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Characters - Emotions/Dispositions

Section8

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Hmm, I've been a bit quiet over the last couple of weeks. Real Life and that. But it's time to stir up a bit more discussion, this time with something I don't really have set in stone, and I've been pondering for the last little while -

Social Stats

Social Stats are essentially what defines the personality of a character beyond the functional elements of Charisma and Countenance. The define everything from the vocabulary a character uses to the relationships between them and the emotional state they exist in. The two major categories of Social State are Emotions and Dispositions.

Emotions

Emotions represent whatever feelings the character is currently experiencing, and though there is a historical record of the causes, emotions are universally directed - an angry character will have angry conversations with everyone. For now, I have three opposing pairs, and it seems like a reasonable cross section of general, undirected emotions.

  • Angry<->Calm - Without getting too specific, this will affect dialogue (both the choice of vocab and the reactions from the listener), and the outcome of certain actions. Anger will help "bruiser" style characters, while being calm will help "finesse" style characters.
  • Sad<->Happy - Again, a great influence on dialogue and social interactions, but also a general measure of efficiency with many tasks. A happy worker is a productive worker and all that.
  • Fearful<->Emboldened - A fairly critical measure in a horror game, and aside from the obvious social influence, there's also a fairly obvious influence on combat situations and morale.

Dispositions

Dispositions are similar in function to emotions, but they specifically measure intercharacter attitudes. In other words, each character tracks their disposition toward each other character, creating a vastly more complex web of interaction than emotions.

  • Attraction - Attraction is a measure of physical magnetism. Mostly accounted for by the Countenance stat, it works as a spectrum that stretches from Lust at the high end of the scale, to Revulsion at the far end. It is kept independent of more cerebral attraction to account for characters who are physically attractive, but unlikable and horribly ugly characters who are beautiful on the inside. Over the course of the game, Attraction remains fairly static but is modified by how the character chooses to present themselves (clothing, grooming, etc). It is also influenced greatly by relativity. If the most attractive character should perish or become horribly scarred, their less attractive counterparts should receive a boost.
  • Affection - Affection is a measure of conscious magnetism, a spectrum stretching from Love to Hate. Complete strangers start dead centre of the scale, with actions and dialogue being the main influencing factors. All characters will cause changes to Affection, but it is only really skilled talkers who have a reasonable degree of control of their influence.
  • Authority - Authority is a measure of relative status, with a spectrum ranging from Domination to Submission. It is used to define the power one character exerts over another, primarily as a result of intimidation, or potentially more specific circumstances like blackmail, or feeding an addiction.
  • Respect - Respect is a measure of what a character feels about their peers' functional capabilities, their "work ethic". For instance, a combatant who proves themselves repeatedly in battle will earn the respect of their peers. The spectrum ranges from Reverence to Contempt. Influencing Respect are two major factors - the character's perception of another's skill, and their actual achievements. Dave might be able to see that Nancy is a brilliant doctor which earns her a positive rating, but she failed to save Angela's life, so she loses respect for perceived "underachievement".
  • Trust - Trust is a measure of how willing a character is to believe another, with a spectrum stretching from Absolute Faith to Absolute Suspicion. To begin with, this disposition is biased slightly toward the positive (I want to believe!) and is modified primarily by dialogue. Sliding toward distrust is fairly constant, as miniscule details regularly trigger suspicion, but the more dramatic changes come in dialogue directly related to events. If a character speaks falsely of events another character is aware of, Trust suffers a hit. If a character makes a promise, an agent of distrust will steadily increase until they either deliver or reach a threshold of "taking too long". As with most dispositions, social skills are a major determinant in how well a character is able to bend the truth or outright lie. They're also likely to be able to argue their version of truth more effectively, painting an NPC with a conflicting version as distrustful.

---

So that's the first chunk of Social Stats. There will be a lot more to do with tracking personality and so forth, but the emotional side of things has been gnawing on the back of my brain for a little while. Obviously, everything has to remain fairly simple in comparison to the vast range of human feelings and emotions, but I want it to be complex enough to cover fairly typical narrative emotions and dispositions seen in comics.

So from your perspective - does it seem like I've covered my bases? Any obvious emotional states that I'm missing? Any of the terminology sound confusing, or for that matter are any of the concepts unclear? Does it mean much without a whole lot of context?

And as a bit of an exercise - could you sum up your current emotional state with the three axes above? Could you use the system to adequately represent your disposition toward the last person you spoke with?
 

galsiah

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Looks pretty reasonable. I don't see much improvement for a system with that level of detail.

However, I'd consider complicating matters a little with:

A Content/At-Peace<->Frustrated/Agitated emotion.
I'm not sure that Angry/Calm covers things well enough, since it's possible for someone to be hugely frustrated/conflicted/annoyed... while remaining perfectly calm. I think it makes more sense to have two ranges, rather than just different personality-based responses to one range.
On the other hand, anger has more scope for significant, clear feedback. Frustration/agitation is likely to give less significant results in most cases. Perhaps this makes it an unnecessary detail; perhaps it makes it an interesting subtlety. I'm not sure.

Sad<->Happy is probably fine, but perhaps it'd make sense to have the consequences be personality-based: not everyone gets more work done when they're happy; some types might throw themselves into their tasks when they're miserable and frustrated.


Dispositions seem fine, but ideally it'd be good to see Authority/Respect/Trust have some context-sensitivity.
For example, it might be natural for character A to dominate character B in control of social conversation, but for B to dominate A in combat/exploration. Similarly, if A is talented with skill X and Y, but B always sees A fail at X, but succeed at Y, it doesn't make much sense to have a one-dimensional respect value: B's going to respect A as a Y-er, but not as an X-er. (perhaps there could be some general respect level too, but I think some context-specific respect levels make sense)

As for trust, there are people I'd trust with my life, but not to sugar my coffee, and vice-versa. There are people I'd expect to lie consistently about trivialities, but not about the big stuff. Some people I'd expect to tell me the truth whatever the implications; others I'd expect to tell me what they thought was best for me to hear (for my benefit). The second case isn't showing less trust - just that the person is trusted to do what they think is right, rather than to tell the truth in all circumstances.
Of course having things be more complex in this area will make it more difficult for a player to draw simple conclusions. However, it'd probably work in favour of real-life-based intuition, since it'd be a step towards modelling trust in a real situation.
 

Pussycat669

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The bases are there alright.

I'll try another one of those fatiguing and sometimes annoying step for step analysis.

Emotions

Just to make sure but are emotions NPC exclusive? You sound like they aren't but don't you think that emotions on the PC could prove to be too limiting on his choice of actions or even a mere nuisance? (Oh noes, I'm mad again! Quickly, wait for x hours/ beat something/ swallow red pills before talking to that NPC)

I think that 'Angry' is too aggressive to be put on the first scale although this appears to be fully intentional as to represent an aggressive<->peaceful scale which would otherwise be missing. Problem is that this scale may come in conflict with the
sad<->happy scale (at least I have a hard time to image a person that is both angry and happy at the same time). How would both co-exist in a conversation?
I would suggest changing it to anxious<->calm. Highly anxious characters will have an easier time performing the more physical oriented actions (brawling, climbing etc.) while not necessarily coming in conflict with your Sad<->Happy scale (an anxious person might be too impatient when he tries to express himself therefore using shorter less convincing/informative lines). You could then move Angry to the next scale so you got Angry<->Happy where I believe they belong. This would also open new opportunities to actually 'mix up' the different states of emotions and make them all useful to a degree instead of making them a win-lose situation. An anxious angry person must be considerably pissed and therefore could prove more efficient in combat plus more resistant to the effects of fear. A fearful yet calm thief might be double careful while disarming traps (if he remains confident/happy enough to continue his task). There are really a lot of options here.


Disposition

Phew, quiet a data overkill you got there (considering you want this all context sensitive and all).

-Attraction
I'm afraid I can't see why you included that one (other than a justification for Countenance). I mean you even can alter this so called stat with clothes. Is this supposed to become another one of those Resident Evil dress up sessions? I got a hard time to image such a thing useful in a horror game.

-Affection
Sounds about right. At least it's not called Influence this time around.

