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Storyboard: Different points of view
There are blanks spots in the lore. This is not news to anyone who has been reading this column for a while. I've talked about dealing with the lore twice, both times pointing out that there are spaces for you to drive your character. Sometimes it's comfortable, and sometimes it's like wedging a needle into your gums and trying to kill a dental nerve at the root. But whether or not it has parallels to my recent dental surgery, there are places in the lore where you sort of have to just fill in the blanks. Unfortunately, this creates major issues when you intend to interact with another player, which is something that will be happening roughly all the time in roleplaying. So you might very well come up with an answer for something that isn't just different from everyone else's answer, but you might wind up with an answer that's outright mutually incompatible with someone else's. And while you sometimes can take comfort in the fact that the lore will eventually steamroll both of you, sometimes it's just the two of you trying to deal with a part of your fictional world that is now being disbelieved by someone else.
Storyboard: From beyond the boundaries
Every game world has a basic setting premise. Your character in Guild Wars can come from all over Tyria, but he certainly doesn't come from Alderaan. Even though your captain in Star Trek Online is proficient in unarmed combat, she cannot bend the Matrix to her will. And no matter how similar the settings might seem, when WildStar finally comes out, you will not be able to claim that your character used to smuggle cargo on a Firefly-class vessel out in the black. People do these things anyway. People gleefully import characters wholesale from other settings and expect it to be accepted that they come from another time and place, often bringing with them plenty of baggage. It's flagrant disregard for the rules of the setting and the game as it exists, and it's a hallmark of bad roleplaying... And yet it doesn't have to be. This is an element of fiction that's always been very popular, and in some games (such as most superheroic ones), the idea of slipping from one world to another doesn't seem that far-fetched. So let's talk about why it tends to be done and how you can actually do this without being obnoxious.
Storyboard: Family legacy
The problem with providing systems for roleplayers is that pretty much every system developers try hits snags. Case in point: Star Wars: The Old Republic's Legacy system. For those of you who haven't yet heard about the system, please let us know how you're getting the site in 1980s Siberia. But I'll gloss over anyway: The core element of the system is that when you hit a certain point with a character, you pick a surname to unlock as your "Legacy" for all characters on that server. As you advance with more characters, you gain more benefits from the Legacy and so on and so forth. What we're really concerned with is the surname part because that's the part that matters to roleplayers. Being able to make a character's overall tree a tangible thing is a powerful element. It allows you to actually play a family, or at the very least, a linked coalition of characters. Unfortunately, while the idea works well, the problem is that surnames are so important that I almost wish that the system had a different way of tying the elements together.
Storyboard: There are no bathrooms on Coruscant
A couple of weeks ago, someone raised a very reasonable question about characters in EVE Online -- do they date? They're all clones, they're born pretty much just to pilot ships, and they have a culture that keeps them in some variety of ship pretty much all the time. So do they date? Do they even know what differentiated genders are all about? Would they be capable of having a child in the conventional sense? Would the concept even occur to them to try? The problem is that we look at these characters and see human beings because they are human beings. They behave, by and large, in ways that we understand human beings to behave. And yet there are some pretty huge obstacles in the path of their natural behaviors, things that the developers don't seem to address. When you start to think about it hard enough, not only does it seem like they shouldn't date, but it seems like they wouldn't even know where to start dating. And if the idea of dating doesn't exist, a lot of our assumptions fall apart.
Storyboard: The hook brings you back
We're told, at a young age, not to judge a book by its cover. The problem with that statement is that when you're out buying a book, the cover is pretty much all you have to go by. Publishers understand that, and while a great book can overcome a lackluster cover, pretty much every book goes out of its way to try to attract your immediate attention. There are entire schools of thought on cover design for precisely that reason. The same goes for your characters in a roleplaying setting. You can develop a deep and engaging character with a lot of different potential stories, but without something to draw in other players, no one will ever know. You need something to get other players curious, something to get them invested and interested in what you want to do. You need a way to show them from the beginning that this isn't just another generic warrior or mage or whatever. You need a hook.
