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Storyboard: Archetype discussion -- the Defiant
If you were born around the same time that I was, then the odds are good you have the plucky princess seared into your brain by means both dark and Disneyean. You know the one I'm talking about: the girl possessed of a fair bit of good sense and independent thought who doesn't want to be a stay-in-court princess, despite her father's insistence that she'll get attacked by a bear within five seconds of leaving. So within 15 minutes she leaves anyway, and lo and behold, the next two hours of the film are devoted to the variety of bear-related mishaps that ensue. But there's more to this than a line of somewhat nauseating merchandise for young girls. There's an archetype here, one for people of both genders who kick convention to the curb and opt for something just a bit more stimulating and challenging -- even though they're not always well-suited to those challenges. So let's take a look at the Defiant archetype past the cut. (And you can go ahead and hum Part of your World while you do so, if necessary. It's OK.)
Storyboard: The story of the story
Two weeks ago, I went over the bare minimums of running a long-standing story in an MMO. Specifically, I was covering the more administrative and less narrative aspects of keeping a story going, due in no small part to the fact that you can't actually plan most of a story in a consensual environment. Instead, what you plan are setpieces and isolated incidents for everyone to interact with, smaller bits of stage setting that weave together into a larger and more satisfying whole. If you couldn't guess, though, today I'm going to focus more on the latter. For an ongoing story in a game, you need to have some structure and some motivation to keep moving, so you're going to have to know a bit about creating engaging scenes and keeping everyone engaged. This, of course, is no small task in a tabletop game, where you have complete control of surrounding events and are creating a scene to facilitate the characters of others. It gets wonderfully more complex when you're setting up a scene for your character without any control of NPCs or surrounding environments.
Storyboard: Archetype discussion -- the Trapped
Up until now, all of the archetypes we've discussed have had one major element in common -- they've wanted to be out in the world. Maybe it's out of a sense of duty, maybe it's a desire for something, or maybe it's just a need to teach. Whatever the actual reasons, these archetypes are made up of people who aren't going to be totally happy just sitting at home right now. Many want to end up in a nice home, but that's further down the road. The Trapped just wants to get out. She doesn't care about larger goals, she doesn't care about adventure, she doesn't want to make money or learn new things. She wants to go home and stay there. Unfortunately for her, she doesn't get to make that decision, and for whatever reason, she's out in the midst of an adventure when she never really wanted to be a part of it in the first place. So queue up your listening material and let's talk about being trapped in the midst of awesome.
Storyboard: Swapping tales
A few weeks back, I took the opportunity to explain why roleplaying is most definitely not storytelling. So this week, I'm going to directly undermine every single part of that column and talk about running a steady story via roleplaying. If you haven't noticed by this point, I'm a big fan of subverting expectations. My usual impish sense of humor aside, the two exist rather comfortably alongside one another. A long-running storyline in-game doesn't require you to have arcs and movements and motivations planned out -- rather, it's the natural outgrowth of character arcs and interactions from months or years of play. You lose much in the way of narrative consistency or overall theme, but you gain a sprawling organic network of developing plotlines. So keeping a long-term story running is more a matter of letting time build on an existing base. But getting that existing base functioning and keeping it on an even keel isn't always a simple task, and that's what we're going to examine. There are a lot of ways to keep a story going in the game, but the better the foundation, the better it'll be.
Storyboard: Archetype discussion - the Mentor
I keep expecting to run out of ideas for the various archetypes that I've been discussing, but more of them keep coming to me. The past six columns have all highlighted characters who are distinct from one another yet at the same time make compelling centers to their own stories. For roleplaying purposes, they move to the forefront of the ensemble cast when needed and slip to the middle the rest of the time. But not everyone whose name is in the credits is necessarily going to be The Hero. Today's archetype probably won't be remembered as the one who accomplished any great deeds, unless you look at it by association. But she's still a vital character to any group, someone who provides an emotional and moral center amidst a horde of conflicting personalities -- even if no one might remember it. Today we're taking a look at the Mentor and all of the things that she brings to the table even from a more subtle role.
