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Dialogue
Say it with me now. Change is good, and empowers you. No amount of work and investment of time is wasted when it broadens your experience with media and allows you to think
outside of your comfort zone. It's this zone that will make you seem lazy to others, when in fact you're working far harder than you should be. There are so many easy things you
can do to improve your game in less than a day it's startling.
First go read this new article on the site's blog: http://forums.rpgmakerweb.com/index.php?/topic/35768-5-things-people-don’t-customize-in-rpg-maker/
This is a very good first step. Now you have an advantage of being informed and know what to look for.
A few questions people have asked:
How did you go about doing class progression in your game?
The game I'm currently developing calls for class progression but I wasn't sure how to do it in a fluid manor.
I answered this briefly in PM, but it deserves it's own topic. The situation of this type of progression is in a lot of games.
I did several things in my own game to signify that the actor's class had changed:
Different graphics for the character in and out of armor, and then in better armor when he changed a second time near the end.
A custom Animation, and sound effects to accompany it. This isn't just used in scene however. Don't go thinking you need to create new material just
for the sake of a single scene. When I planned this out I made sure the animation could be used for multiple scenes, and for battle as well.
I never make something with the intention of only using it once.
I used change actor graphic, and change actor class as well. Unfortunately the player has no idea anything has changed until they visit the menu screen and skills. What happens behind the curtain is
oblivious to the player.
They may not check the menu before battle and become confused if forced into a fight. That will put them at a disadvantage and be rather frustrating only to
see things they aren't familiar with.
*An NPC may be needed to verbally inform.
*The animation visually informs and new actor graphic reinforces that.
*The 'Meta Effect' sound alerts the player a change is taking place.
Meta Effects are for the player only, the characters don't hear them in their environment.
They can be for items, events like Inns that restore the party, or signify you have made progress to the plot.
Now the player has an idea that a change has taken place. The more familiar they are with a meta effect sound, the better they are looking for the other cues.
I made sure to keep this process to cut scenes and plot related events where the player knew something would happen and was informed visually as well as through sound.
The most important thing is that the characters themselves react to the change and are aware it happened.
Behaviors: This is one of the highlights of my workshop. I love to do them for friends.
People have mannerisms, and so do characters. Jayce loves to move, and most of his behaviors will involve him doing so.
Stacy is very strong and aggressive, since she is the left hand of the law.
Her leg work and his moves combine to make them Wheels and the Leg Girl!
Here is a small sample of how I would expand DLCs materials to fit a game.
No DLCs are not complete either. You'll always be able to improve materials in this fashion.
This tileset is incomplete! Why should I use it?
Realize one obvious thing any tileset artist will tell you. EVERY SINGLE tileset of any style, and of any degree including the RTP is incomplete. Do you know why?
You can always add to it.
Take a look at this very simple map.
Notice anything about it? Try looking at the stairs. For those of you who know about the DS set you'll know only the ruined castle set has a staircase for it's rug autotile. Where did this one come from? I made it because I needed it for a scene, and now that I have it I can expand on the set for myself.
I'll start with the original rug and cut out the section I need. Since the design of the tassels is the same throughout, I can keep that. I'll mimic the ruined tileset staircase and choose a darker color for the segments of the stairs.
Since the golden inlay or design is different at points I'll select only that portion I need. So I have two versions. A default without the design and one with it, which can change if I don't like how it looks when I use it in game.
I'll alter the tileset and rename it as an edit, so it will show up directly above the original one. I don't want to alter the default one in-case of an oppsie. Load the amended tileset into the game.
Now I reassign the tileset section and use the material in game to observe if changes need to be made.
Time taken? 5 mins. New Resource, happy people, and improved game. You just made three magic things happen in 5 measely minutes. You are now a sorceror. We will burn you later.
Desensitize yourself. There is nothing to fear in trying to improve what you have, and putting your effort into right places.
Next time, animations. People seem to think they are hard, and making custom ones are hard to do. We'll dispel that myth next with some examples and get your feet wet.
For example purposes, our characters will be Stacy and Jayce. Say Hello Kids.
They're shy. They are also in the vacuum of space.
Maiko was generous enough to let me use these commissions towards the workshop. Be sure to visit her workshop!