Storyboard: The couple that roleplays together rolestays together
When Ms. Lady first got into MMOs, she had a very firm opinion on roleplaying, filled with subtleties and coherent arguments. Her overall thesis was "roleplaying is dumb," backed up with further evidence such as "you're dumb for liking it" and "let's talk about something else." This lasted until she really tried it, at which point she changed her thesis to "roleplaying is awesome" and supported it with "I was dumb to say that" and "you'd better not put this in an article several years from now." What I'm getting at is that we roleplay in-game together. Quite a lot, actually, to the point that a good number of my roleplaying anecdotes involve her in one capacity or another. Roleplaying in a committed relationship poses its own unique set of issues, however, the sort that just don't happen when you are roleplaying with people who live at least in another house. So here are a few tips to ensure that while you and your significant other will probably still argue about pointless things, roleplaying will only be an infrequent guest star to the stupid argument party.
Storyboard: The reflection lies
When I was younger, I got very excited at the thought that therapists would ask people to roleplay. In my mind, this was a great idea. After all, if Joe and Jane go to see a marriage counselor, they could walk out of the session realizing that each of them always has the other's back, especially when facing down an ancient red dragon as a cleric and a fighter. Plus, it's something for the couple to do together. It wasn't until I was older that I found out that the roleplaying under discussion was something different. At least, it's theoretically different. I've talked many times about how roleplaying is many things to many different people, but one of the big potential pitfalls comes when you're roleplaying with people you know because some people play characters that are still, fundamentally, part of the player. And if you're plaing alongside someone whose characters are more personal than yours, it can cause some very odd disconnects that you might not even recognize until after the fact.
Storyboard: Navel-gazing cardboard cutouts
When you create a character for roleplaying, most of the time your creation is something of a mess. He or she has a huge pile of issues, regrets, fears, mental blind spots, and possibly even physical ailments that should have a lasting impact on telling stories and creating drama. And your goal as a player is to take all of those flaws into account to tell stories about someone less than perfect, whose imperfections you can hopefully see even if the character can't. Unfortunately for everyone, there are two very compelling ways to do this, and neither one of them is right or wrong or even evident at a glance. It's only by roleplaying with someone for a while that you get a sense of what she's aiming for, and it often turns out to be after it's too late to do anything. You might be going for character arcs or character development, and the two are frequently incompatible over the long term.
Storyboard: Rubicons
It was a great time for a character to die. The problem is that roleplaying isn't a novel. Ms. Lady's character had just had one of her eyes put out, had been left to die by the people she had been working for, and was blubbering for her life to another woman who had every reason to take that life. That other woman, D, had been betrayed twice over by the newly minted cyclops. She was a spy, and she had every reason to tie up a loose end by killing Ms. Lady's character. But she wouldn't do it without permission out-of-character. And Ms. Lady turned to me and asked, "So... should I let her die?" It's not always a matter of death. But your characters will face their own rubicons, moments when their lives will be changed irrevocably if they step forward. The question is, when do you take that step? When do you march forward into a permanent change, and when do you take a step back and let the opportunity pass?
Storyboard: Army of me
There are, sadly, more character concepts in pretty much every game on the market than there is time for me to play them all. This is a horrible setup, and I've lodged a complaint with the management, but I'm not expecting any sort of response. Mercifully, in the vast majority of games, you can at least somewhat sidestep this issue by using up all of your character slots on alts. If the game gives us 12 character spaces, the odds are good that many of us will have 12 characters within a month, with that number only changing as we kill off some of that number or get more slots. All of this leads to another problem, though. If you play Alice and someone else plays Bob, there's plenty of space for the two of them to interact. But if you play Alice and Claire and Bob interacts with both of them, eventually, logic would dictate that Alice and Claire ought to interact with one another. And that's not just problematic from the standpoint of interacting with yourself; in many cases the game outright disallows that sort of login-juggling. Suddenly you need two characters to talk, and there's no way to even get them sharing the same room.
