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Storyboard: Operatic soap
If you've never watched a soap opera before, you owe it to yourself to do so at some point. I don't just mean a single episode; I mean spending a month or so really following a show, unraveling the plot and character interrelationships, and trying to really get what's going on. Let me tell you, these things are crazy. Silver age comics crazy. And they're dying out, so you want to catch them before they're gone. Despite that, I generally use soap opera as a pejorative term because while the shows might be entertaining, they're not good at character development or drama or nuance or most of what makes RP enjoyable most of the time. They're well-written only insofar as they're written to convince you to watch the next episode, not in the sense that they form any sort of overarching narrative. And while RP can creep into that territory at times, that's generally a problem rather than an acceptable endpoint.
Hyperspace Beacon: The roleplayer's guide to SWTOR event planning
Amidst the critiques and patch reviews, the reasons I stick with Star Wars: The Old Republic sometimes get lost in the shuffle. Despite being irritated by the way BioWare handled specific parts of this Star Wars MMORPG, I still find the setting and the storytelling to be superb. These interwoven tales of adventure and chaos provide an incredible platform for my favorite thing to do in an MMO: roleplay. I've covered several topics about roleplay in this column. From breaking into the community to an RP wishlist to resolving RP-related conflicts, I've might have covered everything except for one of the most basic of roleplay elements: How do you host a roleplay event in SWTOR? Although Star Wars: The Old Republic varies in its presentation and tools, the types of events you can throw are pretty similar to the ones you can throw in any other MMOs. The tiny details vary, but the three basic type of events can be narrowed down to social, PvE, and PvP.
Storyboard: Roleplaying hasn't gone anywhere
Certain phrases just tend to stick in my craw. For example, the idea that back in the day MMORPGs really supported roleplaying, but now they don't any more. You can't really lose yourself in modern games. You get the idea; I've talked about this before. The calls that roleplaying is dead are quite convincing except for the fact that roleplaying continues and does not appear to be going anywhere. If anything, I'd argue (from anecdotes, so without much scientific merit) that roleplaying populations seem to be expanding, which makes sense, since with more and more people playing games online, more and more of them are going to be totally keen on pretending to be an elf. But I can understand the sentiment because from another perspective it can seem totally on the mark. So I'm going to just go for the simple version and discuss the ways in which things haven't changed all that much after all.
The Soapbox: The soft launch scam
Back in the golden days of video games, there was no such thing as a soft launch. Nintendo didn't send out test copies of Super Mario World to special "backers," and Sega didn't ship half-finished Sonic games with promises of further content updates. Games, for the most part, were played only after they were finished, printed, packaged, and shipped. Even on PC, beta testing was more of an earned honor exclusive to players that showed dedication to a title and its community. Here in these modern times of Internets and always-ons, however, things are different. It would seem as though developers need only make enough game content to shoot a reasonably convincing trailer before the publishing team can begin collecting money by slapping a "BETA" sticker on the webpage and offering fans early access. Over the last few years soft launches have become increasingly common -- especially for creators of online games. The line between "in testing" and "done" is becoming blurred, and publishers are reaping the benefits while players suffer.
Storyboard: For me, it was Tuesday
I want to tell you a love story. It's not a happy one. It's about Daniel and Rachel. Rachel loves Daniel. She didn't expect to fall for him, but she did. The problem is that Daniel doesn't love Rachel back. More than that, he can't even conceptualize feeling for Rachel what she feels for him. She acquiesces, acts as a friend, listens to Daniel talk about his true love Samantha. She watches Daniel date Olivia. She gets attacked by Olivia for her affection. She pays attention to the fact that Daniel still talks about Samantha when she's been gone for a year, even though Daniel doesn't mention Rachel at all if she's not around. This is not a happy dynamic for Rachel, but it is certainly dramatic. The problem is that Rachel and Daniel are characters, and Daniel's player is making a point of being aloof and dismissive toward Rachel because that's the whole point. So how do you ignore Rachel without making Rachel's player feel left out of roleplaying?