-Authority
Might also replace Respect as a stat. Dunno the scenario but if you aren't able to built a (violent) totalitarian dictatorship from the spot I think being the only able doctor/marksman/wanker around will give you at least some authority over others. Putting leadership in competent hands isn't really that far fetched. It isn't all about being an arse 'ya know (although I sometimes get the impression).

-Respect
See above. But even if not I'm not sure if giving the NPCs a perception for other people's skill is a good idea. If, for example, Dave won't let Nancy treat him/another guy and rather prefers dying/let die (which might occur if you don't keep the AI somehow in check) don't you think you expose the NPC too much to random circumstances? I mean a player might have a good run because none of his peers failed any skill checks and therefore had a high respect value for one another. Compare this to the player which NPCs failed each other constantly and therefore prefer doing anything themselves. This player might be forced to baby-sit through authority (if he even got that).

-Trust
I guess I trust you on that one although Trust and Respect could be merged in case of an emergency. (They both handle failure after all)
 

kingcomrade

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I'm wondering what the point of a lot of these stats is. Are you making a Dating Sim? How would you integrate them into actual gameplay? A lot of these kinda seem like dump stats, to be honest.
 

galsiah

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A few quick thoughts, since I'm rather tired:

@KC
I think the major focus with these stats is for NPC-NPC interactions, and NPC emotions/dispositions in NPC-PC interactions. It hadn't occurred to me earlier that the PC could have (some of) these stats too. There'd clearly need to be some different mechanisms to handle any such stats for the PC.


@Pussycat669
Worthy thoughts.
If there are PC emotions, you're right that it'd need to be carefully balanced. However, there wouldn't necessarily be much problem with a waiting-a-few-hours-would-reduce-anger situation, so long as the situation were dynamic, and time pressure were on.
In a real-life situation there's rarely a possibility of delaying a conversation until your mood is ideal - what needs saying needs saying now, in the current circumstances. In a survival horror type scenario, it should be reasonable to keep a significant level of urgency most of the time. So long as the decision to wait-to-calm-down usually has a downside, and so long as the calming down can be done during [various other gameplay activities], there shouldn't be much of a problem.

I agree that there's quite a bit of potential redundancy in having both attraction and affection. There's no problem so long as they have suitably distinct roles to play in gameplay - which presumably is the aim.

Perhaps authority is meant in more general terms, rather than in a narrower skill-usage-specific context. For example, people don't tend to leave all high level decisions to the smartest/wisest leader available. They'll usually leave mechanics to repair, and surgeon's to operate, but everyone wants to stick their oar in on overall group plans/direction. I suppose you could say that both would be factors in any situation. It's just that no-one respects anyone else enough in the high-level-decision-making department to let such respect rule - so it comes down to power of personality.

I mean a player might have a good run because none of his peers failed any skill checks and therefore had a high respect value for one another. Compare this to the player which NPCs failed each other constantly and therefore prefer doing anything themselves.
That's a concern, but I'd make a few points:
It's highly unlikely that number of overall successes/failures will be very different in a skill-check-rich environment. So long as characters get a significant amount of opportunities to demonstrate their skills, things would usually even out overall. (this could even be artificially enforced, if desired)

The entertainment of the game needn't be based on the success of the group. Even if things go badly wrong, the game can still be entertaining - there just has to be excitement, tension and motivation regardless of the plight of the characters.

So long as there's always pressure on the PC to be doing useful stuff, babysitting might well be unworkable. It might be preferable to have inefficiencies in the task<--->character mappings than to spend the game time necessary to get things perfectly organised. That's presuming that the player has the knowledge and ability to organize things better: if he has no direct access to NPC stats (???) he'll be judging NPC competence by the same means as other NPCs. Babysitting then makes little sense since the player has no way to know that his impressions are any more accurate than those of the other characters.



...too tired to be quick, it seems.
Do excuse any idiocy in the above if it happens that I'm also too tired to make sense.
 

Section8

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I'm not sure that Angry/Calm covers things well enough, since it's possible for someone to be hugely frustrated/conflicted/annoyed... while remaining perfectly calm. I think it makes more sense to have two ranges, rather than just different personality-based responses to one range.
On the other hand, anger has more scope for significant, clear feedback. Frustration/agitation is likely to give less significant results in most cases. Perhaps this makes it an unnecessary detail; perhaps it makes it an interesting subtlety. I'm not sure.

Hmm, I'm right with you on "not sure". My first thought is to not complicate the concept of anger with a fairly similar concept of frustration. Which potentially could lie somewhere on the Angry<->Calm scale. I sort of see frustration as unmanifested anger. Even if someone seems outwardly calm, they're stewing on the inside and waiting for the last straw to push them into anger.

But it does bear consideration. I'll stew on it. ;)

Sad<->Happy is probably fine, but perhaps it'd make sense to have the consequences be personality-based: not everyone gets more work done when they're happy; some types might throw themselves into their tasks when they're miserable and frustrated.

That's a pretty decent point. I'll definitely take it into consideration with actual personality variables.

Dispositions seem fine, but ideally it'd be good to see Authority/Respect/Trust have some context-sensitivity.

Again, very good point. As long as you don't mind adding more dimension to those burgeoning tangles of dynamic variables. First thought is to have 6 "contexts" - an overall and then one for each primary archetype, Combat, Medicine, Engineering, Subterfuge and Talking. It's a lot of number crunching, but I think you're right that a single dimension just doesn't get the same result.

Just to make sure but are emotions NPC exclusive? You sound like they aren't but don't you think that emotions on the PC could prove to be too limiting on his choice of actions or even a mere nuisance? (Oh noes, I'm mad again! Quickly, wait for x hours/ beat something/ swallow red pills before talking to that NPC)

They're not NPC exclusive, but I'm hoping they won't limit the player overly much. In terms of dialogue, you'd still get the same choices, potentially a new one or two related to a specific emotion/disposition. At the very least I'd want a "Look, can we do this some other time? I'm kind of angry, and don't want to take it out on you."
But really, the biggest modifier is not what you say but how you say it.

For instance, a calm character might have the option of "Hey, can I ask you to give me a hand with this?" while and angry player will have "Hey, I need some fucking help with this." Same basic request, but with variation based on emotion. And of course, a skilled speaker will have more control, and will be able to mask their anger, exagerrate it, or whatever suits the situation.

I think that 'Angry' is too aggressive to be put on the first scale although this appears to be fully intentional as to represent an aggressive<->peaceful scale which would otherwise be missing. Problem is that this scale may come in conflict with the sad<->happy scale (at least I have a hard time to image a person that is both angry and happy at the same time). How would both co-exist in a conversation?

That's a very good point and I've been thinking about it. I don't think I could name a real-life situation where "happy anger" exists, but can think of quite a few fictional characters who fit the bill. R. Lee Ermey as the gunnery sergeant in Full Metal Jacket, Ari Gold in Entourage, Mr T in pretty much anything. They're all fairly comic exaggerations, but I think someone who enjoys being angry has a place in the game. Of course, having said that, a "normal" character would probably be saddened by the same things that make them angry.

But of course, it's going to be hard to tell if "happy anger" will work with the way I've got dialogue planned out. Potentially it could sub in all happy words and there would be no angry tone to the words at all. :/

I would suggest changing it to anxious<->calm. Highly anxious characters will have an easier time performing the more physical oriented actions (brawling, climbing etc.) while not necessarily coming in conflict with your Sad<->Happy scale (an anxious person might be too impatient when he tries to express himself therefore using shorter less convincing/informative lines).

The issue I take with this is that anxiety and fear are quite similar. But then again, there's a lot of grey between emotions, so it becomes a question of where I draw the line.

You could then move Angry to the next scale so you got Angry<->Happy where I believe they belong. This would also open new opportunities to actually 'mix up' the different states of emotions and make them all useful to a degree instead of making them a win-lose situation. An anxious angry person must be considerably pissed and therefore could prove more efficient in combat plus more resistant to the effects of fear. A fearful yet calm thief might be double careful while disarming traps (if he remains confident/happy enough to continue his task). There are really a lot of options here.

I'm not sure if it's adding any options. Fearful yet calm can still be a product of my original system, and I think "angry but not sad" would have a similar function to "anxious angry" - they're pissed, but still energetic and a bit resilient, as opposed to the guy who is angry and sad, which makes him fairly directionless and ready to throw in the towel. Or go berserk, Private Hudson style.

