View Full Version : A design for FF ; To be continued?

2nd Aug 2016, 10:35
Sorry for double-post; at a later time I discovered 'edit'

In the next post is my idea for a Final Fantasy game!

I can come up with new concepts fluently.

I'm a skilled writer, scientist and philosopher, and I would like to offer my services to anyone who sees potential in my discipline and virtuosity.

Please send me a private message if my service could be useful!

2nd Aug 2016, 13:59
The main character's name means good light, he is against evil light on his planet. The cover art for this game would be the protagonist in a calm blue to depict forethought, and in black the antagonist with with two handguns. They cross each other.

The main character is a tactician, he leads a hero character in sepia, greyscale, blue and red, and two in black. These are all the hero characters in the game, some come later.

The antagonist is in command of the speed of light, he has two handguns that orbit him at the speed of light. Magic in this game is based on the speed of light, and some characters are not effected. The main character, sepia and greyscale character's are not effected.

The sepia character is a super solider in sepia coloured advanced armour with headgear.

The greyscale character is a spy, in dark and light grey espionage gear.

The main character is tactician, but also a marksman holding one handgun...

The antagonist is the depiction of War, and all hero characters including the protagonist are reflections of War, to varied degrees.

The protagonist is humane, he shouts orders and is an influential character. He speaks profoundly and has a great heart. He represents what's nearest to good light, while the antagonist is what's against good light.

Enemies in the game are abstractions of weaponry, dimensional creatures or other humans.

The protagonist makes a promise to his planet, that he will make the light good. The lore of the speed of light is that it's irreversible but it was discovered by the antagonist.

The human body is effected by evil light, some can harness it's power and use it for good, and they are called magic artists. Their art is volatile, and they do not have full control, rather, they are skilled enough to manipulate evil light.

Some are physically immune, some are diseased or abstracted by evil light. The premise is that evil light effects all, but the effect has spread, with different velocity. For the protagonist, the effect is only the experience of the story.

Magic is as you would expect in a final fantasy styled game; the elements, time, space, etc. In this game, magic is speed of light themed; and there would be new magic unthought of: dimensional magic; manipulating universal forces; evil magic; manipulating individual forces.

Evil magic and dimensional magic are scarce, they are signs in the story, of how it could end in a good or evil light.

Evil magic is what it is, an evil, black substance. Dimensional magic is of an epic nature, starry and swirling. It's the possibility of dimensional magic that guides the protagonist and his friends, and evil magic is opposed.

I theorize that these special types of magic are event-driven, appearing as 'combo-breaks', 'limit-breaks' or 'special-events'.

Sepia and Greyscale characters are male and female, fatherly and motherly, partners. They both make a sacrifice – she puts herself in danger, and he conquers the danger.

The Red and Blue characters are a white mage and black mage; Blue is attuned with water, and Red is attuned with fire. They are magic artists, and thus have harnessed evil light.

The additional two Black characters represent disease and abstraction. They are superficial Sepia and Greyscale characters, formed out of evil light. They are event-driven but with constant use – successful combos allow for more advanced than Sepia and Greyscale commands.

There are battles all over the world, but the theme is more orientated around a utopia and a dystopia side – opposed desert and flourishing conditions with areas of transition.

In the end, the protagonist defeats the antagonist, and evil light is conquered. The main character dies in the final battle, and the universe becomes attuned with dimensional magic.

(For further inquires, please private message me)!


There is a lot of meaning to be extracted here.

For example.

The antagonist's weapons are symbolic of the antagonist's character in the story.

The antagonist's dual handguns symbolize 'his ego', and 'his promise'.

The antagonist crosses the protagonist with his handguns in the conceptual cover art. This is to show how his ego and his promise disrupt the forethought of the protagonist.

The cover art, if designed fluently, may show an expression of the protagonist in way that depicts his reception.

His countenance is not to be lowered, but contested by the literal ego of the antagonist. The higher handgun in the cover art is 'his ego', and it's position is across the temple of the protagonist.

The antagonist's promise, makes the protagonist cross. This is an emotional effect, and it's where an artistic eye is required. The calm blue of the protagonist must be the absolution of his overall expression, and the protagonist must be fulfilled by the colour, enough to show promise of his own.

The lower handgun of the antagonist is across the protagonist's mouth, and is symbolic of the antagonist's promise directly effecting the protagonist's promise.

All in all, what's depicted is the protagonist knowing the antagonist, and the antagonist knowing the protagonist; this knowledge is repented by the protagonist. The protagonist's knowledge of the antagonist, is also knowledge of the antagonist's knowledge.

The knowledge of the antagonist is over the protagonist's mind ( depicted in the cover art ); the further knowledge, is under the protagonist's heart ( depicted in the cover art ).

The protagonist's heart is what is against the ego of the antagonist, and the protagonist's mind is what is against the promise of the antagonist; though, in the cover art, his ego is across the temple and his promise is across the mouth. Again, an artistic eye is required to depict this; the heart of the protagonist is power, and the mind of the protagonist is speed.*

To conclude, the protagonist is the depiction of good light, and the antagonist is the depiction of evil light, and the two are at war. Good light and evil light have opposite reactions to war; evil light, wants war, good light, needs war.


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 a 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.


The protagonist has a moreover sad reaction to evil light. He is sad for the world, not himself.

He doesn't show his sadness, but it can be seen through his act.

His sad reaction is for the world, but sadness is not the answer. Unity is the answer to evil light, and that's why it has to be a mystery.

Emphasis must be on this mystery. He appears happy, though truly, he is sad - the epitome of a mystery.


There must be moments that unfold this mystery.

The protagonist must know this mystery; and take care not to show sadness as if it was an imperfection.

Theoretically, the protagonist is against his sadness, but because of evil light, it's unstable.

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.