Storyboard: In the thick of it
Talking amongst ourselves only goes so far when it comes to roleplaying. Eventually there comes a time when you have to get up and get your character moving, or you're going to wind up playing a Federation captain whose mission is to explore strange new ways to sit on Risa without doing anything. And while you can certainly treat the leveling process as a sideline to the interaction, why would you want to do that? Roleplaying in the midst of content isn't just a good idea, it's a great way to build character and really get your mettle tested. It means that you have to adapt to a different style of roleplaying, one that doesn't have the space for long-winded speeches or discussing the intricacies of your past. It seems so natural, but I know an awful lot of roleplayers who haven't tried it. But we're not just going to put forth a call to start getting out into dungeons or fleet actions or task forces with roleplaying partners -- no, we're going to talk about how to do it so that you don't wind up getting decorated with your own viscera.
Storyboard: Archetype discussion - the Errant
If you've seen The Princess Bride but haven't ever read the book, you have excellent taste in movies but you're missing out. There's a lot that by necessity had to be cut from the film, but the lost detail that stands out is just how much time Inigo Montoya spent training and preparing to hunt down the six-fingered man. It's one thing to be told that he strove to kill this man for years; it's another to be told in detail how hard he fought, how long he quested, and how much effort he poured into his goal until there was almost nothing left. Today's archetype is Inigo Montoya. He is Roland Deschain, he is Alessan di Tigana, he is Captain Nero and James Ford and Depth Charge. He is the Errant, and he is anyone devoted to a singular purpose that drives every second of his actions. And he's probably the most problematic of the archetypes out there, because sooner or later he's going to have to deal with what it means to complete that purpose. So take a seat, and let's go on a single-minded journey.
Storyboard: You are not a storyteller
I know that some of you are looking at that title in disbelief. Others are probably just reading already, figuring that in a few lines I'm going to set up what the central joke is and explain how I'm subverting the title -- you know, a nice eye-catching title that draws everyone in, then a paragraph or two where I explain how I'm not being serious. That's not what we're doing here. That title is one hundred percent accurate. If you are a roleplayer, you are not a storyteller. Close, maybe, even in the same basic food group, but you're not a storyteller. I've spent the better part of the last several months talking about how to work on telling a story, developing a character, all of that stuff. But it occurred to me that I was leaving out a very important part of the equation, something that I was aware of in the back of my mind -- and many of you likely are aware of, as well -- but I never said outright. I'm saying it right now. Roleplaying is not storytelling, and if you're trying to be a storyteller, something is not going right.
Storyboard: Flaw of the land
Nobody's perfect. Heck, most of us aren't even within spitting distance. That's why we spent a column starting in on a discussion of flaws as they affect characters, breaking down the broad categories of flaws that you can give a character. But as I said right then, there's a lot more to talk about when it comes to flaws, especially since your flaws can be far more important than your character's actual abilities. It's useful to understand that you could make your character profoundly incapable of understanding selfish or deceptive motives (ignorant flaw), or make him a former murderer who's adventuring as a sort of work-release program (redemptive flaw), or even just a deaf mute (functional flaw). But it's important to understand why these things matter -- in a world where everyone is telepathic, a deaf mute is only at a slight disadvantage. You need to pick out marquee weaknesses that are relevant, and you need to know when a smaller flaw is actually useful to roleplaying.
Storyboard: Archetype discussion - the Partisan
Clarity of purpose is a wonderful thing, made all the more likable by its usual absence. The fact is that most of us have only the vaguest idea of what to do, and we're all making things up as we go. It's the central ripoff discovered when you become an adult. Moral clarity is a joke, and whether you try to save everyone or just focus on saving yourself, it's a morass without any clear purpose for most of us. The partisan puts the lie to that. He might follow a religion, he might follow a nation, he might follow an individual -- but whatever his leader might be, the partisan follows it without fail. He has his moral clarity at all times, even if keeping it might mean sacrificing his own judgment. And it's his view -- his vision of what is right -- that tells him exactly what he wants. So let's look at the partisan, in all of his one-true-path glory.