As for Angry<->Happy, I can see a certain sense to it, and it would simplify things. It's a question of whether it's meaningful enough to differentiate feeling bummed and feeling pissed.

Gah. I knew it would be hard to pin down emotions and such in an RPG system. It's like trying to shoehorn philosophy and pseudo-science into a simple numerical representations. And that's even without consideration of clarity for the player.

-Attraction
I'm afraid I can't see why you included that one (other than a justification for Countenance). I mean you even can alter this so called stat with clothes. Is this supposed to become another one of those Resident Evil dress up sessions? I got a hard time to image such a thing useful in a horror game.

To address this, and kingcomrade's point - It's there because I want a little microcosm of human society, complete with the major elements of human interaction. I just don't think I could ignore such a base impulse of human nature.

I don't know about you guys, but no matter what situation I'm in, the first thing my mind likes to do is pick out the most attractive girl, and she's far more likely to captivate my attention than anyone else. There's no logic to it. Her head could be filled with sawdust and lies, but my idiot male brain cares more about her point of view than an informed one.

And that's how I see it working within Synaesthesia. In a small community with no pre-determined power-structure, the charismatic and beautiful will emerge as the leaders, though probably much to the chagrin of the intellectuals. It's mostly about a society interacting, and while potentially there's room for more personal interactions, I'm not going to strive for anything along the lines of "traditional" CRPG "romances". And of course, the player has the lion's share of control over their own dispositions.

As to why I have "Attraction" as a disposition when it's merely an extension of Countenance, I think attraction shouldn't be entirely universal, so the Attraction slider provides scope to apply some modifiers, factor in other elements, and very importantly, be a relative measure while Countenance remains fairly static.

-Authority -Respect -Trust

I'm going to mull these over a bit more.
 

Pussycat669

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@galsiah

Fully agree with you that the combination of emotions and the necessity of immediate action can be quiet reasonable and reminds me somehow that S8 has yet to explain how exactly he intends to control emotions (or let the player controls them through thoughts/actions/perks for that matter). I'm a little concerned that controlling emotions could lean too much on the designer's side and refuse the player this control where it should be appropriate as a gameplay mechanic.

As for authority, I guess what I was trying to express is the importance to leave a certain impression of competence (either to plan/execute a tasks or by being able to really, really hurt others) before you can take a leading position. The pigs in Animal Farm for example weren't just leaders because of their personality but more because of their broader knowledge about the different tasks of farming. They basically were the only ones who knew exactly what to do for the farm to survive which brought them into their leading position (which they heavily exploited later on). Of course this example only includes intellectuals since the intended simplification of the novel. If that horse dude would have been smarter he probably would have taken a leading role himself instead of being butchered. You can expand this on a small band of people trapped in a horror scenario. In a world where death and diseases can lurk around the next corner you better listen to the only person in the group that could fix you up instead of pissing him off although he might be a half-crazy drunkard. That is why I argue that respect might be seen as part of authority (since it implies the impression of competence from my perspective).

Just another side note about Respect: this might not bode well with the limited amount of NPCs at your disposal. I just recently read the story of Boatmurdered. A game of Dwarven Fortress that went horribly wrong as elephants started to attack and kill several dwarves. The other dwarves had a higher priority set for looting corpses instead of continuing their tasks which would ultimately lead to more and more dwarves being killed by the still remaining elephants. While such AI hick ups are tolerable (and quiet entertaining at times) since there is, technically, an endless supply of new dwarves it won't work the same way with a small not expendable cast. It's probably just that I would like to be the one responsible for the death of a NPC and not because the Doc didn't want to stop the bleeding because the poor sod stole his socks or whatever (although this might be a very eccentric characteristic trait). I'm not against the idea though as it can add more tactical depth (figure out who likes who and group them together and so forth) while also making NPCs more act as real individual (aka annoying) people instead of obeying drones. I agree that things can hardly (and probably shouldn't) be perfectly organized at all times. I'm more in favor of the 'transparent' NPC though. If his/her stats are not recalculated with every new session the player would figure them out sooner or later (or look them up on the internets) so this advantage of uncertainty would eventually be lost. So why bother?


@Section8
Damn, it appears, after rereading my posts, that I really like to dumb things down (preferably by force) but you should consider that before you get the emotions all set into stone you should make sure that they

a) Are easy to understand and to generalize
This will make it easier for you to think of modifiers and situations where emotions can become an active part of gameplay. They must make absolute sense to you in their functionality before you put them in. It also makes the player easier to grasp the array of emotions he has access to so he can learn to manipulate them in a comprehensible manner. I don't like the 'sad' emotion in there due to my own obsession to make every emotion useful in some way without nailing their usefulness on specific character types (I try to streamline things after all).

b) Are a clear counterpart compared to the other side of their scale
As galsiah mentioned, anger doesn't necessarily imply not being calm (annoyed people might be considered being angry and calm. They may not jump at your throat but they still don't leave the best impression). It lacks the a priori so to speak. Anxious was also a bad choice of a word on my part. 'Restless' comes closer to what I would prefer albeit not an emotion per se as it opposes 'calm' and can have various indicators (anticipation, boredom, eager to 'Pop some head' etc.) without coming in conflict with the other emotions listed which brings us to the last point.

c) Still make sense when combined with emotions outside their scale
Here it depends if you want combination of scales (like in dialogue) to become the rule of thumb or the exception. If the first is the case I will not rest to point out that this is a good (if not great) opportunity to make things easier for you later. galsiah suggested to make the characters react differently while being happy. On the opposite of that I would say screw this nitpicking and try to bring the current emotion on one scale in context with the other scales instead. If a person is in a Gung Ho! mood and happy he/she probably wants to do something (maybe even potentional dangerous) while another that is happy and calm just wants to chill. People (and I mean people in a general term for gameplay reasons) in a certain mood might be of good use for specific tasks or are simply less likely to become a pain in another. Only fear could fall out of the combination game as a black hole that neutralizes any other emotion over time (except for restless for obviouss reasons) but I guess that this is my inner Call of Cthulhu player whispering to me.
I don't like neither the angry/sad nor the angry/happy combo in this regards because the first can be interpreted in opposite directions (from passive aggressive to frustrated until madness), not that my suggestions are any better, while with the second it might become hard to project on the various NPCs (there can be only one Lee Ermey!) but also making it more difficult for you to think of possible effects (when you're maybe not able to simply copy & paste the things you read/saw/heard about those fictional characters). So, both of these combos share the problem that you may or may not have troubles to think up effects so that you can bring them into play. One is too broad in scope that you could practically do anything with it what you want. The other is so specific that you will have problems using it outside its original intended purpose (/characters). You can make this a strength if you specify its effects on the various NPCs but this is an approach I try to avoid here and we haven't even talked about the PC yet. I don't mean that's impossible it's just that it might prove to become a rocky road.
Continue on if you've chosen the emotions you want and got their (general) effects pinned down you could then define NPC personalities by adding modifiers to their emotional scales (which, at least in my experience, are way easier to organize than saying 'If person 1 is happy do this' 'If person 13 is happy do this' and so forth). Does the person in question tend to become aggressive? If yes how? Maybe attacking said person or by ignoring him/her? That way you would have at least established some rough characteristics together with the basic in game effects. You could then still include some special effects for a certain emotion during dialogue checks, time or quest triggers but this is more fluff and maybe some extra challenge for the player than anything else.

Too many words man! Even worse, it didn't really add anything new and goes in an opposite direction than you would've liked. At least I hope that the points are valid though. Just make sure that in the end all the emotional mechanics make perfect (means flawless) sense in your mind.

I don't know about you guys, but no matter what situation I'm in, the first thing my mind likes to do is pick out the most attractive girl, and she's far more likely to captivate my attention than anyone else. There's no logic to it. Her head could be filled with sawdust and lies, but my idiot male brain cares more about her point of view than an informed one.

Heh, sorry but this in combination with horror reminded me of a little gem from the past.
I believe that it could turn out to be a little out of place but as long as it makes more sense than in Arcanum I'm fine with the idea.

EDIT: My spelling is the source of nightmares
 

galsiah

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Just a few quick points:

Pussycat669 said:
I'm a little concerned that controlling emotions could lean too much on the designer's side and refuse the player this control where it should be appropriate as a gameplay mechanic.
Presumably there'd be indirect actions a PC can take to have an impact on his emotions (amongst other things).

