Archive for the ‘RPGs’ Category

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Restrictive Design Standards = Vast Fields of Opportunity

September 27, 2007

The developer commentary included with Team Fortress 2 has one interesting segment on a conundrum they faced while designing the Spy class. They wanted players on the Spy’s team to be able to identify them as friendlies, and they wanted to do this without adding another 2D element to the HUD. The solution they came up with was inspired: have the Spy put on a paper mask with a picture of the class he’s masquerading as on it. The lesson here was that holding one’s self to a strict design standard can force innovation by removing the easy way out. It is said that restriction’s are an artist’s best friend, and their Spy solution is a textbook example.

I think this is a great concept, but it should be pushed farther. So how about making a game of a certain genre that is known for primarily revolving around a certain kind of play mechanic, and then refusing to use that mechanic at all? This would force the developers to come up with new ways for the player to interact with the game and their environment, which would create new styles of gameplay and inject a big fat slug of innovation into the games industry. The play mechanics that would be developed to fill the sudden vacuum could later be refined and applied to other games all over, potentially opening up entirely new genres and game types.

And the most overused type of gameplay is combat. When a developer doesn’t know what else to do, they hand the player a gun, put them in a room full of monsters and let them fight it out. This is true of several genres, almost by definition, but it doesn’t have to be. How about an RPG with no combat whatsoever?

With no combat to balance, development resources could be focused elsewhere, such as dialog and writing, and here’s where an idea really grabbed me: make a game that only has 8 or so NPCs, but each of them has a thousands and thousands of lines to dialog. Instead of making a whole lot of little NPC interactions, focus on a very few but very big and deep and complex NPC interactions, with hundreds, or even thousands of permutations.

And to give players more control over how their half of the conversation plays out, perhaps they could be given two option categories they must pick from during each round of dialog. One category might be answer content, with options such as “yes,” “no,” “I don’t know,” etc, and the other category could be a tone of expression, such as sneering, humble, proud, direct, and so on. Different NPCs would not only react to what the player said, but how he/she said it. And this would be true of every dialog option in the game.

With the current techniques involved with writing NPC dialog, this is probably an unworkable goal. So of course new techniques would be developed to meet this challenge. For instance, maybe the developer could create a special AI to aid in this process, one that has a set of preferences and then looks at the player’s current state, the player’s past actions, the state of the game world, any story flags that might be relevant, and so on, and then chooses the line of from a list of responses that best fits the context of the conversation. Or maybe an AI wouldn’t be much help, and the solution would just be an improved method of scripting conversations. In any case, the main goal would be to move beyond simple dialog trees, and more towards a simulation of a real conversation.

If every answer had a real and immediate effect on how the rest of the game played out, the replayability of this game would be astounding. This quality could be enhanced further by deliberately writing the script so that you could only get part of the story during a single play-through. A single play-through would contain enough information for the story to make sense, perhaps, but the NPCs could be set at odds with each other so that to get all the information an NPC could provide he/she would have to earn one NPC’s trust at the expense of another’s. A player would never be able to get everybody to tell the whole story in a single game. And of course the ending would change depending on the player’s interactions with all of the NPCs, so even if a player decided to stick close to NPC X during two different play-throughs, the ending might still be different depending on how the player treats NPCs Y and Z.

This is just one of the ideas that came to me while pondering VALVe’s example of how a commitment to design principles yields big results. I have more, which I may post about later. The daydreams this will be running around in my head for months, I can already tell.

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It’s D&D!

September 25, 2007

So apparently there is a D&D club here at UCSC this year. I was on the lookout for the anime club, but couldn’t find them, so I checked out the Dungeon Association. Now I’ve wanted to get into tabletop RPGs for a while now, but every time I tried I just couldn’t find a group. I mentioned this to the club orgainizers and they said that solving that problem was exactly what the club was for. So game on! I finally get to finish by Geek Certification, having done anime, video games, and now tabletop RPGs.

They even ran a little sample game right there at the booth, which was pretty fun until the second half of our party showed up. I got the feeling that they were “regulars” and they were also not inclined to take the game seriously at all. And by that, I don’t mean that I wanted them to be super in character jerk-offs or vicious rules lawyers, or people who take it so seriously that they forget to have fun. What I mean is that they weren’t approaching the game on it’s own level; they insisted on being above it, coolly dismissive of any notion that they might treat this world of make believe as being even remotely important, even for just a quarter of an hour.

The bard couldn’t have a conversation or answer a question without blasting a power chord on his lute to accompany his hair metal band-esq answer, and the monk did backflips and hand stands just because he could while throwing shuriken at anything and everything for no reason at all. Spot check? Listen check? That’s for wimps. Just attack whatever you’re curious about to see if it does anything. A mysterious mutant blob jumps out and attacks one of our party members, but we notice it has bits of what appear to be chocolate in it; the bard and monk both decide that this clearly means it should be eaten. Every time I tried to engage with the game, one of these two players would subvert my efforts and shut them down by engaging in some ridiculous jerk ass behavior, the kind that in any internally self-consistent world would kill a person before they were experienced enough to even be considered level 1.

So, I don’t want to play with these two guys. I am hoping that enough people show up that I can be in a different group. They seemed to have enough people sign up that I should have no problem with that. We shall see how this plays out. It should be fun.

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How Collage Killed My Creativity Mk. 2

September 14, 2007

I got a lot more hits than I expected out of my last post on this, including a rare comment from somebody I don’t already know from offline (holy shit, Batman!). With that in mind, I figure that now is as good a time as any to expand upon my original post, which was in hindsight really just a loud noise of despair and self-pity. I’ll try and pare back the whiny bullshit- but no promises. Read the rest of this entry ?

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BioWare, I Want to Have Your Babies!

September 11, 2007

In case anyone stopping by this blog is interested in reading a fascinating article on how BioWare writes its RPGs, head on over to It’s About… and read up. Very cool stuff for those of a certain bent.

I’ve wanted to work for BioWare for a long time, and at one point I was on the verge of applying to one of those fancy-dancy new video game collages that are springing up all over the place, but in the end decided against it. The games industry is insanely competitive, and it seemed like a wiser choice to develop broader skills as a writer that I could apply to a variety of career paths rather than get a super-specific degree in game art and design. I came to this conclusion after reading several profiles of rookie game developers and noticing that none of them had a specialized game design degree and that all of them came into game development from other fields. BioWare’s employment opportunity page supports this notion, as they look for previously proven writers in other fields to do the kind of work detailed in the article I liked to above, so I’m still fairly optimistic about working with them someday.