Storyboard: Flawed premise
If there's one major element I've been coming back to over the course of this year (which isn't quite a year of this column, but close enough for government work), it's character creation. This is not by coincidence -- a lot of roleplaying consists of just throwing the right mix of characters in a closed space to encourage interaction and then letting them play off one another. So it seems fitting to close off the year by talking about what I consider one of the most vital elements in creation: making your character an incompetent mess with severe emotional issues. Yes, I'm talking about flaws, which are one of the best ways to add definition to a character that might otherwise be lackluster. Like sculpting from marble, flaws cut away the edges of a character and help bring everything into greater definition. But it's a delicate balance between making an interestingly flawed character and making an execrable lump of flesh useful only as monster bait (or a virtual infallible deity whose flaws are all non-starters such as "well, he can't play the oboe"). You want a character just flawed enough to be interesting, but not so flawed as to drag others down.
Storyboard: Archetype discussion -- the Paladin
Archetypes, by their very definition, are idealizations. They aren't people; they're abstract concepts that people approach in varying degrees. Most of them aren't conscious aspirations, just a direction and a set of overall goals. Nobody really wants to be amoral in pursuit of a single goal, or an engine of war, or an endless question mark. You just kind of wind up in a place where you can be abstracted in that fashion. Paladins are not like that. Staggering numbers of different games have a class named "paladin," including nearly every class-based fantasy game in existence. But that's just a name, a collection of statistics and abilities and genre conventions. There's more to the archetype than that, something that taps into a very fundamental part of the human psyche. So as always, queue up some appropriate listening material, and let's take a look at an archetype that's almost always named as a class but has much more substance than a few holy-themed spells.
Storyboard: Let me show you my pokeymans
Today, I'm going to switch gears just a little bit and do what might seem searingly egotistical. I'm going to tell you about my characters. Well, not all of them -- I'm limiting myself to the various new characters I've created for the latest World of Warcraft expansion, since there has been particularly good reason to do so. But still, this week's column is all about the characters I've created, both the good parts and the bad. My rationale behind this, however, is hopefully a solid one. I've been talking about the best ways to go about crafting characters and how to best play the RP game for several months now, but I've been remarkably short on actual examples from play. One of my firm beliefs is that a good teacher can demonstrate quality work in a given field, and so I'm turning the gaze inward. Let's see if my advice in practice is worth a hill of beans, yes?
Storyboard: Archetype discussion - the Scholar
It's time for our third archetype discussion, with the previous two being the Soldier and the Rogue. I've been pleased with the positive response I've seen so far, especially since the archetypes seem to help highlight the difference between a class and the character. There are classes that suggest a more roguelike approach (not a Roguelike approach; that's different), but people play them as soldiers, undertaking missions and killing based on exterior orders rather than any sort of malice or desire. And that's great -- the power of archetypes is that you can have almost any class or combination of abilities backing them up. Such is the case with today's archetype, one that is often seen as being limited to spellcasters but which can really cover almost any set of skills. James Joyce wrote that when you think about things, you can understand them, and that's the bread and butter of the scholar. Queue up some appropriate music, and let's take a look at someone who just wants to know more.
Storyboard: Putting the RP out of the G
Roleplaying happens in the game, that much is a given. For some players, it's a supplement to the other parts of the game; for others, it's the whole point of playing. And there's nothing wrong with leaving your roleplaying as just an in-game thing, something you put down as casually as any other in-game activity. But there's also nothing wrong with working on developing your character and her story when you aren't logged into the game, and this week, I'm going to look at some of the more effective ways to do just that. The obvious question about taking RP out of the game in part is the question of why. It could be for any number of reasons -- maybe you can't access your main game computer at a given time, maybe you want to fill in the gaps in your character's life, or maybe you just want to make the experience of the character herself more immersive. Whatever your reasons, there are three main ways to keep your character interactive and living even if you haven't logged into the game proper.