If you want to improve your dialogue writing skills I can offer a few suggestions. This was brought about in part due to the recent IGMC were we all saw a lot of work from the community. It is clear that
there has been no resource, or workshop devoted to something as powerful as the information the player sees. All information communicated to the player that is necessary to play or enjoy the game comes through 'meta' or regular dialogue/alerts. It works just like any other resource and can become a very powerful tool if you use it in conjunction with graphics and sound effects.
The first piece of advice I can give you is to use the comment tool. This is something anyone of any level can do in RPG maker.
Open a new event, first tab, "Flow Control"(At the very bottom) :Select Comment. There is a very good reason why the comment command is under this category.
To plan a scene simply write the action in the comment section. Be as detailed or brief as you like.
This doesn't effect events, nor does it impede the game in anyway to leave them peppered around your event pages. Think of them like an outline.
Don't make multiple pages and conditions.
Get a clear and concise flow of how a player will view the scene. Make sure you list what information they need to continue the game through comments first.
Write everything that a character will say in word/notepad first.
Don't type any dialogue directly into RPG editor's text box as you go. This is a horrible way to control the amount of information the player gets. It's especially harmful when you start to weigh down a section of exposition that isn't needed. The more you do this the less likely you are to go back and edit.
When a character yells it isn't in all capital letters. The same applies to italics and color, as it is usually only one word which is the focus of a statement; and this is given by context.
Let's try our example pair of characters Stacy and her brother Jayce.
Comment: Stacy yells at Jayce to clean the toilet seat.
Stacy: You'd think being in a chair all day you'd manage to not make a mess on the toilet seat.
Obviously this was not bloody murder. There is no wrong here that cannot be righted. There is no need for an exclamation point.
Comment: Stacy yells at Jayce for killing an alien dealing Narcotics outside of the abandoned mall.
Stacy: God damn it Jayce! He was our only lead. Now what are we going to do?
The reader isn't foolish. They know Stacy is still yelling, and the tone of the character even if the portrait associated is unchanged
when Stacy uses that first exclamation mark. Context is also providing the scene with emotion.
Yelling things doesn't make them dramatic, sorry. Real emotion is pinballed off of another character. This is why movies don't star one person.
The bane of my existence as a writer. These little three dots add nothing, nadda, zilch, zero to your story and dialogue. If you need a pause use \| or the emoticon bubble for the character graphic. Keep it out of the text box. I've seen games were "..." took up pages upon pages of space, and those were professionally done commercial games. Pauses in dialogue aren't written in, they are actions made by the character.
Action has no place in the written word. Don't put asterisks with emotional actions inside of text with the character locked in one emotional state. Emotion isn't something that is directly communicated by spoken word. It can be inferred or implied, but the real indicator is a portrait/facial expression. Typing out an emotion, or lack there of will burden the dialogue window. This goes double if the portrait/facial expression is unchanged.
Written action of a character has no place in the spoken word. It's the same in the real world. If you want to punch someone, you do not do it with words. You do it with a
visible action.
This means any action a character does won't appear in the dialogue window, at all.
In order to keep your train of thought between the spoken word use comments to mark actions.
Comment: Stacy hits Jayce.
Later you can come back and animate this with a sprite, or small animation. Remember the player won't be looking for the action itself, but the sound effect, the visible effect, and the
reaction of the character Jayce to being hit more than *She hits him*. Even if you have no graphical experience you can still set minimal indicators an action has happened, and even without
the audio and visual cue it's the reaction of the victum that determines a player's reaction. Is it funny? Is it a serious wound? Only Jayce's reaction can tell us.
Jayce: It's a good thing I'm already in a wheel chair.
Now we know it isn't serious, and he took it in stride.
This can work out a great deal better-
Comment: Stacy hits Jayce knocking him into something. Since he isn't out of the wheel chair no new sprite edit is needed.
Move to < Backup > Jayce's Sprite Speed 4x
Stan: Consider how the furnature feels in this situation. Yeowch.
You can even get away with minimal movement making a small event from the tile set to fall around the character to show that objects were displaced while he was hit.
That's just another simple move command for a makeshift sprite.
Enhancing the dialogue relies on your control of movement, and of sounds. Not in writing actions with the written words.
For the best examples look at how plays and screen plays are written.
