On the technical side, there are three big issues on Pre Development:

WRITE THE SCENARIO

Scenario of an Epic or Sc-Fi RPG game is the biggest issue on its pre-development. Many good novels and RPG games produced their scenarios from good tales of experienced story tellers. The story tellers job must be done in all complexity to bless unreal world to reality. Character involvment and game-convertibilty is most easy in pre-desktop-played games. Also scenario must be fully documented to accurate concept art, 3D model design, music composition and game-mechanics. Scenario is the root-of-game and game flow is mostly handled on this part.

PREPARE THEME AND STYLE DOCUMENTATION

After scenario is on your hands, the second stage is declaring game's graphical theme, general playing style (classic, japaneese, hack&slash, arcade, something new...) and steps of the atmosphere, that players will feel in the game (fear, avange, bloodlust, heroism, paranoia, loneliness, love, etc.). These declarations will effect entire stages of development.

PREPARE THE GAME MECHANICS DOCUMENTATION

The last stage of pre-development. Must be started simultaneously while declaring the theme and style. Game mechanics varies from game to game. But, many games have mechanics like: Combat System, Character Envolvment, Dialog System, Quest Tree, Special-Magic System and Item System. Also game mechanics encapsulate any code based new ideas and features.

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• A City in snowy cold winter. The City of Saga
• Working farmers on farmlands, a small town on the horizon and a river that divides the town and farmlands. (Which orcs will raid...)
• Two sleeping orcish child on a fabric near the barrels, in a ship camara.
• A foggy night. Their father, which is an old and mighty clan leader stands on the front of a ship's deck. There are young orc warriors on the background. Orc leader's face is near.
• Thousands of boats with torches coming from the fog, near to the shore. Hundreds of ships anchored on the background. A farmer is looking to the scene. Another farmer run with fear.
• A night scene from the deck of the ship again, but empty this time. Only two orc children left. They are looking to a burning city. They hanging to the fences of the ship.
• Early morning. A scene inside from a street of the ruined and burned town. Orcs contructing tribal tents and carring stones and foods.
• Two small orc brothers playing (fighting) with sticks
• Their father grab one of his older son from the shoulder and give advice to him.
• All clan leaders sitting on the table of the half burned tavern of the town (repaired defectively by orcs). They discuss about the war (18-20 leaders). Their father put his fist on the table. He look with anger.
• The orcs running to war. There are leaders and flag carriers on the front-lines.
• Dead orc and human bodies on the ground. Leader still stands, but sad
• Orcish children, women and men watching the burned raft of the dead warriors floating across the river.
• Old clan leader and his three survived son (two of them did not gone to war for the reason of their ages), sitting on the camp place, eating meat. They are sad and hopeless.
• The burned tavern again. Orcish leaders discuss the war again but with less numbers. (6-7 leaders)
• An action scene. A door widely opened, and an orc pops out from it to the screen. He is shouting an shows outdoor with one of his hands.
• The king, his royal guards and an interpretter orc are located on the town enterance. They surrounded by the orc warriors. Human king tries to calm warriors.
• Orcish Leaders listening human king in the tavern. Windows filled with orc commoners.
• Two contract placed top of the table, one of them has the kings seal and other colored with orcish blood.
• A street of the town. Human king ready to depart. Their father point his two smallest children to king and try to explain something. King shakes his head with a little confusion. (or maybe agreement)
• Two orc children from the top view. Their fathers shadow felt upon them. They look to the screen (to their father in real) with fear.
• From inside the horse chart, the town is nearly fading on the horizon.
• A City in snowy cold winter. The City of Saga (replay 2. scene)
• A Snowy tight street. 2-3 floored houses snapped to each other. Snowy roofs.
• A small roofside room. Two empty beds staying on the two sides of the single window. An old housemaid woman carrying a paspas. A wooden bucket stay on the floor.
• A school room, filled with human children. They are looking to new come two orc children with hate and fear.
• An orc child fighting fith two human children. The other one try to stop the crowd of other children to mess the issue.
• Two young orc man fighting with a few men on a tavern.
• Two young orc man standing inside the prison bars.
• Two young orc walking down the street. Few bandits looking to them with anger and whispering each other.
• Night time, roofside room with the same angle as the old one. Orcs sleeping on their beds.
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A role-playing game (RPG; often roleplaying game) is a game in which the participants assume the roles of fictional characters and collaboratively create or follow stories. Participants determine the actions of their characters based on their characterization, and the actions succeed or fail according to a formal system of rules and guidelines. Within the rules, players can improvise freely; their choices shape the direction and outcome of the games.

A role-playing game has no winners, the main purpose of the game is to have fun playing it. That makes role-playing games fundamentally different from board games, card games, sports and most other types of games. Role-playing games are more collaborative and social than competitive. A typical role-playing game unifies its participants to play as a group, instead of in competition. Like serials or novel sequences, these episodic games are often played in weekly sessions over a period of months or even years, although one session games are also common.

Role-playing games are a form of interactive and collaborative storytelling. Like novels or films, role-playing games appeal because they engage the imagination. Interactivity is the crucial difference between role-playing games and traditional fiction. Whereas a viewer of a television show is a passive observer, a player at a role-playing game makes choices that affect the story. Such role-playing games extend an older tradition of storytelling games where a small party of friends collaborate to create a story. Most role-playing games are conducted like radio drama: only the spoken component is acted, and players speak out of character to describe action and discuss game mechanics. The genre of role-playing games in which players do perform their characters' physical actions is known as live-action roleplaying games (LARP).

While simple form of role-playing exist in traditional children's games such as "cops and robbers", "cowboys and Indians" and "playing house", role-playing games add a level of sophistication and persistence to this basic idea. Participants in a role-playing game will generate specific characters and an ongoing plot. A consistent system of rules and a more or less realistic campaign setting in games aids suspension of disbelief. The level of realism in games ranges from just enough internal consistency to set up a believable story, credible challenge or full-blown simulations of real-world processes.

Video games incorporating settings and game mechanics found in role-playing games are referred to as computer role-playing games, or CRPGs. Due to the popularity of CRPGs, the terms "role-playing game" and "RPG" have both to some degree been co-opted by the video gaming industry; as a result, traditional non-digital pastimes of this sort are increasingly being referred to as "pen and paper" or "tabletop" role-playing games, though neither pen and paper nor a table are strictly necessary.

Source:wikipedia.org