However, I think there's an important distinction here between internal and external emotions. I.e. between the true emotions of a character, and the effects he shows to the world. I don't think it's a good idea to give a PC (/NPC) any direct way to influence his internal emotional state - no matter what his skills. I do think it's a good idea to give characters the ability to control the expressions of those internal emotional states (i.e. "external" emotions).
A character skilled in debate might have great control over his tone and the words he uses, but this shouldn't mean he's able to reduce his anger emotion - only that he's able to hold its effects in check (in some circumstances).

As for authority.... That is why I argue that respect might be seen as part of authority (since it implies the impression of competence from my perspective).
I'd have thought they ought both to come into play in some situations - there's no need to have respect-situations and authority-situations be mutually exclusive.

If his/her stats are not recalculated with every new session...
I think they might be. After all, why not? - it gives hugely more replay value, so long as things can be kept entertaining for any group such recalculation produces (naturally the recalculation needn't be entirely random, and could have some balancing aspects enforced).
This would also take significant pressure off otherwise undesirable game situations - like self-destruction of the group under some-strange-circumstance. So long as a playthrough which leaves everyone dead in a couple of hours hardly gives anything away about the next playthrough, it needn't be a problem - so long as the downward spiral is entertaining.


It also makes the player easier to grasp the array of emotions he has access to so he can learn to manipulate them in a comprehensible manner.
Again, I'd draw a distinction here between internal-emotional-states, and external-emotionally-expressive actions.
The player certainly needs to have clear understanding of the latter, since they'll be what he's controlling (where he has the potential for any control). I don't necessarily see a problem with the internal states being a little more black-boxish. The player probably ought to understand what they mean, but not necessarily how to manipulate them with any certainty - it's a lot simpler to make yourself act calm/angry/happy..., than to make yourself calm/angry/happy.

b) Are a clear counterpart of the other side of the scale
Here I'd put forward the idea of not naming both ends of the scale at all.
For my funny-little-A-life-C4-game-which-doesn't-yet-work, I thought about using scales between conflicting emotions, but wasn't really happy with any categorization. Therefore I just went with having a scale for each named emotion. So, for example, there might be scales for each of Joy, Anger, and Melancholy, without any being explicitly opposed to an other.
Having a linked Joy<--->Melancholy scale is equivalent to separate Joy and Melancholy scales with a rule like "Joy = -Melancholy " linking them at all times. With separate scales you can follow such a rule in most circumstances if desired, but are also free to break away from it. So long as there'll be a useful interpretation of e.g. High-Joy + High-Melancholy that gives some interesting actions.

I think this is pretty reasonable, since it allows a distinction between highly conflicted/ambivalent/bi-polar emotional states, and the absence of any strong emotion. Someone with both high Joy and high Melancholy might be on a knife-edge between elation and depression, while someone low in both might be in a fairly calm/stable emotional state.
While this kind of thing could be designed in as more permanent personality quirks, I think it'd be good to be able to make such a distinction for anyone. There wouldn't only be inherent bi-polar characters, but also the potential for those driven into that state by circumstances.

Again, it's important to emphasize that these would be conflicting internal states. There's no need for any character to act melancholy and jovial at the same time - just for their underlying mental state to have the potential to switch between elation/depression after some small trigger event.

c) Still make sense when combined with emotions outside their scale...
That certainly ought to be true of actions (where happy+sad makes not much sense), and possibly of feelings (where happy+sad makes a little more sense), but I don't think it needs to be true within the dark pit of a character's psyche. (Or rather things should always make sense, but the context should be remembered)
"Happy+sad" combination types only seem to make little sense when we're thinking of them as actions or as feelings. When they're underlying states of mind, there's little reason to think that "mental-happy-stuff", and "mental-sad-stuff" can't coexist perfectly well.

The important thing is to be clear about what is being represented with each stat: external expressions<---->feelings<---->subconscious mindstates. Each can reasonably be treated differently. E.g. seemingly conflicting states make more sense towards the subconscious end of the scale, whereas clear feedback, understanding and control make more sense on the external expressions end. Squashing these sorts of concept together runs the risk of trivializing the potential conflicts and complexity of mindstates just to avoid nonsense external states (e.g. Sad+Happy).
 

Pussycat669

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Quick points, quick responses (I hope)

I think what is difficult about player/designer control over inner emotions is that it is unknown to the designer what type of personality the PC may possesses. You could easily tip off players by dictating 'their' characters how they should feel about a given situation. You could either avoid this by giving the player the option to modify his emotional scales during character creation or by adding thoughts/actions which influence emotions during play (I would favor the later for the sake of added interactivity. Do I tend to be an arse and therefore kick more of those or do I rather prefer to be the calm silent person with dangerous tendencies to laziness). Either way there will be at least one moment where the player will have direct control over inner emotions if you want to keep it fair. The only emotion that should definitely be left alone by the player is fear as the designer's secret boogie man to screw up players intentionally.

The more I think about what bugs me about Respect the more I start to believe that it has to do with the Master of Orion 3 vibe I'm getting. Would it be really feasible to make Respect a separated entity? It can be easily absorbed/overruled by most of the other dispositions listed while not having a great effect by itself (Positive effects at least. I would argue that in a small band of people the qualities and flaws of each individual would show up eventually by default). For me, it's like another one of those countless statistics in MoO 3. They didn't really add anything to the experience while making it timid to keep track of them all. To make things worse in this case you wouldn't even know those statistics. If you got many different factors playing together in one situation without the slightest of indication which they were (or with indicators far too vague to be really recognizable) you leave the player to wild presumptions and wonderment why everything turned sour at the end.

Let's revisit S8 initial example and try to elaborate it from my biased position.

Angela feels sick
Nancy tries to cure Angela
Angela refuses (Respect too low. Remembers Nancy failing to cure light bruise. Remembers Nancy failing to cure headache)
Bob (a mechanic) tries to cure Angela
Bob makes a critical mistake (strong bleeding)
Angela dies

I think this sucks. Neither had I a chance to influence the situation nor do I really understand why Angela refused to let Nancy help her.
Let's try to remove Respect and see what happens.

Angela feels sick
Nancy tries to cure Angela
Nancy fails
Angela dies
Dave has entered a new mood enraged (high Affection to Angela)
Dave's Affection to Nancy has decreased drastically
Dave has verbally assaulted Nancy
Nancy's Affection towards Dave has decreased slightly
Nancy suffers under a new sickness! (Apathy - She is less likely to act on her own)
Dave has intentionally damaged an item during repairs (shotgun)
An item in stock (shotgun) has been damaged beyond repairs

Compared with the previous example at least I get a clear idea of the cause (death of Angela + high Affinity from Dave) instead of being totally left in the dark. Although I probably still didn't have any chance to really change anything it definitely wasn't as frustrating as watching Angela die for no apparent reason.


Random NPCs

Sounds neat. I guess it depends if S8 wants more of a do-it-yourself narrative like in Dwarven Fortress (which is more of a wild collection of events that may or may not take place) or a game with a clearly defined coherent narrative (not saying that they necessarily exclude each other. A NPC personality and dialogue can be fairly static albeit maybe to the price of coherence). Another objection I got is if the player creates a medic type of character for example and finds himself in a group with not many good fighters he might have trouble later on. Kinda reminds me of older RPGs where you actually had to roll up your stats randomly. Might be a wee bit too hard to balance out (if desired).

I really had a hard time pondering on your proposed scale system. It is especially difficult because I really like the concept as it would add a great deal of variety necessary to justify more different moods in game. However, from the gamer perspective, I'm not sure if it's worth it. Even if you refuse the PC to control his inner emotions he would still be able to recognize them if he's a fairly stable/not psychotic personality and therefore the player should know too (presented by the way he would like to act or the way he interacts with objects). If you then take your system and add reactions that are as special (in other words forcefully made up) as High-Joy + High-Melancholy you would ultimately just confuse your audience. For them your emotion system would probably appear random at best since they can never be sure what happens when they trigger an action. Always presenting emotions in conflict to another emotional state could make it more apparent (in game mechanical terms) what the PC might do or not do like when being happy in contrast of being angry for example.

