Role-playing vs Roll-playing

Well hello there! It’s been a while. I’m feeling the urge once again to exposit on things, so here we are. I don’t know that I’ll be keeping a regular schedule or anything, but I’m gonna write some stuff in any case.

I’ve been thinking about a number of things revolving around protagonists in games and otherwise and their characterizations. In trying to find a good place to start in discussing them, I hit upon the age-old tension between role-players and non role-players. Most of what I want to talk about in the near future ultimately relates back to that divide.

Pretty much as long as games where one plays a character have existed, there’s been a divide between those who view that character as a role to be played, as an actor would, and those who view the character as a collection of statistics to be used as a direct avatar of the player (the ‘roll-player’). A role-player will develop an internally consistent characterization and make decisions based on that, where a roll-player will base her decisions on what best increases their character’s power. It’s easy to see where the conflict can arise; a role-player may make decisions that result in increased difficulty because doing otherwise wouldn’t be consistent with the character they’ve created. A roll-player may focus on what improves their capabilities, even if the resulting character behavior is wildly inconsistent.

In a tabletop game the gamemaster can step in to defuse a lot of this tension. He can provide opportunities for the role-player to play their character while still giving the roll-player ways to improve their capabilities. In video games this becomes more difficult. The goals of a role-player are difficult to assign numerical values to, so they tend to be secondary to the main game. Particularly in MMOs, character development becomes a purely numerical affair where the ‘correct’ choices and the best gear can be determined mathematically. The player for whom characters are simply a collection of statistics will have difficulty understanding why a role-player chooses a non-optimal path. Even worse, when the role-player’s choices make the game more difficult for an entire group, conflict tends to erupt.

Personally, I lean towards being a role-player. When I create a character, I generally imagine a basic personality for them to go with their physical design. I think this is part of why I’m perfectly willing to play female characters as well as male; that character isn’t me, they are a separate being who I am playing as. It’s similar to writing a story with characters who are different from me. That said, I’ve sometimes had to accept acting out-of-character in-game.

In World of Warcraft I played a dwarven hunter, Thalen. I imagined him as an exterminator who became caught up in events beyond what he ever expected and went from dealing with minor pests in Ironforge to slaying dragons and the like. Ultimately, though, he viewed it as all the same. There were pests that needed to be dealt with, and that was his job. This led to a matter-of-fact sort of character who focused on the job at hand. In part, I chose this characterization to try and avoid conflict with non-role-players.

Despite that, there were still occasions where my character was at odds with the optimal choice. Thalen used guns. He was willing to use crossbows in a pinch, but bows were just not right. This was difficult to stick to, however, as often a bow would be the best available weapon to me, particularly in Vanilla. Eventually transmogrification came along and I never used a non-gun again, at least not visually. Along the same lines, I was never willing to play as a Beast Master; it simply didn’t match my vision of Thalen. Even in Burning Crusade when Beast Master was the best spec by far, I stuck to Marksman. Luckily I was a good enough player to still be viable, and I was in a raid that was willing to allow sub-optimal play. It was still a hard thing, however, having to choose between character and power.

AggroChat #31 – Endless Legend of Draenor

Tonight I am joined by Ashgar, Kodra and Tam as we ramble ever onwards about video games and things related to those video games.  Tonight we talk the supremely interesting 4X game Endless Legend… which if nothing else seems to have an endless thing of configuration options.  We talk about Shadows of Mordor where we determine that it may in fact be a “Bel game” so long as I can suffer through the stealth places.  Finally I unload about my recent waffle and subsequent return to World of Warcraft for the Warlords of Draenor expansion.  All of which we expound upon at length in traditiona AggroChat style.

BEL FOLKS STUFF #2 – ROWAN AND SCOOTER

I have to say editing this podcast was this strange time traveling experience, and it has taught me an important lesson.  Never record a podcast two and a half weeks before you intend to publish it.  During the course of the show we talk about a few things like the enigma surrounding the cancellation of project Titan.  In any case the bulk is extremely interesting as I am joined by Rowan Blaze of the I Have Touched the Sky blog and regular guest on the Beyond the Veil Secret World podcast.  At his amazing suggestion we are also joined by his awesome wife Scooter, who has been his constant companion both in and out of the games he plays.