Storyboard: The leveling effect
A couple of weeks ago, I took a look at some of the issues that crop up when you start considering in-game details in the context of roleplaying. Today, I'm doing something very similar but in the opposite direction. Instead of fitting verisimilitude into the game world, I'm trying to fit game mechanics into the game world. And if you've ever tried to explain in-character what level you are, you should understand that this is an arduous task to say the least. Of course, to some people, the very idea is ridiculous. There's a reason why gameplay and story generally remain in two different baskets: When you start trying to mix them too closely, everything gets dicey. The problem, of course, is that level isn't just a mechanical concept; it's tied to almost everything in the game world. And that begets all sorts of questions, the same sort that you start asking when you ask yourself about time, but from a different angle.
Storyboard: Mistakes I know I was making
When I write this column, I talk a lot about what works within the context of roleplaying. I make suggestions, declare certain things as being bad ideas, and otherwise make a point of speaking as someone who knows what he is doing. This is not unfounded; I've been playing MMOs for eight years and roleplaying for fifteen, so I at least have some benefit of experience to work with. But a lot of the conclusions I've reached and the ideas that I've formed have been the result of trying something, failing, and learning from the experience. Today, I'm going to look back to three characters whom I played, characters I was excited about, characters who absolutely failed to work. Beyond just that, however, I want to talk about why they failed to work and what I might have done to overcome their innate problems and make them fun to play after all. These are points I've touched on before, definitely, but it never hurts to fit these things into an actual context.
Storyboard: A matter of times
How often do you actually think about time in-game? I'm not talking about how long you spend in the game or how much time you have to play or anything like that -- I'm talking about the actual passing hours when you're playing the game. My guess is not frequently, if ever. Most people just use real-world time as a shorthand if they even consider time, and that's all that needs to be said. Time isn't interesting. At best, historical dates are interesting, and even that's only in the event that the game gives you some sort of context. Who cares, right? But whether or not you find time interesting, it's important. Time has a bigger impact on the game world than you might think, and it's one of those facets that you can't un-see once you look at it. It's as problematic an issue as character death, and in some ways even more so, because there's no comfortable way to skate around how screwy time is in the game. And the proof lies entirely in a simple question: What did you do today?
Storyboard: Duel me!
Let it never be said that roleplaying lacks drama if it has no violence. Many times, the confrontations and conflicts in roleplaying happen without a single threat of physical injury or even interaction. Even when threats are involved, frequently that's all there is -- a threat, a wayward mention, a confident statement that if one party undertakes an action, there will be very short and brutal repercussions. Not every scene, or even most scenes, end with characters locked in combat. That having been said, when you have a couple of characters whose day-to-day lives involve turning vicious critters into fine red mist, sooner or later someone is going to solve other problems with the same toolset. It's not like violence isn't a valid means of dramatic expression; look at how many of Shakespeare's plays ended with some kind of swordfight if you really need backup. (Several of them, and the ones that don't merely lacked a way to add in a CGI army at the end.) The problem is more that MMOs do not handle this sort of conflict between players very well, if at all.
Storyboard: Go for the goal
We've all got goals. Some of them are short-term objectives (get lunch, figure out how to get home early today, don't get eaten by that tiger) and some of them are larger in scope (cook better lunches, work on a flexible schedule, develop an anti-tiger field), but they're an important part of our day-to-day activities. Knowing a character's goals is a clear way to make it pretty clear what your character wants out of any given exchange. If it weren't already obvious, today I want to spend time talking about goals. We've talked about motivation before, but goals are the tangible results of what keeps your character motivated in the first place. And while I was originally going to use one of my characters as a model for mapping goals, I realized that I've got a much better example I can use, one that helps demonstrate just how relevant goals are to real people. So I'm putting myself under examination as we talk about the many, many aspects of goals as they apply to characters.
