The pure dnd rule is not advisable. This has been tested by history, but Jester shook his head even more because of the production of a pure Japanese-style rpg. Although he has the father of "Final Fantasy", the problem is that the current Itagaki Boshi is just a young boy. His understanding of the game design of the father of "Final Fantasy" is still at the superficial level of a fan. At least he has to participate in the full production of several games before he can mature.

In addition, he is basically all American designers in his hands, and he is more familiar with some American-style games, so he is not suitable for making Japanese rpgs. If he rashly makes Japanese rpgs with pure styles, he will only be a dog that is not a bad person.

Jester knew that until the performance reached a certain level, American-style rpg games could not compete with Japanese rpg in terms of sales reputation and quality, because in terms of plot, gameplay, system, and creativity, these American designers who always focus on overall collaboration are much different from Japanese designers dominated by personal design styles. This gap is determined by design style, and will be the same until the future.

This is why when later gamers mentioned a certain game, if they were from a Japanese manufacturer, then this player could quickly tell which designer made it, but when it comes to games from American manufacturers, few people can know.

Because the personal imprint of this designer left in this game is not deep enough.

Japanese designers value creativity and style, while European and American designers value technology and team. Two thousand years ago, when the technological advantages were not comparable to the gameplay brought by creativity, Japanese manufacturers' games dominated the world, and two thousand years later, when technology developed to the point where creativity could not be completely irresistible, the decline of Japanese manufacturers was inevitable. For example, Sony, the future game console giant, most of his sixteen most famous global studios are located in Europe and the United States, and the three North American strongmen, such as the famous Naughty Dog and Santa Monica, are American game companies with pure blood.

No wonder Keiji Inafuri, the father of Mega Man and producer of "Zombie Siege", will say that "Japanese games have been behind Europe and the United States for five years."

Essentially, there is no concept of Japanese rpg yet.

The first Japanese rpg is just a concept that has not been completed in Miyamoto's mind. The other two models that laid the rules of Japanese rpg may not have been formed in the minds of their designers, and the development of American rpgs is much earlier than Japanese rpgs. In the age when the three major Japanese rpgs were not yet born, two of the three American rpgs have been born.

However, in Jester's eyes, "Witchcraft" and "Genesis", the two games with a strong DND style, are very primitive and very unsuitable for home machine transplantation. You can even say nothing of politeness. The level of these two games is comparable to the three major Japanese RPGs that were born in the next one or two years, and are not at the same level at all.

This may offend some American RPG enthusiasts, but that's the case. Compared with these two games, these two major Japanese RPGs, is basically an insult to the three major Japanese RPGs.

Jester thought a lot. He felt that it would be unrealistic to ask him to lead his current design team, which is basically all American, to create a game that can be compared with "The Legend of Zelda" in terms of sales, but if he wanted to make a similar type of game based on "The Legend of Zelda" and use some creative, richer and more complex game systems that will only be available in future games to enhance gameplay, Jester thought about it and gave up.

Because the production of rpg games is so complicated, it is much more complicated than any type of game.

A group of people who don’t even have how to walk want to learn to run directly. At least Jester is not sure. After all, not everyone is Von Braun. He can directly cross N stages to create Saturn 5 to land on the moon. If his steps are too big, he will not be successful in the end and become a joke in the game industry like "Big Sword".

And for Jester, Nintendo is just a chaser at the moment, at least in the North American market.

He has the supermaster's advanced version of "Ballotelli's Alien Adventure", and even if he gets back a little market share by "The Legend of Zelda" half a year later, he is completely acceptable. With "Ballotelli's Alien Adventure", he can always be invincible for his Mars Entertainment.

But for RPG, a game type known as the jewel in the crown of the electronic game Yu-chan, it is impossible for Jester to be unmoved.

Because this is a game type that can truly reflect the production strength of a game company. Its complexity, its gameplay, its storyline, and its impact on players are incomparable to any other type of game.

If you want to make Japanese RPG to compete for sales with "The Legend of Zelda" for the time being, then the remaining way is to make an exquisite, unique, completely different from the general RPG, and of course, it is also completely different from the arpg game of "The Legend of Zelda".

This game can be niche, but it must have a unique style. All players who play this game for the first time will immediately feel that this is an RPG game that is completely different from any other RPG game, and these players will be amazed like this.

"Damn it! Can rpg play like this?"

Thinking of this, a game type that appeared in front of the world for the first time five years later appeared in front of Jester.

This is srpg.

Speaking of srpg, we must talk about the difference between American and Japanese rpg.

Generally speaking, players distinguish between Japanese and American rpg. In addition to the completely different styles of the two, what is more important is the personality that the two types of games want to express.

American rpg pays more attention to gameplay under rules and strategies, while Japanese rpg pays more attention to expressiveness in plot and performance. This is also the reason why two thousand years ago, the sales of Japanese rpg could crush American rpg, because players can get a more easily obtained sense of accomplishment and happiness from Japanese rpg.

This is what American RPGs with cumbersome rules cannot give to players, and what American RPGs lack is exactly what a game should have the most - to give players happiness.

