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Storyboard: One of us is going down
You and your group of roleplaying companions need something new to do. You've grown tired of sitting around talking about problems in the outside world or engaging in a non-stop soap opera drama wherein someone is always sleeping with someone else inappropriately. By complete coincidence, you and your companions all appear to be heavily armed and armored, leading to an excellent suggestion -- you should go out and get involved in a conflict! A fracas of some kind! What a concept! Sarcasm aside, long-running conflicts are a lot of fun when handled right. While I've talked about them in brief before, today I want to look at a handful of common conflict types and offer some tips about how to run them without tears. If you think drama can spill over into OOC channels when it's just a matter of pretend romances being spurned, you don't even want to know what happens when the knives come out.
Storyboard: Roleplaying for churn
Odds are good that you're going to be moving on from your current game of choice at some point. I'd even ramp those odds up to nearly absolute under certain circumstances (if you're the sort who claims newer games aren't engaging whilst hopping from game to game on a regular basis, for example). This leads to a bit of a problem with a lot of roleplaying stories because there's a very real possibility that your character's arc is going to be truncated as a result. It's not intentional, but it happens just the same. You spend time building up character relationships at launch, and then as the three-month mark rolls around, people start leaving, playtimes drop off, you get tired of some of the game's systems... and the next thing you know, the people who cared about the character you've been building for some time have all evaporated, leaving you to either make your character relevant again to a whole new group of players or just stop bothering. One of the things I've been both considering and playing with of late is the idea that maybe this can be embraced instead of feared. Rather than planning something of indeterminate length, you can try working with the assumption that you've got a more limited window to work within and pace yourself according to that.
Storyboard: Hint, hint
During the last several months of Final Fantasy XIV, my main character did the unthinkable: She went to work for her old mentor alongside the Garlean Empire. Everything she was doing outside of personal ventures, up to and including rejoining the mercenary company she had previously helped found, was based around collecting information. She had quite the dossier by the time she was finished, too, having flushed out a number of secrets regarding both Eorzea's defensive plans and the Ala Mhigan resistance. Not that anyone knew this because it simply never came up. Part of how I screwed this one up came down to both my choice of roleplaying groups and my own work-based schedule in the game. But another part of this was the simple fact that I didn't make it clear quickly enough just what she was up to. I dropped some hints here and there, but they were lost in a rush of other events, and as a result that whole subplot never got explored, which is a shame, especially because I like to think I'm usually pretty good at dropping hints and getting others to catch on. So as I reflect on what I did wrong, let's talk about how to do it right.
Storyboard: To be the jerk
I've talked many times about the pitfalls of playing a jerk. What I haven't done is mention the benefits of playing one, starting with the fact that playing a jerk can be all kinds of fun. You've got your garden-variety jerks, you've got jerks who are stunningly competent and who treat everyone else as a lesser person because of that, you've got jerks who just don't care about other people, you've got jerks clinging to antiquated beliefs that don't line up with reality... so many jerks, so many ways to make mistakes. But also so many ways to play one correctly. Heck, you can play a character who takes pretty awful actions from time to time without issue -- why not a character for whom "awful" is the default setting? There has to be a way to make a jerk who works, right? The answer is yes, most definitely. Jerks are playable. But you have to be a bit more careful about it because as I've mentioned in previous weeks, if your first impression is "pointless jerk," no one will want to hang out with you. So let's talk about playing one in such a way that your character comes across correctly while still being worth a closer look.
Storyboard: Nobody gets your character
Odds are good that you went through a stage as a teenager convinced that no one really got you. Sure, your parents told you that they understood, but they never experienced a love like what you felt or pain like you felt or ennui like you felt, and so on and so forth. You were the first person to ever feel certain things so acutely, and it was a tragedy that others thought they understood. It's also likely that you realized a few years later that none of the above was true, and if you were lucky, your parents were polite enough to point out that you thought you had the purest love of all time simply because you had no basis for comparison. (If you haven't gotten there yet, it's cool; we'll be here when you have.) Those around you understood better than you thought; it was more a matter of your not getting something. There are many roleplayers who seem to believe that their chief problem is that no one understands their characters. All of the drama and poor roleplaying is a result of other people not getting something crucial. I invite readers to draw the obvious comparison.