Rowan is a deeply interesting guy, and we delve into a rambling discussion about gaming, hopes, fears and an even a Weasley house analogy.  Hopefully you will enjoy the discussion in what marks our second podcast in the Bel Folks Stuff lineage.

How I Design: The Message (Part 5)

I’ve talked thus far about the Medium, tailoring your experience to use the strengths of the medium it’s being presented in, rather than wasting effort and fidelity to struggle against your own presentation medium. A movie that tries to actively engage the audience tends to fall flat, whereas a stage production that ignores the audience entirely from curtain up to curtain drop is missing out on a strength of theatre as a medium. Mostly straightforward, hopefully.

Here, I’d like to talk about another important meta-concept for an experience: the Message. At a really high level, all entertainment is communication, and much like talking to someone, simply using fancy words or complex sentence structure or dramatic tone without any substance simply makes the audience confused at best. I find it very important to be aware of what I’m communicating, and how that message is coming through at any given point in the experience.

This isn’t necessarily about a moral, or a political statement, or any larger concept, although it can be. More often it’s about something much simpler — “this guy is the bad guy”, “this landscape is beautiful”, “this city is corrupt”. Often, there are several messages occurring simultaneously, and balancing them is important. You’ll occasionally see stories where the overarching “world is ending” plot is so overwhelming that it devours any other side-story that might occur, making those seem trivial. Alternately, when faced with a world-ending crisis, investigating a couple of people having a clandestine tryst seems trivial and unbelievable. Scale and pacing are important.

I like to establish messages on the Chapter and Moment levels, figuring out what (usually more complex thing) a Chapter is saying, and peppering Moments with simpler, more direct messages.

As an example, returning to the modern-supernatural mage gangs concept, and the Chapter I described, I might have messages that look something like this:

“There is a significant divide between trained, ‘official’ mages and the unlicensed hedge mages that make up mage gangs.”

“In the world of mage gangs, power is everything, and the power structure is volatile and prone to disruption.”

“Mage gang members tend to resent ‘official’ mages because their world revolves around power and is volatile, and the comparatively high power of trained mages to their untrained magic puts them at a severe disadvantage (and the rejection of their power-based structure by more powerful mages is akin to a rejection of their worldview).”

“Nonmagical people have a variety of effective means to deal with unlicensed, potentially dangerous untrained mages, which the mage-gangs have become more or less adept at avoiding but which remain a constant issue.”

At the Chapter level, these are fairly complex statements, which a variety of resources would be bent towards communicating. In some cases, actual NPC dialogue might communicate these, and the twists in the story and behavior of the opponents/environment might reinforce it. Others might simply be hinted at, if they’re not plot-centric, and left for the player to consider and discover on their own.

I’ll talk about Moments next, and the next in this series will talk primarily about crafting Moments, and the messages are an important part of them. The Moment I’d like to make is the point at which the player catches up to their target, the former licensed mage, gone rogue, who has thrown in with the mage-gangs. There are a variety of things I want to have communicated by this point:

“The rogue mage is highly dangerous and seemingly unpredictable.”

“The rogue mage’s gang is very powerful, but not the most powerful.”

“The rogue mage’s gang is the most organized of the powerful gangs, reflecting her background.”

The Moment relies on these messages being communicated properly, and understood by the player. In the moment, I want to communicate a few important details:

“The rogue mage is powerful and well-equipped, but desperate in the face of the opposing gang.”

“The rogue mage is reasonable, can be negotiated with, and has sensible motivations, but is entirely uncompromising on certain key points.”

“The rogue mage is very attached to Atlanta and is defending it from a greater danger that won’t be addressed by official channels.”

I’ll return to the Moment next time, and actually walk through constructing it, using everything I’ve set up thus far.

Source: Digital Initiative
How I Design: The Message (Part 5)