Storyboard: Getting back the spark
People occasionally ask me, "How is it that your roleplaying is so exciting?" To which I can only ask, "How is yours so boring?" A lot happens when I roleplay. Relationships start and stop, alliances are made and broken, plots are hatched, crazy schemes are set into motion, and things generally just happen. I've had characters kill other people off permanently, had characters killed off, run through cycles of desecration and redemption. Some scenes have gone better than others, but at the end of the day, I can say that my roleplaying has been full of stuff happening. But I see a lot of people who feel their roleplaying is stagnant. Their groups have dissolved, their stories have been told, there is no more spark there. So today's column is all about getting back into the paint and turning your roleplaying experience from stagnant to dynamic, taking you from a boring set of routines into a series of stunning and enrapturing revelations. In other words, here's some advice to get the spark back in your roleplaying.
Storyboard: As stupid does
Playing a stupid character is oddly frustrating because it's incredibly difficult to do. This should not be the case. This should, in fact, be the opposite of the case. Playing someone with the mental alacrity of a ball of twine should be much easier than your brilliant wizard. But when you try to play a dumb character, it's easy for that character to wind up slipping into periods of pointless stupidity without acting like any of the nitwits you've actually dealt with over the course of your life. Intelligence is a hard thing to quantify at the best of times, but some of our characters are meant to be just plain slow. I've played a few, and it's always a challenge to make the character feel like a person instead of a caricature. So here are some tips for making your big dummy feel appropriately oafish and endearing instead of just being a strawman.
Storyboard: The way it was for three years
Roleplaying is the same as it ever was. People are still shoehorning in lore characters into backstories, someone is a sparkly magic vampire, and you can still turn a corner in a tavern to find two people with a decided lack of gear or public shame. (In Second Life, that corner is the one you turn to download the game.) But I've had three years of talking about it, so it's at least a little different than it was. I don't know if I'd go so far as to say it's better. Every year I like to take a look back at the past year, talk about what worked well, what didn't work at all, and what I'd like to do in the future. So it is for this year, complete with a nice big surprise down at the end there. Regular readers may be less surprised, but you can just bear with me.
Storyboard: Making villains work
A while ago, I talked about the fact that roleplaying in MMOs most closely resembles comic books. This is apropos of the current discussion because both mediums have a fundamental issue with how villains are supposed to work. A good villain should be roundly trounced by the end of a story, but you also want to bring back a villain for more antics later on. So as I begin the follow-up to my recent column on the topic, the question becomes how you can make a villain who's entertaining and satisfying to encounter without becoming boring or making everyone wonder why no one has stabbed him yet. To be fair, there's no way to absolutely fix this problem. Someone will always have the idea that stabbing the villain to death will alleviate the problem, and that assumption is pretty much right. But there are ways to minimize the issue without making everyone seem like a colossal twit or creating the soap opera problem (wherein everyone is a malicious jerk every so often and no one seems to make long-term changes). This week I want to examine how both antagonistic and malicious villains can be played to avoid those pitfalls.
The Daily Grind: Does gamification stymie your roleplay?
Some colleagues and I were discussing roleplay in MMOs the other day, and the conversation briefly touched on our preferences for MMOs as games or MMOs as virtual worlds. One of my co-workers explained that mass gamification and an inability to affect the world or other players isn't a detriment to his roleplay because it's private and personal, whereas I find myself roleplaying much less than I used to because my actions can't affect anyone or anything in most current MMOs. What about you, Massively readers? Does gamification stymie your roleplay? Every morning, the Massively bloggers probe the minds of their readers with deep, thought-provoking questions about that most serious of topics: massively online gaming. We crave your opinions, so grab your caffeinated beverage of choice and chime in on today's Daily Grind!