Storyboard: Mistakes at the creation level
A lot of character mistakes come down to experimentation, essentially. You have what seems like a good idea, but it turns out in play that it's messy or annoying or unfun or whatever. There's nothing in the world wrong with that; you try something out and it either does or doesn't work. While good concept work does a lot to help you catch these things, sometimes good ideas won't work. But then there are problems that come up time and again based on a fundamentally bad assumption. Something goes wrong right from the point that you click "New Character" because you're making an assumption that can immediately be recognized as a bad idea. So I'm going to go ahead and list a handful of these problems that are bad ways to start off so that hopefully we can all stop making these mistakes in the future and make some exciting new ones.
Storyboard: The advantage of familiar characters
It's kind of fitting that my character most prone to wandering has wound up in several different games now. She's existed in one form or another for years now, and while she's hardly the only recurring character I've used, she's certainly the one most prone to hopping into another game. While the are always setting-appropriate changes to her backstory, core elements of her personality and history remain, so that by this point it's quite easy to figure out how she fits into a new game even if I have to hammer out the specifics. This leads to an obvious question: Why? It's not as if I can't come up with other characters, nor is it that she's always the best fit for the game. For that matter, she's not even suited to every possible setting. So why keep playing the same character? There are a few different reasons, all of which show off the advantage to playing the same character across several games instead of starting fresh every time you step into a new world.
Storyboard: The lies we tell ourselves
We all have our delusions. Some of them are very conscious decisions, like ignoring the fact that Superman Returns is a thing that actually exists. Others are more unconscious, like people who genuinely believe that the ancient Mayans put together a calendar predicting the end of the world in a few weeks. But they're always there, and all of us have a full set of them bred into us from years of social interactions and peer groups. We ignore, we obfuscate, and we reject facts that do not line up with our opinions. Make your own joke there about gamers declaring a game is or was a failure. Our characters often see the world with a lot more clarity. It's not that they're devoid of opinions; it's that they tend to base those opinions on the real story instead of what they saw or felt or thought. That's all well and good, but perhaps it's time for reasonable things like facts to take a hike in favor of some good old-fashioned delusions. After all, if we're all deluding ourselves in real life, shouldn't our characters get to occasionally stick their fingers in their ears and declare they can't hear anything?
Storyboard: A second descent into madness
I had a lot of stuff to talk about on the subject of madness. As it happens, I had so much to talk about that I elected to split it up into two columns instead of writing one monster, scratching and crawling about in a lone column's space. And as I sat down to write this column, I realized that I have an entire column's worth of things to say about a single facet of madness: acting mad. Herein we come to the meat of what bothers me about madness as most players use it: It winds up getting used as something wacky. It's an excuse to do things that are wild and unpredictable because your character is so crazy. That bothers me because there's so much to be done with madness and so many ways to make it an interesting character trait. It's not something for casual or shallow use.
Storyboard: Hey, I know you!
I am not a private person. I have a job that requires me to put my name on things, so that right there is a layer off the privacy shield. But beyond even that, I like to give shout-outs to people I think are cool and make my presence in a game known. It's no secret that I work here, it's no secret that I write columns here, and in most games that I play and write about regularly, my character names are kind of open secrets anyhow. Hence why I can walk around in Final Fantasy XIV and bump into people who tell me that they really liked an article I wrote, which is kind of a surreal yet awesome experience. All of this means that my reputation precedes me... which is not necessarily a good thing. While I'm all about keeping up the OOC communication, there comes a point for some players when their characters stop being Sven Ergunsdottir (played by Paul) and start being Paul's Norn guy with the name. There are challenges to playing alongside someone you know better in real life either because you know one another or because the person in question is a jerk who writes a bunch of readily available articles. So how do you handle roleplaying with people who know you very well?