I'm not sure how bringing subconsciousness in would enhance gameplay though. In my mind it could suffice to add context sensible psychosis and handle it like the traditional temporal/permanent RPG diseases. Seems interesting enough (albeit unspectacular I admit).
 

Section8

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First of all:

-Respect -Trust

I'm thinking Respect and Trust ought to be unified if both are going to be arrays of dispositions toward various elements of a character. Since Respect was intended to be a measure of how much a character trusts another to do their "job", it's already covered by Trust. Seem reasonable?

-Authority

Authority on the other hand has me scrabbling for synonyms, because I think the word itself implies leadership, rank and power structures, which aren't really part of the concept. Put simply it's just the "power" one character wields over another, and the main reason for its existence is ongoing intimidation. Rather than making one-off checks to intimidate someone into doing something, you're constantly asserting yourself in a position of power above them, and using that domination to achieve your intimidation goals.

To that end, I think I'd keep it as a single disposition toward a character rather than breaking it down any further, and I'm thinking it probably needn't be a scale between submission and domination, since submission is merely the reciprocal action. For instance, if Angela has a dominating disposition toward Nancy, there's no reason to have a variable on Nancy's side to reciprocate what is already known. And in some cases, I'd like to be able to have mutual blackmail and so forth.

Now, I really like the function of Authority, though it needs a new name:

Nancy spots Angela trying to pick the lock on Dave's door. She calls her out on it, and decides rather than publicise the fact, she'll keep it to herself and use it down the track as blackmail. Fairly simple, right? But the beauty of it, rather than integrating blackmail into a quest script, the game is actually tracking the power Nancy can exert over Angela, and that can be applied to any unwilling action from Angela.

Just another side note about Respect: this might not bode well with the limited amount of NPCs at your disposal. I just recently read the story of Boatmurdered. A game of Dwarven Fortress that went horribly wrong as elephants started to attack and kill several dwarves. The other dwarves had a higher priority set for looting corpses instead of continuing their tasks which would ultimately lead to more and more dwarves being killed by the still remaining elephants. While such AI hick ups are tolerable (and quiet entertaining at times) since there is, technically, an endless supply of new dwarves it won't work the same way with a small not expendable cast.

Boatmurdered is a great read, and it's a good example of the things I love about Dwarf Fortress. But you're exactly right, because of the nature of the game - where failure is generally at least as entertaining, if not more entertaining than success and actions like forcing the front doors to lock dwarves in could loosely be considered part of the strategy.

I share some of your trepidation as to what AI hiccups might mean with such a limited cast, but having no schedule works in our favour. We can playtest the hell out of this thing until it works. However, a couple of things to keep in mind - I plan some redundancy within the society. With thirteen characters and about five major archetypes, at the very least there will be a certain overlap, so the loss (or casting out) of one character will make things more difficult, but not impossible. I've also intentionally tied two major, non-combat archetypes to the Brains stat-pair, so if worst comes to worst, one of your inventors will have decent stat line to switch to a doctor. And as Galsiah has mentioned in one of his later posts, as long as the game stays entertaining in some way, and the player always has things to do, that downward spiral toward complete destruction could be enjoyable.

Heh, sorry but this in combination with horror reminded me of a little gem from the past. I believe that it could turn out to be a little out of place but as long as it makes more sense than in Arcanum I'm fine with the idea.

:lol:

Funny clip, looks like my sort of movie. But of course, nothing I'd want to strive for with Synaesthesia. The main idea is to establish various "faction lines", when it comes to attraction and so forth. I want a few overlapping webs where characters are linked according to their various dispositions, and so there's a handful of sides to be taken in any kind of dispute. I think it would be a bit dull, and entirely unlike a plausible human society if it wasn't part of the system.

However, I think there's an important distinction here between internal and external emotions. I.e. between the true emotions of a character, and the effects he shows to the world. I don't think it's a good idea to give a PC (/NPC) any direct way to influence his internal emotional state - no matter what his skills. I do think it's a good idea to give characters the ability to control the expressions of those internal emotional states (i.e. "external" emotions).
A character skilled in debate might have great control over his tone and the words he uses, but this shouldn't mean he's able to reduce his anger emotion - only that he's able to hold its effects in check (in some circumstances).

That's exactly right. The player character will be able to address their emotional state to a certain extent, but the vast majority of control comes through controlled expression, both in terms of keeping your emotions in check, and going out of your way to find outlets. An angry character may find that defending against a horde of zombies is actually fairly therapeutic.

I think they might be. After all, why not? - it gives hugely more replay value, so long as things can be kept entertaining for any group such recalculation produces (naturally the recalculation needn't be entirely random, and could have some balancing aspects enforced).
This would also take significant pressure off otherwise undesirable game situations - like self-destruction of the group under some-strange-circumstance. So long as a playthrough which leaves everyone dead in a couple of hours hardly gives anything away about the next playthrough, it needn't be a problem - so long as the downward spiral is entertaining.

I definitely plan to have randomly generated characters, though the extent will depend on how effectively we can implement them. At best, I want to be able to "roll" personality stats completely at random within reasonable parameters, and at worst, I'd have a pool of pre-generated personality stat lines that have been tested enough to work. And as for self-destruction, I'd hope that it would be entertaining in itself. I'm thinking Dwarf Fortress, Arkham Horror, Dead Rising or even Team Fortress in this respect, where it can actually be more enjoyable when the game becomes an overwhelming struggle to just hang on for dear life and lose with dignity.

And drama. Drama is important. I don't want everyone to die because of some AI quirk where everyone refuses to get their fatal wounds healed by a doctor that's perceived as incompetent, or gets trampled by elephants because they wanted to loot a corpse and take possessions back to a stockpile. However, a complete community implosion where a gunman loses it and shoots the doctor in the head because he couldn't save the gunman's attractive counterpart does have a certain drama to it, especially if there's a slim chance of salvaging something from the aftermath. Same goes for a character who dies trying to pull a fallen teammate back to cover after an elephant trampling. It's going to take an inhuman degree of playtesting, but I'm hoping some kind of automated, time-accelerated prototyping will help in this regard.

I think this is pretty reasonable, since it allows a distinction between highly conflicted/ambivalent/bi-polar emotional states, and the absence of any strong emotion. Someone with both high Joy and high Melancholy might be on a knife-edge between elation and depression, while someone low in both might be in a fairly calm/stable emotional state.
While this kind of thing could be designed in as more permanent personality quirks, I think it'd be good to be able to make such a distinction for anyone. There wouldn't only be inherent bi-polar characters, but also the potential for those driven into that state by circumstances.

This sounds interesting, yet has a higher chance of doing strange things. For simplicities sake, I'd rather avoid such conflicted states. Though, something I've been thinking, is that perhaps on a linear scale from Joy to Melancholy, there exists a band and the characters state fluctuates between the high and low point:

Code:
 MELANCHOLY [----||||-] JOY

In this example, the player is more predisposed toward Joy, but can still swing a bit. But I haven't really given a whole lot of thought to the idea aside from the premise of defining a band an allowing mood swings within that. It would certainly be more interesting than a single point on the same scale, but it's yet more complexity to consider.

I think that's basically what you were saying anyway, but maintains the notion of opposing emotions, and (for me) it's easier to visualise than two independent variables. To further rationalise the idea - I think it would be reasonable to afford the player a certain degree of control over where they sit within the band, but for the band to be completely automated.

The important thing is to be clear about what is being represented with each stat: external expressions<---->feelings<---->subconscious mindstates. Each can reasonably be treated differently. E.g. seemingly conflicting states make more sense towards the subconscious end of the scale, whereas clear feedback, understanding and control make more sense on the external expressions end. Squashing these sorts of concept together runs the risk of trivializing the potential conflicts and complexity of mindstates just to avoid nonsense external states (e.g. Sad+Happy).

Yeah, I think we're on the same page. Band represents subconscious, feelings represents a point within that band, and expression is feelings +/- the conscious control the character has.

I think what is difficult about player/designer control over inner emotions is that it is unknown to the designer what type of personality the PC may possesses. You could easily tip off players by dictating 'their' characters how they should feel about a given situation. You could either avoid this by giving the player the option to modify his emotional scales during character creation or by adding thoughts/actions which influence emotions during play (I would favor the later for the sake of added interactivity. Do I tend to be an arse and therefore kick more of those or do I rather prefer to be the calm silent person with dangerous tendencies to laziness). Either way there will be at least one moment where the player will have direct control over inner emotions if you want to keep it fair. The only emotion that should definitely be left alone by the player is fear as the designer's secret boogie man to screw up players intentionally.

