as opposed to something predetermined.
 
Fredescu said:
Is that my view? Maybe it is. I think game genres emerge origanically. Someone saw that japanese developed RPGs were different to western developed RPGs and decided to differentiate them based on country of origin, and it stuck because a lot of people saw the truth in it. The fact that there might be crossovers doesn't render the labels meaningless. A genre label is never intended to be enough information to tell you everything you need to know about a game.
And once again it is a logical fallacy. There is no such thing as a "Japanese" or "Western" RPG.
 
sfried said:
I think Greg is overgeneralizing, and so is everyone else.

They need to evolve the narrative and they need to stop changing mechanics just for the sake of having something new. Stick with what works and only evolve it if it's an improvement.

Pacing, story exposition, graphics, etc have evolved to some degree but other areas are straight up stagnant if you ask me.
 
Curufinwe said:
In P3 you only read need to use a FAQ to find out what presents boost S.Links the most. Common sense will see you do well (not perfect) in most of the S.Links you encounter.

And the difficulty of battles in the latter part of P3 is only marginally affected by your S.Links.

Common sense works fine for gifts, too. Yukari's into fashionable things, Mitsuru cultural stuff, Fuka likes simplicity, Yuko flashy or tough, and Chihiro smart, cutesy, or cliched-romantic.

Zissou said:
2. Guide-required: It really seems like you NEED a guide to play JRPGs half the time (at least 'correctly'). There was the ridiculousness that was the zodiac spear thing in FF12, and things like that aren't uncommon. Both Mass Effect and Persona 3 have social interactions with other characters, but the difference is that in ME there aren't really any right or wrong choices, while in P3, there's the choice that raises your social link and the ones that don't. The correct choice isn't necessarily obvious, and due to the way time progresses and the famed difficulty in the latter portion of the game, I was playing with one eye on the screen and one eye on the FAQ half of the time.

Does ME really base nothing but further dialog on its dialog trees? That'd feel really hollow to me. P3/P4's variance in social interactions always struck me as more akin to something I'd find in a WRPG, ironically, than in a stereotypical JRPG; choosing to spend an afternoon on a date with the nerdy girl (and work toward a powerful midgame boost) or training with a sports rival (with my eye on raw endgame power) is just different faces on joining up with the post-apocalyptic slavers (and getting all the leather jackets and 9mm ammo I want) or staying entirely too law-and-order (and eventually getting a clunking suit of power armor.)
In both examples you can minmax your choices and end up with all of the above, or flub a line and make new enemies, but in either the phantasmal few scraps of role-playing followed by consequence that the genre takes its name from come in subjecting yourself to the results of the choice you make for your character.
 
idahoblue said:
You two must be very angry you are the only people who did not learn any new skills after the age of 25. Must suck. Sorry, I'm going to go enjoy all the things I learnt after 25 now.

*sigh* Don't be an ass. Nobody's saying people stop learning after 25. I am saying that, all else being equal, a twentysomething guy who starts training in the martial arts (for example) is going to become more skilled over a given period of time than one who's starting at, say, 40.
 
HK-47 said:
I agree they dumb down the JRPG side, though DQ and FFVII are pretty general evil big bad dude scenarios. Persona 3 would be
Death in the vanilla game and Despair and Malice in FES

They dumb it down to the point of incomprehensibility for Persona 3. Is
Takaya
gay because he doesn't wear a shirt?
 
mujun said:
They need to evolve the narrative and they need to stop changing mechanics just for the sake of having something new. Stick with what works and only evolve it if it's an improvement.

Pacing, story exposition, graphics, etc have evolved to some degree but other areas are straight up stagnant if you ask me.
If there's one sure fire way to become stagnant, that is the way.

Risks are necessary for positive evolution in anything.
 
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