Strategicity has always been a part of Japanese rpg lacking, and it is also a part of American rpg or American game designers who are good at it. Since pure American rpg is not popular, and the pure Japanese rpg team is not good at it, what will happen if you make a new type of game that is compatible with the advantages of American rpg and Japanese rpg?

While thinking of srpg, this idea also popped up in Jester's mind.

In his memory, two years later, an American game company whose name was no longer available when he read this information in the future completed the planning of a turn-based strategy game with a new and creative idea. However, not long after, the game company closed down before the production of the game was officially started. And for various reasons, the game development plan finally fell into Nintendo's hands.

However, Nintendo occupied 95% of the market share at that time, and was a veritable industry giant. Other manufacturers did not even have the qualifications to kneel down and licked it. There were countless projects under development. Naturally, they would not pay attention to the development plan of such a small company. After the reviewers hurriedly browsed it, they put it on the shelf. Generally speaking, if it were not for special reasons, then this game might have only existed on paper forever.

Maybe it was the sky that opened its eyes. Even God couldn't bear to let such an excellent game eventually disappear. Not long after, a computer game developer named intelligence-systems became Nintendo's second-party software developer. The company's president Akizo Kaga has always been a loyal fan of DND. He accidentally saw this shelved game development plan, so he planned to use the plan as a basis for making a strategic game.

His proposal was also approved by Nintendo.

Maybe even Akizo Kaga himself did not think about how great the game he made was.

When Jester thought of the srpg game type, he naturally thought of the pioneer of this type, and the highest achiever of this type of game in the twenty-four years since its birth.

"The Emblem of Fire".

Indeed, this game is niche and has low sales, but its loyalty and stability is simply shocking. Before Jester was reborn, he had a loyal Nintendo friend, the one who said that no player with a conscience would refuse high-definition pm. He once told Jester that the only game that can make him buy the old new console without even thinking about it is, and there is only "Flame Emblem".

This game combines the strategic characteristics of Japanese RPG in game plot performance and American RPG. This is undoubtedly of great historical significance. It is also the first srpg in the true sense in the world.

"Flame Emblem" has the characteristics of most American role-playing games built by DND at this time.

For example, "Flame Emblem" is set in the European Middle Ages as the background. It is simple and clear in system design but not without rigorous. The weapon consumption, weapon repair, and transfer system that the series has passed down since then makes the game full of regularity and strategic fun. At the same time, "Flame Emblem" also has various characteristics of typical Japanese RPG. For example, the plot tells the story of the dragon tribe trying to conquer the world on the fictional Yagania continent, while the king of the Aridia Kingdom resisted with the sword of light, but encountered the end of destruction. After that, the prince of the kingdom Marus began his journey of restoring the country with the help of the kingdom knights.

In terms of other traditional elements of Japanese rpg, the three-stage transfer settings in the game experience the increasingly mature game system design style of Japanese rpg at that time. In terms of exploration, players can move freely in the big map and explore in the maze full of dark thunders. All these elements are the traditional characteristics of Japanese rpg.

In Jester's opinion, the significance of the emergence of "Flame Emblem" is often underestimated by many people.

Or the pure Japanese RPG style established by Dragon Quest and Final Fantasy is so deeply rooted in people's hearts that the historical significance of "The Emblem of Mars" is infinitely underestimated.

It was a long process for Japanese and American rpg to learn from each other. It was not until the mid-to-earth 1990s that the two began to truly integrate.

"Flame Emblem" is not just the beginning of such a fusion, it also provides latecomers with a fusion template and a judgment that draws on standards.

Just like the Wright brothers let humans fly into the sky for the first time, letting people understand that all human fantasies about the sky can communicate and observe things from another perspective through a specific way. The same is true for "Flame Emblem", which brings a new combination model and reference concept to RPG game production developers all over the world.

In this regard, it may be considered a flight in the history of RPG development.

Jester also believes that if he can launch this game before the Japanese RPG is officially improved, although this game will not be as powerful as the Legend of Zelda in sales, it will definitely not be as niche as in history.

Because this is really a very, very, very good game.

So, after confirming the first game he wanted to make on RPG, Jester was already pulled out and spread it on the manuscript paper on the table, solemnly writing down the name of the game.

"Flame Emblem"!

Then Jester picked up the phone and dialed the numbers of Nakayuji and Itagaki Bashi, and told them to deal with everything in their hands immediately and come to his office to report immediately. When Nakayuji asked if Jaster was going to make a game for Sega, Jester smiled and denied it. He promised Nakayuji that he would postpone the production of Sega's game, and that we would make our own game this time.

Then, he called Tamahiko Yoshiro who was far away in Japan and asked him to help find some outstanding playwrights, artists familiar with Japanese style, and musicians.

Finally, he called Hu Weili, who was helping the music for the Phantom Studio, and asked him to handle the work he had, and immediately report the company to participate in the production of a major project.

After doing this, Jester let out a heavy sigh.

For him, "The Article of Fire" will be the biggest and most difficult game he has participated in. Whether he can reproduce it or even surpass the original version of this game is Jester, but he knows that he can do it.

It must also be done. (To be continued, please search for Piaotianwen, novels are better, updated and faster!
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