In general (as in, I haven't yet considered the personality variables) I want to give the player a degree of control either at character creation or very early in the game, though I'd like to black box it a bit. So rather than the player explicitly specifying "She's a chain-smoking goth bounty hunter trying to make a difference in a man's world", I'm considering the idea of Jagged Alliance 2/Ultimas/Elder Scrolls personality quizzes. I've always liked the concept, but never really liked the often transparent nature of the questions. I think that's mostly related to the way such tests try to tie themselves into the more utilitarian side of character development, rather than the more nebulous personality black box.

I also want to give the player a reasonable amount of ongoing choice to develop as they see fit. Part of this will be fairly direct, through the end of day reflection phase (I've touched on this in another thread, yeah?) and part will be simply the culmination of dialogue options with common trends. For instance, if the player likes to pick dialogue with swearing in it, it'll eventually weight more options in favour of course language and so on.

The more I think about what bugs me about Respect the more I start to believe that it has to do with the Master of Orion 3 vibe I'm getting. Would it be really feasible to make Respect a separated entity? It can be easily absorbed/overruled by most of the other dispositions listed while not having a great effect by itself (Positive effects at least. I would argue that in a small band of people the qualities and flaws of each individual would show up eventually by default). For me, it's like another one of those countless statistics in MoO 3. They didn't really add anything to the experience while making it timid to keep track of them all. To make things worse in this case you wouldn't even know those statistics. If you got many different factors playing together in one situation without the slightest of indication which they were (or with indicators far too vague to be really recognizable) you leave the player to wild presumptions and wonderment why everything turned sour at the end.

MOO3 has to be the best argument against needless complexity the gaming world has ever seen, and I'm thinking respect is pointless if trust is expanded to cover character archetypes (see above somewhere).

Let's revisit S8 initial example and try to elaborate it from my biased position. [...]

Obviously, it's all goign to come down to playtesting and toying with variables, but I'd hope Example A would never occur. I don't think a complete novice should ever be favoured over anyone but the most negligible medic, but of course it's always going to be a possibility if we don't weight the dynamics of it all effectively.

Also, something to keep in mind, is that a "failure to cure <injury>" would never be a single step failure, and I'm thinking it's probably best to bias away from the end result in most cases, so NPCs actually notice the small successes that ultimately didn't quite amount to an overall success. Probably slightly unrealistic given the way most people tend to evaluate according to end results, but practical in this case.

Example B on the other hand, is exactly the sort of emergent drama I want to get out of these dynamic interactions. And for most of those steps, I'd like to provide the ability for meaningful interaction if the player is at hand. For instance, the player argues with Nancy that she doesn't have the necessary skill (low trust in her medical skills) and suggests they wait for Nigel (another NPC he has a high trust of) I'd like the possibility of Dave doing more than just verbally assaulting Nancy, and the player having to step in and grapple and restrain Dave to stop him killing Nancy in a fit of rage. Etc, etc.

Sounds neat. I guess it depends if S8 wants more of a do-it-yourself narrative like in Dwarven Fortress (which is more of a wild collection of events that may or may not take place) or a game with a clearly defined coherent narrative (not saying that they necessarily exclude each other. A NPC personality and dialogue can be fairly static albeit maybe to the price of coherence).

I'm trying to tackle the "DIY narrative" but also attempt to integrate a degree of "recognition" from the game itself so it sees things happening and adds narrative content accordingly. I'll cover that more when I get into Plot Arcs, but basically, the game either has a conditional trigger that kicks off a narrative script, or in some circumstances, forces a narrative script unobtrusively. And that's what I see as being the bulk of the game content. Scripts that look for dynamic interactions and trigger so the player can actually explore a narrative in an interactive fashion rather than simply having fisherman's tales like Boatmurdered. I guess you could liken it to an automated Let's Play, but we'll see.

Another objection I got is if the player creates a medic type of character for example and finds himself in a group with not many good fighters he might have trouble later on. Kinda reminds me of older RPGs where you actually had to roll up your stats randomly. Might be a wee bit too hard to balance out (if desired).

By default, there will be a "balanced" community, where a fairly optimum combination is generated to fit the player's choice, but I also want to allow completely random generation and custom generation for a completely different dynamic.

Whew. Keep the thoughts coming. Anything I missed?
 

galsiah

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Just an actually quick thought this time:
Section8 said:
Code:
 MELANCHOLY [----||||-] JOY
...I think that's basically what you were saying anyway, but maintains the notion of opposing emotions, and (for me) it's easier to visualise than two independent variables.
Yes, that's much better - both from a feedback-to-the-player perspective, and a clear-consistent-designer-thinking perspective. It solves the issues I have with the opposed pairs too, since all that's really necessary is for expressions of opposed pairs to be opposed.
Of course it's largely functionally equivalent to what I was saying, but the improvement in clarity is no small thing.
 

TheLostOne

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Something comes to mind reading about all these emotional states, and it's something that isn't quite covered yet affects them all. Hope.

While all the psychological elements are independantly controlled based on direct action and interaction, hope could be a more gradual and subtle variable. I'm imagining a progress bar of sorts that starts somewhere in the middle and as you progress or fail in the game it gradually moves to one of the poles.

I think of hope as being an overarching measure of your progress through the game and having an effect on all emotional states. If you've bungled things and people have died and bad things are happening everywhere, hope would be pretty weak and this would penalize the characters' psychological states. If hope is high, it gives a buffer of sorts to all actions, so if you bungle a mission or screw up a conversation it might not be as bad as if you screwed up when people are feeling like all is lost.

This makes me think each character could have an innate quantity of optimism or pessimism. A very optimistic person would not be as affected by low hope values, and a pessamistic person would be less susceptible to positive hope up. I think this would be an interesting dynamic in that it has an overall affect on everything, but not to the point of breaking the game if you've done exceedingly well or poorly.

Specifically low hope would have the effect of tipping scales towards sadness, anger, and fear, while high hope would lean towards happiness, calm, and boldness. I imagine it also provide a subtle boost or penalty towards other psychological calculations. For example, when people feel hopeless, they will not be as attracted to others, but when life seems to be in their corner they will be more responsive.

It'd be tricky to balance it so that if you've screwed up a lot it won't make the game unplayable, but having optimistic characters can help that. Similarly, pessimistic characters won't be impressed by your good works so far and will still be challenging to win over.

All and all, I really like the concept of these dynamic interactions. It will be quite a challenge to implement and balance them all, but I look forward to seeing your take.
 

galsiah

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It's a good thought, but, as you say, might be tricky to balance - since it naturally acts against stability.
For NPCs that needn't be a problem, since the cool-in-a-crisis / optimistic ones can come to the fore more when things are going badly - where perhaps they might be outperformed by pessimists if things are going well. So long as there's a reasonable optimism/pessimism balance within the group (which could be enforced in any default NPC generation procedure) it could make things interesting.

It's harder to see how things would work well for the PC though - if he too is to have an optimism/pessimism scale. The natural tendency when playing many such games is to pick immediately useful stats, rather than useful-backup-when-things-go-bad stats. If it's a choice between some practical skill/ability and optimism, I'd expect most players to pick the skill/ability. They'll rely on doing well in the game to avoid hopelessness, then potentially have their frustration compounded if things go badly. Alternatively, if hopelessness is a huge disadvantage that can't realistically be avoided by performance alone, then almost any player will pick optimism - and having a hope stat for the PC becomes a bit pointless.

Of course I'm assuming here that PC despair would result in restrictions and inability, without opening doors to opportunity or to interesting gameplay. I suppose that needn't be the case. If such despair doesn't simply mean efficiency reductions, but rather e.g. alterations to perception, paranoia, NPC reactions, "conscious" game-world reactions... it might be interesting.
If the PC is to have a hope stat, I think PC despair needs to be made an entertaining circumstance.
 

TheLostOne

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My original thought would be to have the pessimism/optimism stat only for NPCs, but maybe the value for the PC could be fixed at neutral or possibily generated as a function of other stats.