Storyboard: The first stage of madness
Madness is a very powerful narrative tool. Unfortunately, it also gets used horribly, taken out back, and worked over with brass knuckles until it bleeds. Instead of diving into madness, players are most often more content to flirt with the surface elements, have a character who spits out funny non sequitors, or behaves with eccentricities. Let's talk about madness. Let's talk about using that effectively. Let's talk about making a character who's something more than just a crazy happy random quote machine, someone who is at once fascinating and disturbing and quite possibly unpleasant to be around because that is what madness is. There's a lot of potential for roleplaying there, a lot of stories to be told, a lot of consequences to be explored. So many consequences. What, then, is a madman? Where do we start when we discuss insanity in roleplaying? How can we impersonate it? What can playing that role accomplish?
Storyboard: Community sites and what they can do
No MMO, to date, has a system to facilitate roleplayers interacting with one another outside of actual roleplaying. There are hubs you can haunt, there are things you can do, and there are addons in the games that support them, but at the end of the day, all you can do is throw your hat into the ring and hope against hope that no one is going to look at you strangely. Odds are good that you don't really want that experience outside of a high school dance and quite possibly not even then. So you need a way to know that you're getting in good with the roleplayers. In short, you need a community. I've been thinking of late about what community sites should be doing and what they actually can do. It's a point of contention because fostering a solid community relies strongly on having a central point of congregation, but trying to build a single community for an entire game's roleplayers is exceptionally difficult.
Storyboard: Plotting concepts
There's an uncomfortable paradox in roleplaying as regards plotting in advance. If you plan out your character developments in advance, you're not really roleplaying so much as laying out a pre-determined plot that other people are forced to fit within. On the other hand, if you don't plan out anything, you don't have any conflicts driving your characters, meaning that you're trying to force yourself into other character plots in the hopes that you might develop some relevance. Stated more simply -- plotting out your character in detail or not plotting your character out in enough detail are both equally detrimental to your roleplaying. Ever since I've been writing this column, I've been trying to develop a good way to actually handle this issue, and a fairly recent post from Websnark actually kicked me down a new path. For ease of reference, I'm calling it plotting by concept. I can't say that it works perfectly forever and ever, but it's been producing good results for a while, so I'm just going to outline how it works in the hopes that other people can find it useful too.
Storyboard: RP 101 - The mechanics of interaction
There are a lot of times in life when you're expected to figure out the mechanics of something by jumping in facefirst. Your first time roleplaying is among them. You know about all of the groundwork you need to do before you start roleplaying, and you know about what happens when you are roleplaying, but the first time you roleplay is going to be filled with a lot of awkward half-starts and confusion over what you're supposed to do at any given moment. So it's a lot like the first time you learned how to ride a bicycle. Yes, I was building up to the bicycle analogy; what did you think I was going for? Part of this is because most people have The Friend Who Roleplays, who introduces you by example; you don't need to find out how it's done because someone who already knows is showing you. But maybe you don't have a roleplaying buddy or anything beyond a desire to see what all the fuss is about. Rather than discussing anything more abstract, I'm going to talk about the bare mechanics of roleplaying -- stuff to do when you start, stuff to keep in mind, and the pure mechanical aspects of conveying a character through text and a few model animations. This is both easier and harder than it sounds.
Storyboard: In praise of in-game stereotypes
Unicorns are very rare. Every one you meet will be the last of its kind. Odds are decent that you've heard that joke before. It's especially funny from a roleplaying perspective because you can substitute all sorts of things for "unicorn" in that sentence. Vampires, for example. Or werewolves. Defectors from another faction. Magical offspring of major storyline characters. The rarest of all breeds is the character that seems to fit perfectly with the setting steretypes. Roleplayers tend to view stereotypes as one of the seven deadly sins, up there with naming your character after a major lore character and ERPing in public. (It's not the usual list.) This is unfortunate in the extreme because there's a lot to recommend stereotypes beyond the usual. So before you sit down and make a character directly playing against a stereotype, please, stop and keep a few things in mind. Not only are stereotypes not bad, but they actively verge on being good.
