Vol 10 Chapter 1006: Ragnarok (4)

Lin Yan has his own ideas and understanding for the reshaping of the game Ragnarok. After all, this web game is the one that Lin Yan has personally valued the most among many games in his previous life. This game is even in To a large extent, Lin Yan has a relatively large influence on the shaping of the entire game.
For the game of Twilight of the Gods, the basic definition of Lin Yan's production is to retain the highlights of the most basic web game in the game, and on this basis to make online games.
You must know that the framework of online games is much larger than that of web games, and the richness of content far exceeds that of web games.
It’s just that in many cases, Lin Yan always feels that for the game Ragnarok, Lin Yan feels that if he wants to make this game a good online game, there is actually a very serious problem in the amount of content in the game itself. Insufficient.
After all, web games and online games themselves are considered to be the same field on the market, but they are also two different branches. The manifestation of such branches in the form of the game is not obvious.
After all, the basic experience control mode of the web game itself is the same as that of the online game. There is no difference, except that one can be experienced on the web at any time, and the other requires a dedicated client.
But the way to distinguish it is actually very simple. Although the content of a game itself is also rich, the game content of the web game itself is still much less than that of the online game. After all, the online game itself is of course an investment. The cost is much higher than the former.
Therefore, it is just a matter of cost that makes web games very different from online games in terms of the richness of content.
To make a simple analogy, those handy trading and auction house systems used by Lin Yan in many games. If these systems are not made by Lin Yan, but are produced by someone else, the cost may be required. It takes a few million to get it done.
For a web game, it is even more impossible. After all, the cost of several million may be most or even the entire production cost of a web game itself.
Therefore, there is bound to be a relatively large degree of streamlining in game content and other aspects. This is understandable. Therefore, the content skeleton of the web game itself is absolutely difficult to support the huge volume of the entire online game.
This is what Lin Yan has experienced in the listing, so for the overall production of the game, Lin Yan can be said to have to expand the content separately.
Of course, it is not difficult for Lin Yan to expand the content itself. After all, Lin Yan can now lift the Burning Sky Game like this, on the one hand, relying on the help of the artifact, on the other hand, it is Lin Yan’s help. There are countless classic works from previous lives in my mind.
As for the last aspect, Lin Yan has too much content in his mind, which can be provided for the adaptation and creation of the game. Lin Yan can re-create on the basis of the classics, so that the classics become more classics. It can be said that this Three things are the key to Lin Yan's rise, and also the root cause. Feel free to say that Lin Yan is endless about the various points in the game.
Therefore, Lin Yan still has a lot of thoughts in his heart for the game Ragnarok, after all, there are still many places where this game itself can be used for creation.
In other words, the web game framework of the game itself is actually a very good carrier. The story and content extension is very good, but in many cases, Lin Yan has an illusion that he can completely use this This game is made into a unique game, at least in terms of game content, which is completely different, and this is not too difficult for Lin Yan, but it has huge benefits.
So in Lin Yan’s first thought, Lin Yan first wanted to change the basic mode of the game’s story system. In the original web game, the basic story system of the game itself was interspersed with the Nordic mythology system. Many characters and stories in other mythological systems.
But in general, the story system of the entire game still uses Nordic mythology as the main story system. The characters and stories of other mythology systems interspersed in it are more of a cameo to increase the infection of the whole story. It is not the subject.
This point can actually be seen from the of transformation. The most advanced and powerful gods in the game are the main gods in Norse mythology, such as Thor, the evil Loki, and the Odin.
It can be said that the whole game is a new interpretation of the Nordic mythology, but there are still many modern processing elements in this interpretation, but these are not what Lin Yan likes.
And just for the physical strength of a Norse mythology, although the influence of this mythological system itself is relatively small, the story itself is still very complicated, even in some theoretical or narrative things, it is not at all. It will not lose to the big and influential mythological systems of Greek mythology and Chinese Taoist mythology.
But this game is obvious, because the problem of ability has not been able to fully discover the depth that this mythical system itself should have. Of course, digging into a mythological system itself is a very large siege, and this is not something that the producer can do with wishful thinking.
After all, in the history of mankind, various mythological systems are actually numerous. For example, Dante’s Divine Comedy itself can actually be called a mythological system.
The stories of these mythological systems are basically created in many works. They are not a book or a complete work in themselves. They are just sorted out by later generations, and then many arts are added to them. The processed components, linking a bit of history, constitute such a mythological system, but it is worth saying that such a mythological system itself is still very large, so large that many people have not thoroughly studied these myths in their entire lives.
Therefore, as a game producer, not a literary researcher, the in-depth development of this kind of thing is actually a very difficult thing. This is a difference in technology, not a question of self-consciousness and carelessness.
But overall, in Lin Yan's view, this game is still a bit too superficial for the development of the entire Nordic mythology system.
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