Alternatively, the optimism and pessimism could be balanced to have benifits and drawbacks to each in which case you could have a slider which is independant and point free.

For example, a pessimist might not get a boost from positive effects, but would be less affected in some ways by low hope than an optimist. Maybe instead of optimists being immune to dispair and pessimists immune to hope you could have a pessimist less affected by both hope and despair, and an optimist more affected. That doesn't always make sense though, because an optimist would feel the effects of low hope later than a pessimist would. When those effects are felt, however, they would probably be more intense than how a jaded pessimist would react.

Maybe for a given level of optimism a low limit would be set on when negative effects of dispair would take effect. Once that limit is reached, however, the response would be of greater magnitude than someone who didn't recieve that buffer. A pessimist would have the same limit, but on the high end of the spectrum. Dispair affects the pesiimist in a rather linear fashion, but hope once it exceeds a certain threshold will have a greater effect (suprising the pessimist with the positive turn the world has taken so to speak). In this model, the pessimist would be the "safer" choice because despair wouldn't have a huge effect, while optimism is more of a gamble. You're safe for a while, but if you drop below the threshold the effects of despair rise exponentially. (edit: need to think about it more, but right now I prefer this model)

Another possibility would be certain attributes are affected more than others depending on their level of optimism. A pessimist would not be more likely to get angry when hope is low because it's expected. His happiness would be affected normally though. An optimist might not get as sad because he keeps his chin up, but might find himself frustrated and volatile if life keeps failing to meet his expectations.
 

Pussycat669

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galsiah said:
Just an actually quick thought this time:
Section8 said:
Code:
 MELANCHOLY [----||||-] JOY
...I think that's basically what you were saying anyway, but maintains the notion of opposing emotions, and (for me) it's easier to visualise than two independent variables.
Yes, that's much better - both from a feedback-to-the-player perspective, and a clear-consistent-designer-thinking perspective. It solves the issues I have with the opposed pairs too, since all that's really necessary is for expressions of opposed pairs to be opposed.
Of course it's largely functionally equivalent to what I was saying, but the improvement in clarity is no small thing.

Ups, I thought it would look like this by default since the first time Section 8 used the word scale (I couldn't imagine emotions being solely on/off states). I guess it has to do with my loosely understanding about what can be considered direct and indirect influence. When put into play I pictured it might look like this in a made up scenario:


You and your companions Bill (Brawler) and Timmy (Thief) are hunting a strange figure through the twisted corridors of the mansion where your homebase is located. You encountered some bizarre creatures on the way and Jimmy got beaten up rather badly. Now the chase seems to be at an end. The stranger has apparently locked himself in one of the rooms with no way left to escape. But terrifying noises behind the door make you and the others worried (Fear+ either once or constantly growing over time). There is the question to leave this god forsaken door, return to the others, forget what happened and get Bill fixed up or let curiosity get the better of you (old Call of Cthulhu wisdom says that curiosity is one of the top three reasons to get your PC killed though). In this case the PC decides to investigate further which will trigger the following dialogue.

Bill:
(Fear too high) No, no I can't do this anymore.
(He drops the only weapon he had at his disposal, a heavy poker)
I'm sorry.

Let us presume now that under the stressful circumstances there had been already a build up inside the PC towards anger but he has enough diplomatic skills to suppress those feelings well enough to make sensible decisions of what to say. He is offered two choices. Either dwell further until the point of frenzy or try to ease his mood.

PC:
1) No you're not and if you don't want me to beat you silly with that poker you better pick it up again. Try to act like a man just for once!
(Effects: PC's Anger+, if a check of authority is involved then it will be easier for the player to succeed since Bill reacts positive to this kind of behavior)
2) Alright, you can sit and rot here for all I care. Fucking Pussie. (PC's anger+)
3) Alright Bill, return to the others. We two will handle the rest.
(Let's just say that since the lost of a NPC in the party is enough of a setback, this is the neutral option)
4) Now, now try to pull yourself together Bill. We might need any help that we can get.
(Pc's Happy+ ( :D ), normal or handicapped authority check either due to high Anger or Bill's Fear Value, maybe both)

Due to the way the dialogue lines are organized (Angry->Neutral->Happy) the player can see that the PC has already a dangerous tendency to the 'angry' dialogue options. Let's presume he's fine with this and chooses 1) to top it off.

Bill:
(Success) You're right. Ok Bill, show ‘em you got cojones.
(Bill's Fear-, Bill takes his weapon again and gets ready for action)

Timmy:
(Cautiously) So, what's the plan?

Now the player is in trouble. His Anger level got so high that all his verbal talents won't compensate for it anymore.

PC:
1) What we will do? I tell you what we'll do. You get this darn door open while I whack any creep that moves. Is this plan simple enough, dimwit? Or do I have to draw a map for you?
(Authority- Timmy prefers the 'sensible' approach to everything, Affection- for the dimwit, Authority- for acting like an idiot in general)
2) Give me a fucking break for a second would you?
(Affection- for the lack of tactfulness)

As you can see the possibility to influence the PC's emotions has been lost since the player decided that being angry would be more to his benefits (possible hostile situation, positive reaction from Bill) and therefore let it escalate to the point where there is no easy way out. Only thing he could do is to wait for his PC to cool down but this could take a while depending on the PC's personality and god knows what could happen during this time. If that's your idea of indirect influence I would be all for it.
 

Section8

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Ups, I thought it would look like this by default since the first time Section 8 used the word scale (I couldn't imagine emotions being solely on/off states). I guess it has to do with my loosely understanding about what can be considered direct and indirect influence.

It's always been a sliding scale, but to better illustrate the difference:

Initial idea said:
SAD [----|----] HAPPY

There's only a single point on the scale to represent the current state, as opposed to:

Revised idea said:
SAD [----||||-] HAPPY

Where there's still the same single point (the red bar), but also a "scale within a scale" giving a more general range that the character can slide within. With the initial system, it becomes a tug of war between high and low, so if you were to experience a series of events - { HAPPY, SAD, HAPPY, SAD, HAPPY, SAD, HAPPY, SAD } - then you'd end up still being somewhere in the middle, neither happy nor sad.

However, with the revised system (which is still a bit vague) the same series of events would leave a residual range of happiness and sadness, and the character's acute emotional state lies somewhere in that range, influenced by recent/immediate events. The way I'm envisioning it at the moment, the range narrows over time (with other potentially modifiers) so basically, if the character experiences a range of emotions in a short time span, they don't cancel each other out, they instead become more susceptible to more sudden shifts in their acute state of mind. Make sense?

The other thing this lets us do is have "double edged" modifiers. Picture this - ( sadRange, sadImmediate, happyRange, happy Immediate ) - where the -Range variables are the effect an event has on long term emotional state, and the -Immediate variables are the effect an event has on short term emotional state. Now:

Code:
Event - Drink Beer ( 2, 0, 0.5, 2 )

In this case, drinking a beer broadens the range quickly toward sadness, without affecting the acute state, and broadens the range toward happiness at a quarter of the rate, while giving a healthy boost to the acute happy state. Translation? A beer drinker finds themselves more susceptible to mood swings toward sadness, in addition to giving an acute buzz to characters who are already predisposed toward happiness, and a small predisposition toward happiness. So the general idea - beer makes you happy, if you were fairly happy already, but leaves you open to a depressive state.

Weird example, but I think it makes sense.

[...]If that's your idea of indirect influence I would be all for it.

That's the sort of thing I want to go for, though it's probably going to give me ( Insanity+ ) for writing reams of interchangeable dialogue for a ridiculous number of situations, but probably a ( Happy+ ) too.

hope, pessimism/optimism

Some good thoughts, I'll definitely be thinking about optimism/pessimism when it comes to personality variables, but hope I'm not quite sure about. Hope/despair blur a bit with happiness/sadness as far as how I'd pictured them. I'll think on them some more though.
 

TheLostOne

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I wasn't thinking of hope/despair as an individual attribute for each character, but an overall measure of the hoplessness of the situation.

For example, if you got someone killed, another guy has stopped following your orders, you're low on food, zombies are beating down the door, and the party's lovablly cute dog just got rabies the level of hope for the party as a whole would be somewhere around [-|----------]. This would affect different characters in different ways as modified by their optimistic or pessimistic outlooks.