Directing the action through a comment or writing out a script in advance helps you to show someone what is inside your head, rather than giving us a run down
or skimping details that could enhance the story.
***
Comment: Jayce has stolen evidence from a crime scene, but doesn't want Stacy to know.
Jayce: Let's just get home. After the aliens, and you getting caught under a car I don't want to imagine what else is going to happen to us.
Stacy: Hey wait up! Since when are you this fast?
Jayce: Sorry, it's downhill. I have the advantage here.
SFX: Crumble, Snack, Thunk.
Stacy: What was that?
Jayce: Probably one of the junkers on the road ready to give out.
Stacy: Jayce you aren't fooling me.
Batch Entry Stacy(Shock): Did you take something you weren't suppose to from the police barracade?
Jayce(Eyes half down): No. Did you?
Stacy: They left those donuts out for everyone.
Move to <Event Stacy: Stop. SFX: Munch. Resume Walking.>
Stacy: Besides I'd never thought I'd eat again.
Emotion isn't something that is directly communicated by spoken word. It can be infered or implied, but the real indicator is a portrait/facial expression.
Typing out an emotion, or lack there of will burden the dialogue window. This goes double if the portrait/facial expression is unchanged.
Try telling someone you are unhappy without altering your tone of voice. We don't have the vital tool which helps us with expression and judgement here in the editor.
Comment: Jayce tells Stacy he is unhappy with their work fighting alien narcotic dealers.
Jayce: Stacy, I wanna go home.
Stacy: You'd think I'd be the one whining after getting trapped underneath that car.
Batch Entry Stacy: What's wrong now?
Jayce: I want to go back to school, and be a water boy again. Even if coach won't let me join the real football team.
Jayce(Crying): I want to see my friends again. I wanna eat normal food. I don't want aliens hurting us anymore.
Stacy(Annoyed): Tough. We made a decision, and we have to stick with it. Our parents were killed by these Space Narcotic Alien dealers.
Stacy(Angry): You think I'm not home sick too? I don't miss netflix? Jesus Jayce! A new season of Sword Art Online was out.
SFX: Sniffles.
Stacy(Normal): Come on. I'll buy you a whatever they drink on this planet.
SFX: Sniffles.
Jayce(Normal): Coca Cola?
Stacy: Well I was hoping for something less like pure acid, but yea sure.
Now we know what emotions we need to make a scene. We don't have them off hand which means we hunt for them, or make them. We know what we need ahead of time, so that means it will get used!
If you want to improve your dialogue writing skills I can offer a few suggestions. This was brought about in part due to the recent IGMC were we all saw a lot of work from the community. It is clear that
there has been no resource, or workshop devoted to something as powerful as the information the player sees. All information communicated to the player that is necessary to play or enjoy the game comes through 'meta' or regular dialogue/alerts. It works just like any other resource and can become a very powerful tool if you use it in conjunction with graphics and sound effects.
The first piece of advice I can give you is to use the comment tool. This is something anyone of any level can do in RPG maker.
Open a new event, first tab, "Flow Control"(At the very bottom) :Select Comment. There is a very good reason why the comment command is under this category.
To plan a scene simply write the action in the comment section. Be as detailed or brief as you like.
This doesn't effect events, nor does it impede the game in anyway to leave them peppered around your event pages. Think of them like an outline.
Don't make multiple pages and conditions.
Get a clear and concise flow of how a player will view the scene. Make sure you list what information they need to continue the game through comments first.
Write everything that a character will say in word/notepad first.
Don't type any dialogue directly into RPG editor's text box as you go. This is a horrible way to control the amount of information the player gets. It's especially harmful when you start to weigh down a section of exposition that isn't needed. The more you do this the less likely you are to go back and edit.
When a character yells it isn't in all capital letters. The same applies to italics and color, as it is usually only one word which is the focus of a statement; and this is given by context.
Let's try our example pair of characters Stacy and her brother Jayce.
Comment: Stacy yells at Jayce to clean the toilet seat.
Stacy: You'd think being in a chair all day you'd manage to not make a mess on the toilet seat.
Obviously this was not bloody murder. There is no wrong here that cannot be righted. There is no need for an exclamation point.
Comment: Stacy yells at Jayce for killing an alien dealing Narcotics outside of the abandoned mall.