Storyboard: Just the artifacts
There's something inherently alluring about objects of power. That much is obvious; games are already fairly littered with them, ranging from weapons to vehicles to various items whose powers are invariably decided by needs of the plot. It's inevitable that as a roleplayer you would want to create something of power for your own purposes, something that has a purpose that only you know, hopefully a purpose with more careful thought than "being the most scary thing ever." Items like this are what I'm calling artifacts. In some settings they're actual artifacts; in others they're just exceptionally well-programmed computers or bits of otherwise lost technology or whatever. They're useful for extended roleplaying, they create an additional element of your characters, and they're also really problematic in a variety of ways. Still, the drawbacks aren't significant enough to make them useless, just significant enough that you'll want to use a careful hand when adding in your own hidden wonders.
Sorcery! on iOS reincarnates Fighting Fantasy books for tablets (video)
If you're going to bring the well-loved, 30-year-old Fighting Fantasy book series to digital screens, you'd better do it right. Fortunately, Sorcery! does. The game is based on the original choose-your-own-adventure series written by Lionhead Studios co-founder Steve Jackson, with a few modern adjustments. The iOS game sidesteps the need for organic books and (unfortunately) our tried-and-tested multi-fingered bookmarking system, digitally keeping note of all your decisions along the way -- in short, no cheating. Making use of the new medium, there are now touch-based sword fights to help break up the wordy play-by-play descriptions of what you're doing. The initial installment is available now for $5 at the App Store, with the remaining three parts expected to follow later this year.
Free for All: Introduction to MUD May
For the month of May, I will be using this column to cover the world of MUDs aka multi-user-domains or dungeons. MUDs are text-based MMORPGs, and playing one is sort of like playing through a choose-your-own-adventure book with potentially thousands of other players. I'm not so arrogant to think that I could cover the decades of MUD development within the span of five articles, but I've had a go at it in the past and want to examine the topic more. Why? There are many reasons, and to kick off this series, I'd like to talk about them. After today, my columns will concentrate on interviews with developers and players to explain how and why MUDs still work, and I hope that all of this will encourage many of you who have never tried a MUD to pick one out now. The recent buzz surrounding Twine-based games and interactive storytelling is perfect fuel for MUDs to come back into the spotlight. Unless, of course, many of the issues with the insulated community of MUDers sabotage the perfect timing. Let's get started.
Storyboard: Villainy afoot
I really thought this was a topic I had revisited on a few occasions, but apparently the only time Storyboard has discussed villainy was back in the column's infancy when I was still properly finding its voice. (Not that I feel that project has ever stopped, but that's another matter.) And it's an interesting topic for many reasons because villainy as a concept really gets put through the wringer in RP to begin with, especially if you tend to let morality be muddled into a few million shades of gray like I tend to. The thing about villains in roleplaying is having a character solely meant as A Villain generally doesn't work as well, simply because no real people are as malicious as that might require. Instead, you wind up with several people serving as the villains in a particular timeframe. So we need to define what we mean by villains, what role they can play in roleplaying, and what the pitfalls are in the first place.
Storyboard: Dramatic community
A couple of friends of mine recently found themselves knee-deep in roleplaying community drama. For those of you who have not seen this dread beast before, let me assure you that it is the most vile of all forms of drama, in which people wind up angry at one another over elements that virtually no one else cares about. I've seen it strike many times, and it's always frustrating and unpleasant due in no small part to its sheer pointlessness. I've talked about community drama on one occasion when it comes to the Final Fantasy XIV roleplaying community, but the fact that I'm seeing it passed around elsewhere means that it's a topic worth addressing in a general sense. This isn't drama centered around what happened within the game but drama about the managerial aspects of the community, about handling site ownership and moderation and all of the associated stuff. And there are a few tricks to help minimize this before it starts.
Storyboard: Profession discussion - the Builder
Human beings like to make stuff. It's in our nature, presumably because the humans who liked making things were able to create important inventions like clothing and weapons and homes and portable DVD players. That stuff gives you an edge over the guy hunting with a rock and a decent pitching arm. A lot of jobs and hobbies alike revolve around making things or changing existing made things into new made things. The Builder isn't just someone who enjoys making things but someone who lives by making things. Our previous professions have all focused around providing something, but the Builder is the person responsible for making those things. This is a profession that's all about creating, something near and dear to most roleplayers to begin with. But it's also a profession that has a bit more to it than simply being the guy down the road who puts cabinets together at a discount.