Storyboard: Playing the role and playing the game
Roleplayers are usually keenly aware of the split between roleplaying in the game and actually playing the game. Roleplaying does not tend to play nicely with the actual game, see. The game expects you to perform a variety of tasks to accomplish things, and none of those tasks is accomplished when you're sitting in town and talking about metaplot elements with RPers. At the same time, you want to roleplay, and roleplaying is not really accomplished by just playing through the game's content and reaching the level cap. You have to strike a balance between the two, something that's often very difficult when you compare the nature of the game to the nature of the characters you play within the game.
Storyboard: Hobbyists
When was the last time that one of your characters did something fun? I don't mean something that amused you or a night of roleplaying that made you smile. I'm wondering about the last time that one of your characters got to cut loose and enjoy himself or herself. The equivalent of you having a night to just sit down and play your favorite game, except tailored for that character's particular interests. My guess is that it wasn't all that recently, partly due to the fact that you've probably never been terribly clear on what your high-level paladin likes to do for fun in the first place. And it's something I've mentioned in passing before, but generally hobbies take a backseat to personalities and relationships in roleplaying. Not that there's no merit to all of that... but there's a lot of merit to figuring out what your character finds fun and working it into your roleplaying.
Storyboard: Making character relationships work
Character interrelationships are the heart of roleplaying. The interesting part of your character isn't his background or his personality; it's what happens when you put him in a room with several other people and let the whole thing move from there. You're trying to create an entirely different person who will build an entirely different set of relationships in an entirely different world. Unfortunately, some of those relationships can feel a bit... forced -- as if you're trying to find a connection where none exists, or as if you've jumped past some important elements of characterization that would make everything seem clearer. In short, a lot of your relationships feel as if they were cut from the Star Wars prequels. I harp on verisimilitude a lot in this column, but that's precisely because roleplaying depends on the illusion of reality in each interaction. If your relationships in roleplaying feel real, it does wonders for grounding the characters and their interplay in reality and giving substance to everything else you do. So I think it's worth noting some obvious stumbling points and some ways to help relationships feel more organic.
Storyboard: RP 101 - What is roleplaying?
Two weeks back, I received a comment asking, in all seriousness, what was the deal with roleplaying. The author of said comment opined that as near as he or she could tell, it was mostly just talking like your character and developing a bunch of strange romances. If that comment had only listed vampires in there, really, I could have stopped writing this column altogether. All right, there's more to it than that. While I've spent the past 120 installments of the column dealing with creating characters, playing respectfully, and producing stories, I've never actually put down a definition of what roleplaying is. I've never liked opening off by defining roleplaying because it's an awkward beast, and the explanation is always shoehorned elsewhere. So today I'm going to kick off at least one and possibly more columns answering the very basics, starting with the obvious -- what the heck is roleplaying?
Storyboard: Private party
Ms. Lady and I were in the midst of roleplaying in Star Wars: The Old Republic, and it was going well. As it so happened, this particular bit of roleplaying involved her pureblood Sith lord doing the Sad Sith Dance and singing the accompanying song. Explaining why this was a logical step in the scene would require a whole lot of explanation of the characters involved, and I don't think you really want to read me waxing poetic about my characters for a thousand words. (If I'm wrong, please, do tell. It'd certainly make for several weeks of easy-to-write columns for me.) It's enough to know that there is a Sad Sith Dance and accompanying song. The important point is that just like the song says, voices carry. When said Sith was exiting the cantina, he found that there was a small crowd of people on the upper floor, people who hadn't said anything but could have very well been listening in. And that brings to mind the issue of privacy in roleplaying, something that you both strive for and try to avoid at once because of the nature of the interactions.