Storyboard: Balancing the failing act
Two weeks ago, we talked about the essence of roleplaying and making your character miserable, helped substantially by having your character fail at pretty much everything he or she sets out to do. That's all well and good in the abstract, sure, but I also mentioned that there's a distinct problem with having your character go too far in the direction of self-pity and hopeless failure. Eventually it starts to be something of a downer rather than an endearing character trait, and that's no good either. Unfortunately, noting that a balance is important is very different from actually providing some guidelines on how to achieve that balance. And while there's always some room for fuzziness, having some idea of what to aim for is a good place to start off. So this week, I'm going to take a closer look at bringing your character's failures right into that sweet spot between hopeless misery and mild inconvenience. You want to fail, sure -- but you don't want your character to be a bummer to interact with.
Storyboard: Talk about the passion
Two of the earliest columns I did for Storyboard were all about romance in roleplaying. If you've forgotten them, they can be found here and here, but if you don't feel like reading a couple thousand words just to continue with this column, the gist was pretty simple. In short -- don't. But since you're going to anyway, take the usual steps to avoid any sort of spilling drama. Actually, I should just make a column of usual tips to avoid spilling drama in roleplaying and save myself a lot of time. It's been more than a year since those were written, and to my great joy they're still relevant and useful. But at the same time, there's more to be said on the topic, albeit in bits and pieces. So (possibly against my better judgment) I'm diving face-first into the sea of love once again to talk about a couple of points that I either didn't discuss the first time around or only briefly touched on.
Storyboard: Making it worse
Last week, I talked about how cross-eyed the whole roleplaying dynamic looks when compared to MMO progression models as a whole. Some of you probably looked at that column and shook your head in confusion, either because you don't roleplay or because you have a much lighter method for RP (which is perfectly fine -- I wrote a little while back about the fact that there's a lot of RP that covers a very wide band). Others probably looked at my litany of recent misery-inducing events in my character's life and wanted to know how to get to that same point. The former group I can't help a whole lot, but the latter group is the focus of today's column. If you know you want to get your favorite characters up into a tree while being pelted by rocks, you need an idea of what sort of rocks make the best projectiles and what the worst trees are to climb down. So let's take a look at ensuring that your character pretty much fails at everything he or she tries to do -- and how to succeed after all.
Storyboard: Get them in a tree, throw rocks at them
The past week or so has been pretty terrible for one of my favorite characters in Final Fantasy XIV. Over the course of the last week, she's been drugged, been tied up, had her heart broken twice (more or less her own fault), broken someone else's heart, been scarred, and been screamed at, and she's managed to see one of her dearest friends begin to turn into an enemy. And I'm writing this on Monday, so I can only begin to imagine what's going to happen over the course of this week. Of course, there's a disconnect here because while she was knee-deep in roleplaying misery, I was having an absolute blast -- some of the most fun I've had roleplaying in a long time, actually. Now, there's something to be said there about making your characters miserable for fun and profit, which I intend to discuss next week. But it occurred to me that this is one of the fundamental disconnects between roleplayers and the non-RP part of any game's population. The goal in any MMO is to become more capable... but the goal of roleplaying, at least to start with, involves making things worse and becoming significantly unhappier.
Storyboard: Ten tips to avoid drama burnout, part two
Last week, I posted the first half of ten tips to avoid getting burnt out on roleplaying drama. Ironically enough, it immediately preceded a week which involved almost nonstop in-character drama which was, not coincidentally, completely free of any real-world drama. (At least to the best of my knowledge.) My hat goes off to the people involved (I'm lucky to be part of some excellent groups), and I'm very glad that I had all of this fresh in my mind. If you haven't read the first part of the column, I advise you to do so first, but let's recap just in case. The goal here is to provide tips to help reduce real-world drama and minimize hurt feelings spilling into the real world. I don't claim that this will be in any way a cure-all, but these tips should at least help reduce the odds of screaming matches that scare you off roleplaying for good. Everyone on the same page? Then let's move on to the second half.