Storyboard: Moral framework
Every so often, I start a column and it just doesn't come together. So my original plans for this week's article are being changed. I could technically go back and edit last week's piece to erase any evidence that plans had changed, but that would just be wrong. That segues nicely into this week's actual topic: morality. We generally paint morality in broader strokes than is necessarily beneficial, as evidenced by the fact that I just said that something as harmless as editing an old article could be considered wrong. Obviously it's not harming anyone, but because of standards that I impose on myself, I feel as if it's the wrong course of action to take. Pretty much all of your characters have moral codes, and if you're not thinking about them consciously, those codes can easily default to the same ones that you have. I've touched on that idea before, but there's more to it than that. When you get right down to it, your characters need their own codes, some of which you might even find personally repugnant.
Massive cross-realm gathering successfully unites players from 11 realms
It was a massive multiplayer success for this massively multiplayer game: On March 20, the Thundering Hammer Clan of Feathermoon (US-Horde) successfully brought together more than 120 players from multiple roleplay realms in what might have been WoW's first large-scale, player-run cross-realm event. In bringing together three full raid groups from half a dozen realms, the Kosh'harg roleplay gathering of Horde clans helped demonstrate how to pull off a major cross-realm event and explore the possibilities and limitations of CRZ (cross-realm zone) mechanics. What can other players learn from the Kosh'harg about organizing a CRZ event? We went behind the scenes with Kosh'harg organizer Thorgrun (GM of the Thundering Hammer Clan). WoW Insider: It sounds like the event was a smash success. Congratulations! Thorgrun: The Kosh'harg was an amazing success. At the peak of the event we had three full raid groups and a number of ungrouped local attendees, bringing us up over 120 players from a dozen different realms who joined us in Nagrand for the festivities. How much did you and other organizers know beforehand about realm and zone loads with regard to cross-realm mechanics? We only knew what has been published and widely publicized, namely that the CRZ mechanic is designed to populate low-pop zones with players from associated realms and when population grows to a certain point to split those players off into separate zones. We also knew that players from any North American realm could be brought into any zone on a host realm just by being grouped with a majority of members from that realm – i.e., two Feathermoon players can host a third player from say, Farstriders, in their version of the zone, or alternatively a 5-man group of Feathermoon players could host an entire raid of CRZ players, provided no more than four of them were from the same realm in that particular raid. This is the mechanic that we used to "anchor" our event firmly on one server's seed of the Nagrand zone.
Storyboard: RP in the key of C
Music is kind of a big deal. The right choice of music can change a scene from being happy to ominous, and intentionally mismatching the scene and the music can lead to hilarious results with minimal effort. In-game music makes use of this, naturally, and it's rare to find something stirring and peppy in the midst of a zone filled with volcanoes and demons. We rely on the background music to set a mood and underscore what's taking place at any given moment. All that goes for roleplaying, too. But the odds are that the game music isn't going to provide the romantic music you need in the Undercity in World of Warcraft or the driving combat music you need on your bridge in Star Trek Online. Game music is meant for people who are playing; the music you need is closer to scoring a film. So given the importance of music, let's talk about it just a little this week. After all, having the right tune playing can make a lasting impression, even if it's just on the people within earshot.
Storyboard: The characters you like
Some of my characters are pretty awful people. Some of them aren't people in the strictest sense of the word, to be fair. But there are some pretty awful types among them. And I enjoy playing them, but I sure as heck don't like them. They're terrible people who deserve to meet with terrible fates, and the glory of roleplaying is that they serve as a bit of anarchistic fun until someone gives them what they deserve. I don't like them as people. But that's not universal. I have other characters who will frequently do awful things but aren't fundamentally bad, just misguided on several occasions. Sometimes the line can get a bit blurry between one well-trained spy and assassin when one of them is a character I like and the other one is meant to be awful. So I started thinking about the distinguishing factors and what it means to play a character you like personally compared to one just meant to cause trouble. The answers were a bit odd.