Stacy: God damn it Jayce! He was our only lead. Now what are we going to do?
The reader isn't foolish. They know Stacy is still yelling, and the tone of the character even if the portrait associated is unchanged
when Stacy uses that first exclamation mark. Context is also providing the scene with emotion.
The bane of my existence as a writer. These little three dots add nothing, nadda, zilch, zero to your story and dialogue. If you need a pause use \| or the emoticon bubble for the character graphic. Keep it out of the text box. I've seen games were "..." took up pages upon pages of space, and those were professionally done commercial games. Pauses in dialogue aren't written in, they are actions made by the character.
Action has no place in the written word. Don't put asterisks with emotional actions inside of text with the character locked in one emotional state. Emotion isn't something that is directly communicated by spoken word. It can be inferred or implied, but the real indicator is a portrait/facial expression. Typing out an emotion, or lack there of will burden the dialogue window. This goes double if the portrait/facial expression is unchanged.
Written action of a character has no place in the spoken word. It's the same in the real world. If you want to punch someone, you do not do it with words. You do it with a
visible action.
This means any action a character does won't appear in the dialogue window, at all.
In order to keep your train of thought between the spoken word use comments to mark actions.
Comment: Stacy hits Jayce.
Later you can come back and animate this with a sprite, or small animation. Remember the player won't be looking for the action itself, but the sound effect, the visible effect, and the
reaction of the character Jayce to being hit more than *She hits him*. Even if you have no graphical experience you can still set minimal indicators an action has happened, and even without
the audio and visual cue it's the reaction of the victum that determines a player's reaction. Is it funny? Is it a serious wound? Only Jayce's reaction can tell us.
Jayce: It's a good thing I'm already in a wheel chair.
Now we know it isn't serious, and he took it in stride.
This can work out a great deal better-
Comment: Stacy hits Jayce knocking him into something. Since he isn't out of the wheel chair no new sprite edit is needed.
Move to < Backup > Jayce's Sprite Speed 4x
Stan: Consider how the furnature feels in this situation. Yeowch.
You can even get away with minimal movement making a small event from the tile set to fall around the character to show that objects were displaced while he was hit.
That's just another simple move command for a makeshift sprite.
Enhancing the dialogue relies on your control of movement, and of sounds. Not in writing actions with the written words.
For the best examples look at how plays and screen plays are written.
Directing the action through a comment or writing out a script in advance helps you to show someone what is inside your head, rather than giving us a run down
or skimping details that could enhance the story.
***
Comment: Jayce has stolen evidence from a crime scene, but doesn't want Stacy to know.
Jayce: Let's just get home. After the aliens, and you getting caught under a car I don't want to imagine what else is going to happen to us.
Stacy: Hey wait up! Since when are you this fast?
Jayce: Sorry, it's downhill. I have the advantage here.
SFX: Crumble, Snack, Thunk.
Stacy: What was that?
Jayce: Probably one of the junkers on the road ready to give out.
Stacy: Jayce you aren't fooling me.
Batch Entry Stacy(Shock): Did you take something you weren't suppose to from the police barracade?
Jayce(Eyes half down): No. Did you?
Stacy: They left those donuts out for everyone.
Move to <Event Stacy: Stop. SFX: Munch. Resume Walking.>
Stacy: Besides I'd never thought I'd eat again.
Emotion isn't something that is directly communicated by spoken word. It can be infered or implied, but the real indicator is a portrait/facial expression.
Typing out an emotion, or lack there of will burden the dialogue window. This goes double if the portrait/facial expression is unchanged.
Try telling someone you are unhappy without altering your tone of voice. We don't have the vital tool which helps us with expression and judgement here in the editor.
Comment: Jayce tells Stacy he is unhappy with their work fighting alien narcotic dealers.
Jayce: Stacy, I wanna go home.
Stacy: You'd think I'd be the one whining after getting trapped underneath that car.
Batch Entry Stacy: What's wrong now?
Jayce: I want to go back to school, and be a water boy again. Even if coach won't let me join the real football team.
Jayce(Crying): I want to see my friends again. I wanna eat normal food. I don't want aliens hurting us anymore.
Stacy(Annoyed): Tough. We made a decision, and we have to stick with it. Our parents were killed by these Space Narcotic Alien dealers.