If you fend the zombies off hope might rise to [---|---------] and then some of the optimists would stop feeling the negative effects. If you destroy the zombies, find a hidden cache of food, formulate a cure for rabies and win the guy back over hope will be somewhere aroud [--------|----] and now the optimists are starting to get some linear boosts to their attributes while pessimists are still immune.

Now the Metatron appears and says that your guys are humanity's last hope and are all destined to an afterlife of tons of TNA and booze and now the situation looks like [-------------|].

The pessimists are now boosted more than the optimists due to the optimists reaction to rising hope being a fairly low linear plot and the pessimists reactions being a more steep slope once they're respective hope "boundaries" are exceeded. The greater the chacter's pessimism the higher the boundary before feeling positive effects, but the steeper the increase once that boundary is surpassed.

So a plot of a strong pessimists attribute modification vs hope would look like this:

..M.|............................................................................../
..O.|............................................................................./
..D.|............................................................................/
..I..|.........................................................................../
..F.|..+....................................................................../
..I..|____..................................__________________/
..E.|..............................._____/................................^
..R.|...-...............______/...........................................\
.....|.......______/..........................................hope immunity threshold
.....|____/
.....|
.....|
.....|
.....|______________________________________________________________
.........Despair..............................|................................ Hope



While an optimist would look like this:

..M.|
..O.|........................................................................................_______
..D.|............................................................................_______/
..I..|.............................................................._______/
..F.|...+............................................._______/
..I..|____....._____________________/
..E.|.........../\
..R.|...-..... /..\
.....|........ /..despair immunity threshold
.....|......../
.....|......./
.....|..... /
.....|.... /
.....|..../_________________________________________________________
................Despair..............................|................................ Hope



Note: the stepped lines are meant to represent a low slope.
 

galsiah

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That's a thought, but I'm not sure an overall stat like that would make sense. That model includes subjective, personality-based responses to the situation, but doesn't include different perceptions/knowledge of the situation.

Say that Dave and Nancy are exploring and find something horrifying - which might well mean doom for the entire group. It happens that they're both fairly calm, pragmatic types, and avoid panic. There's no reason at this stage for any other characters to be alarmed, however jittery they might be, since they don't yet know there's anything to worry about.
Any hopelessness effects on the other characters should only kick in if/when Dave and Nancy decide to tell the rest of the group. If they tell, the entire group's resources can be brought to bear on the problem - but there's a risk of general panic/despair. If they keep the problem to themselves, panic can be avoided, but they'll be the only ones able to look for solutions.

This is a very common situation in horror/thriller scenarios, and a single group hope stat doesn't cover it.

Of course it'd be necessary to think this sort of thing through before assuming that it's a good idea. The player-as-character scenario in a game, is very different from the viewer/reader perspective in books/films. In books and films the reader/viewer often knows more than the individual characters, which can help to create tension/drama.
In a game, the PC might have no idea that Dave and Nancy found something horrific, then decided to keep it to themselves. On the other hand, if the player is told something the PC has no business knowing, it'll give things an artificial feel.

I think it could be interesting to have each character see/know different things, and potentially to conceal quite a bit from the others. It just needs to be remembered that the player's view of things is very different, so what's dramatic/tense/effective in a book/film might be dull in a game - and vice-versa.
 

amorax

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section8. Quick question. You've got a lot of good and interesting concepts here, but have you actually got anything concrete (i.e. code, graphics, dialogue etc.) down yet?
 

TheLostOne

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That's a good point. I liked the thought of a sort of progress bar on how you're doing, but you're right that you can't really make hope be the same for everyone. Even without some people actually being unaware of some situations you'd have to imagine that some people would't appreciate the gravity of some more obscure problems as much as a better educated person would.

You could have individual hope bars modified by pessimism/optimism, but then you're getting really complex because you're calculating all the variables that each individual may or may not be aware of or understand for each person, and then applying that value to their respective pessmism/optimism equation and then applying the resultant modifier to the characters other emotional states.

Maybe keep the overarching group hope and for isolated events between people that don't get aired to the group can just modify whatever emotional states that they natrually would and leave the hope bar unaffected until the secret gets out. It's not perfect though.

It might just be unworkable, but I'll think about it more later.
 

Section8

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section8. Quick question. You've got a lot of good and interesting concepts here, but have you actually got anything concrete (i.e. code, graphics, dialogue etc.) down yet?

Heh, not a great deal at this point. I have a very limited amount of art assets, and that's about it. And we're currently nutting out which engine suits us best. But, I'm not really "selling" the game at this point, I'm taking a leaf out of the Vault Dweller school of design, where you invite public criticism of your vision and collaboration of any mutable design features.

I can completely understand any murmurs of how it's all blind ambition that may never amount to anything, but I'm pretty passionate about this vision and I'm confident it will emerge one day. This forum is just one of the steps along the way. It may also all sound very ambitious at this point, but it's more a breadth of ambition than a depth. I can't see anything in my vision that defies explanation or seems difficult to implement. There's just a lot of interacting factors, so it's all just time, elbow grease and then a lot of tweaking.

-----

I wasn't thinking of hope/despair as an individual attribute for each character, but an overall measure of the hoplessness of the situation.

Ah, I'm seriously considering some tracking variables along those lines, but they'd never be exposed to the player/characters, being used more to drive the macro-dynamics of the gameworld and how it generates meaningful content.

For individual characters it would end up being pretty much a "morale" measure, which I think would ultimately exist anyway as a product of happiness and bravery (or lack thereof). But I think it would be reasonable to integrate Pessimism/Optimism within character personality, and have it affect how fear and so forth are factored in.
 

galsiah

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TheLostOne said:
I liked the thought of a sort of progress bar on how you're doing...
I'm sure there will be quite a few indicators for this in one way or another - just probably nothing so explicit. It's important to give the player a rich set of feedback (though it might not always be clear/precise/objective).

You could have individual hope bars modified by pessimism/optimism, but then you're getting really complex...
That's true, but I don't think that complexity is necessarily anything to retreat from here.
For a start, there'll only be thirteen (or thereabouts) characters, so storage/processing streamlining isn't necessary until you get to some prohibitively expensive methods. Second, quite often it won't be necessary for the player to follow the details of such calculations - the idea is that he should be able to reason according to good sense, rather than according to encyclopaedic knowledge of NPC stats/algorithms. Hidden, coherent complexity won't harm the player's experience - hopefully it'd tend to lend things a more organic, rather than mechanistic, feel.

Those issues aside, the main consideration is design fluency / designer sanity. So long as a mechanic is clear in its role and rationale, its internal complexity isn't a big deal. Direct parallels for common human emotions/feelings/actions that operate in intuitive ways shouldn't cause too many headaches. While the up-close-and-personal simulation might use quite a few variables/stages, it should all make simple sense when viewed from a higher level.
In some cases, additional low-level complexity can even simplify high-level design - since it can bring low-level interactions closer to our intuitive expectations. If low-level interactions don't fit with intuition, designers will constantly need to remember the specifics. If they fit with intuition, extra complexity isn't relevant - designers can forget the specifics and simply trust their intuition.

Of course it's necessary to look at complexity in a different light when considering the player's interface with the game. Throwing explicit multi-stage processes involving many variables at the player might well be undesirable. That's no argument for artificial simplification of more behind-the-scenes processes though.


Maybe keep the overarching group hope and for isolated events between people that don't get aired to the group can just modify whatever emotional states that they natrually would and leave the hope bar unaffected until the secret gets out. It's not perfect though.
I'd be wary of this type of decision, for the reasons I've outlined above:
It's not an intuitively obvious solution, and it doesn't have clearly intuitive functionality (e.g. it's not immediately clear what exactly the "group hope" represents, since it might not give the complete picture for any character; it's not clear whether personality effects would be taken into account before or after events influence group hope).
Neither is it a trivially simple solution (like e.g. a stat that's never modified per-individual, and is simply an objective performance measure).

That leaves designers needing to consider the mechanical specifics (since they don't exactly fit intuition), without those specifics being particularly simple. I don't think that kind of halfway solution makes much sense. I'd be inclined to go for one of the extremes - either something very simple, or something complex enough to fit an intuitive model.
Of course things are different if there's no viable fits-with-intuition model - in that case a half-way solution might be best.
 

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