Storyboard: Archetype discussion - the Rogue
A disproportionate number of roleplaying characters are heroes. Well, "heroes" might be a bit too strong of a term -- said characters may or may not have actually done anything heroic -- but given the opportunity, they prefer to be on the noble and self-sacrificing side of a conflict. There's nothing wrong with that, to be sure, but there is something to be said for playing someone whose ethics are a bit less grounded in an abstract idea of right or wrong. Most fantasy games have a class either named as a rogue or some variant thereof, and even when the class doesn't exist, the hallmarks are there. Stealthy and sneaky, usually aimed at quick bursts of damage -- all of those elements speak to how rogues work. But they don't actually define a true rogue any more than a hammer defines a carpenter. So feel free to cue up some appropriate music (at your discretion) as we dive into the second archetype study, taking a good hard look at the most underhanded archetype around.
Storyboard: The only way out is the way through
I had originally planned to use this week's column to talk about the ways you can develop a roleplaying storyline outside of sitting in your city of choice and chatting, but sometimes plans work out differently. In fact, that was exactly what inspired me to change topics -- sitting and chatting with the head of my linkshell in Final Fantasy XIV about how he'd realized after the fact that the character he created was unintentionally alienating him from RP and that he'd placed a distance between his character and the other members of the shell that wasn't doing him any favors. We chatted about what he could do with the character to try to salvage him to avoid scrapping the character and starting over with a concept better-suited to what he wanted to do. But he's not alone in that position -- what if your character isn't working out after all, but for whatever reason it's not easy to just scrap the character and start over? I've talked a lot about how to prevent your character from going off the rails, but how do you get back on the rails when a restart isn't a good option?
Storyboard: Archetype discussion -- the Soldier
Welcome to this week's installment of Storyboard, in which I'm starting off what I am tentatively hoping to keep as a semi-regular series. For all the previous discussion of characters that don't work, we haven't touched upon any that do work. And considering we've all sat there trying to think of any sort of hook for our characters, it's useful to have some stock types to draw from. I'm going to take a look at some of the more common stock types, how and why they work in a variety of settings, and what sort of touches you can add to make a character stand out. Of course, the first archetype we're looking at doesn't stand out. In fact, he excels at being a part of something larger, a cog in a machine whose only purpose is death. He's fighting for Stormwind, he's fighting for Bastok, he's fighting for the UFP -- he's the universal soldier, and he really is to blame. So why not cue up some appropriate background music, and take a look at the soldier as an archetype.
Storyboard: To flow like water
After having heard about a small explosion of RP drama earlier this week (not within my immediate sphere, but relayed to me anyway), I was initially going to make this week's post all about that most hated of all interactions. Then I found myself thinking about it a bit more, and I realized that really, most RP drama has an easily identifiable source that's easy to change if you actually want the change. And the solution is so simple it's almost insulting. Be flexible. Seriously, it's that simple. It's so fundamental that I put it into the very first column I wrote for this franchise, which should tell you something. But even though -- or maybe because -- it's so obvious, it's also stunningly easy to overlook our own inflexibilities. It's one of those things that we all know on a conscious level and ignore in practice, and if that's not rant-worthy, boy, I don't know what is.
Storyboard: The unshuffled mortal coil
Welcome to this week's Storyboard, which originally was going to be very different than normal until I started writing my first idea. I discovered an important fact halfway through the writing -- the idea was really stupid. So I killed it, and that segues nicely into what I want to talk about: Death. Sooner or later every group of roleplayers in an MMO has to deal with it, and considering how many worlds have certain monsters roaming about whose only purpose is delivering untold harm to player characters, it's probably going to be sooner. Of course, death poses all sorts of problems in game design anyway -- what are the penalties, what are the lingering effects, is it a major inconvenience or a small hiccup, et cetera. But it poses a unique problem for roleplaying, because as it stands, you don't stay dead for long no matter what. So how do you deal with the implications of a world where death is less of a great beyond and, at most, a lost potential character title?