Stacy(Angry): You think I'm not home sick too? I don't miss netflix? Jesus Jayce! A new season of Sword Art Online was out.
SFX: Sniffles.
Stacy(Normal): Come on. I'll buy you a whatever they drink on this planet.
SFX: Sniffles.
Jayce(Normal): Coca Cola?
Stacy: Well I was hoping for something less like pure acid, but yea sure.
Now we know what emotions we need to make a scene. We don't have them off hand which means we hunt for them, or make them. We know what we need ahead of time, so that means it will get used!
outside of your comfort zone. It's this zone that will make you seem lazy to others, when in fact you're working far harder than you should be. There are so many easy things you
can do to improve your game in less than a day it's startling.
First go read this new article on the site's blog: http://forums.rpgmakerweb.com/index.php?/topic/35768-5-things-people-don’t-customize-in-rpg-maker/
This is a very good first step. Now you have an advantage of being informed and know what to look for.
A few questions people have asked:
How did you go about doing class progression in your game?
The game I'm currently developing calls for class progression but I wasn't sure how to do it in a fluid manor.
I answered this briefly in PM, but it deserves it's own topic. The situation of this type of progression is in a lot of games.
I did several things in my own game to signify that the actor's class had changed:
Different graphics for the character in and out of armor, and then in better armor when he changed a second time near the end.
A custom Animation, and sound effects to accompany it. This isn't just used in scene however. Don't go thinking you need to create new material just
for the sake of a single scene. When I planned this out I made sure the animation could be used for multiple scenes, and for battle as well.
I never make something with the intention of only using it once.
I used change actor graphic, and change actor class as well. Unfortunately the player has no idea anything has changed until they visit the menu screen and skills. What happens behind the curtain is
oblivious to the player.
They may not check the menu before battle and become confused if forced into a fight. That will put them at a disadvantage and be rather frustrating only to
see things they aren't familiar with.
*An NPC may be needed to verbally inform.
*The animation visually informs and new actor graphic reinforces that.
*The 'Meta Effect' sound alerts the player a change is taking place.
Meta Effects are for the player only, the characters don't hear them in their environment.
They can be for items, events like Inns that restore the party, or signify you have made progress to the plot.
Now the player has an idea that a change has taken place. The more familiar they are with a meta effect sound, the better they are looking for the other cues.
I made sure to keep this process to cut scenes and plot related events where the player knew something would happen and was informed visually as well as through sound.
The most important thing is that the characters themselves react to the change and are aware it happened.
Behaviors: This is one of the highlights of my workshop. I love to do them for friends.
People have mannerisms, and so do characters. Jayce loves to move, and most of his behaviors will involve him doing so.
Here is a small sample of how I would expand DLCs materials to fit a game.
No DLCs are not complete either. You'll always be able to improve materials in this fashion.
This tileset is incomplete! Why should I use it?
Realize one obvious thing any tileset artist will tell you. EVERY SINGLE tileset of any style, and of any degree including the RTP is incomplete. Do you know why?
You can always add to it.
Take a look at this very simple map.
Notice anything about it? Try looking at the stairs. For those of you who know about the DS set you'll know only the ruined castle set has a staircase for it's rug autotile. Where did this one come from? I made it because I needed it for a scene, and now that I have it I can expand on the set for myself.
I'll start with the original rug and cut out the section I need. Since the design of the tassels is the same throughout, I can keep that. I'll mimic the ruined tileset staircase and choose a darker color for the segments of the stairs.
Since the golden inlay or design is different at points I'll select only that portion I need. So I have two versions. A default without the design and one with it, which can change if I don't like how it looks when I use it in game.
I'll alter the tileset and rename it as an edit, so it will show up directly above the original one. I don't want to alter the default one in-case of an oppsie. Load the amended tileset into the game.
Now I reassign the tileset section and use the material in game to observe if changes need to be made.
Time taken? 5 mins. New Resource, happy people, and improved game. You just made three magic things happen in 5 measely minutes. You are now a sorceror. We will burn you later.
Desensitize yourself. There is nothing to fear in trying to improve what you have, and putting your effort into right places.
Next time, animations. People seem to think they are hard, and making custom ones are hard to do. We'll dispel that myth next with some examples and get your feet wet.
Last edited by a moderator:
