October 5, 2007
The
evolution of the RPG
By Dylan
Platt
Console RPGs have come a
long way in the last 20 years—we take a look at what the future holds for the
genre
It’s hard to pinpoint the first
“true” console RPG, but what’s clear is that by the late 80s, the release of
Final Fantasy, Phantasy Star, and Dragon Warrior (Dragon Quest in Japan) saw the
emergence of a new genre. These titles (inspired by tabletop roleplaying games
like Dungeons and Dragons, as well as computer games like Ultima) defined many
conventions that are still used today; random battles, turn-based battle
systems, even specific story elements (the Amnesiac Young Hero who, with the
support of the Quiet Magical Girl, defeats the Supremely Evil Entity Who
Probably Has Multiple Forms, just as an example) are all common to see in modern
RPGs.
And yet, despite the genre’s
steadfast adherence to tradition, it has certainly evolved. Earthbound showed
that RPGs didn’t have to be set in swords-and-sorcery style fantasy worlds, by
setting its epic quest in the modern day. Final Fantasy 7 famously ushered the
RPG into the modern gaming world, through its use of a massive 3D world,
impressive magic effects, and sweeping cinematic sequences. The Pokemon games
created the incredibly popular “monster raising” sub-genre. Games like Star
Wars: Knights of the Old Republic and Fable gave the player incredible control
over the personality and behavior of their main characters. Now, as the current
console generation gains steam, let’s take a look at some of the staples of the
genre, and the games that are destined to evolve them further.
Dialogue
Up to now:
RPGs were the first games to have
in-depth storylines, and dialogue between the player characters and non-playable
characters has always figured in heavily. Traditionally, protagonists were
silent, so as not to impose a specific personality on the player; many classics,
like Chrono Trigger and Super Mario RPG, use the “silent protagonist” technique.
In others, like the Final Fantasy series, the central character has a specific
personality and frequently engages in conversations. Recently, more and more
RPGs have taken influence from the point-and-click adventure genre by allowing
the player a choice as to how their character responds during conversations,
sometimes even altering the course of the game’s storyline.
The next evolution:
Bioware’s upcoming 360 title Mass
Effect will allow the player to alter the course of conversations in real time,
through use of various “moods” – polite, confrontational, inquisitive,
etc-mapped to the second analog stick. When talking to characters, the player
can simply choose the style of response desired at any time (including
interrupting the other character, which might upset them) and the character will
respond, seamlessly and appropriately. The system promises to deliver dramatic,
cinematic conversations unlike anything seen before.
Combat
Up to now:
Early RPGs used simple turn-based
battle systems, menu-driven affairs that gave every character equal chances to
use the skill, item, or attack of their choice; battle was also completely
separate from the main “exploration” portion of the game, and was transitioned
to upon encountering an enemy. Final Fantasy 4 introduced the Active Time Battle
(ATB) system, injecting an element of real-time into battle sequences, allowing
for some characters to move more quickly than others. The system was very
popular, and remained intact through Final Fantasy 9. Other games have tried
various systems designed to integrate the concept of character speed into
battles. Some games that used particularly successful and popular systems
include Grandia (which used a 3D battlefield, in which the characters could
reposition themselves in real-time, but could only attack based on an ATB-style
meter) and Star Ocean (used a 3D, real-time, action-oriented battle system,
inspired by beat-em-ups like Double Dragon). In most cases, though, battles have
always been heavily stylized; characters usually stand in rigid formations,
stepping forward to attack or perform other actions. Final Fantasy 12 broke from
tradition, utilizing a much more realistic battle system that saw characters
maneuvering and attacking in real time (although the action could be paused at
any time for the player to issue commands), with behavior dictated largely by
pre-set conditions called Gambits. It was also one of the first traditional RPGs
that did away with the notion of a dedicated battle system that was transitioned
into and out of; battles are fought on the same map as exploration takes place,
with no transition necessary.
The next evolution:
White Knight Story from Level-5 uses
a battle system that is more realistic than any seen before in an RPG, or nearly
any other genre. When characters approach enemies, both sides draw their weapons
and the battle begins, like in Final Fantasy XII, without a transition to a
separate battle mode. White Knight Story, however, takes the idea one step
further; attacking and blocking is now acted out graphically, with swords
actually connecting and shields physically deflecting blows. The game depicts
all this on the fly, so that each battle is unique, kinetic, and physical. This
unique physicality of combat also comes into play with the game’s combo attack
system, where (for example) one of your party members could put an enemy guard
in a hold, almost like a fighting game, so that you can attack unimpeded.
Story
Up to now:
Storylines in RPGs began as strictly
linear fantasy tales. As the genre began to grow, developers began to branch out
more, both in setting and plot details; several RPGs on Super Nintendo (Robotrek
and Star Ocean come to mind, though Star Ocean never saw an American release)
tried their hand at science-fiction stories, and the aforementioned Earthbound
was set in modern day. Chrono Trigger introduced the idea of multiple endings to
an RPG, specifically ones that could be brought about by certain actions on the
player’s part; this is now an accepted, even standard, feature in the genre. It
wasn’t until recently that player choice could influence the moment-to-moment
storyline, as opposed to merely the ending; PC RPGs like Deus Ex and Neverwinter
Nights preceded and inspired console titles like Knights of the Old Republic and
Fable, which allow for choices on the player’s part of varying morality; in this
way, the player can decide for themselves the course of the plot throughout the
game. During the 32-bit era, RPG storylines began to include more mature content
— not simply violent, but intelligent, and with genuine dramatic merit. This is
a prevalent aspect of the Shin Megami Tensei series, with installments like the
Persona series, Digital Devil Saga parts 1 and 2, and Nocturne addressing
philosophical, political, and moral issues within the course of the game’s
story.
The next evolution:
Irrational Games’ Bioshock has set a
new benchmark for stories in video games; while not an out-and-out RPG, it
possesses enough RPG elements to warrant its inclusion here. Bioshock has
managed to combine serious, intelligent plot themes (the game is loosely based
on the ideas of philosopher/author Ayn Rand) with a player-controlled plot,
complete with morality choices that influence the further course of the story.
Fable 2, from Lionhead Studios,
presents its own take on what a RPG storyline can be. From the beginning, the
player is in complete control of what happens throughout. Player’s actions
affect nearly everything, and non-playable characters remember your past
behavior and respond as such. In this way, the game doesn’t have a set story so
much as it allows the player to tell themselves a story.
In evolution, each change leads to
the circumstances that allow for the next change. Who knows what these upcoming
RPGs will lead to? Who can say what fantastic adventures we’ll be embarking on
in five, 10, or 15 years time? Only one thing is certain: as long as they tell
us great stories, and allow us to talk, fight, and live our way through
that story, RPGs will remain some of the most engaging, most entertaining, and
most important genres of video gaming.
