Tags: Chris Avellone; Obsidian Entertainment
<p>Vault Dweller had the opportunity to get Magnificient Chris Avellone to <em>share his innermost thoughts on choices & consequences with the less fortunate. Some concepts and ideas can only be described as "really fucking cool" and are a must-read for any developer.</em></p>
<blockquote>
<p>4. You've talked before about creating a good story with reactivity. Care to elaborate?<br /><br />You can pull a character through a story by having events unfold around them, or you can make it clear that events are happening because of what the player did - and *specifically* what the player did. Part of the fun of a world and a story is how your presence is causing changes in it, seeing those changes play out, and being made aware exactly how you caused those changes. Being an agent of change, the spark lighting the fuse, or the butterfly wings that spark the hurricane on the other side of the world is pretty gratifying. It's much different than the player being passively subjected to a changing story they are having no effect on - or if it's obvious the events that are changing have nothing to do with their actions.<br /><br />This is probably putting me out of a job, but it's what I believe and what I've noticed from both computer game GM'ing and pen-and-paper gamemastering: Special casing reactivity I've found is generally a waste of time compared to giving the player a series of game mechanics and encounters and see what happens. This is an example I've used before, but as a narrative designer, I can't compete a player's story about how their dwarf fighter with 3 hit points exploited a crack in the canyon terrain and the limited range of motion of orcish axes to lure 20 orcs to their death one by one. Simple, but that's a legend being made right there. Once you add reputation systems, faction systems, and more, and the range of player-made stories increases without narrative designers having to do much work at all.</p>
<p>...</p>
<p>7. Let's talk about diplomatic solutions to problems. Since all conflicts can be resolved with violence, which is the legacy of the olden days when violence was the only way to solve anything in RPGs, how do you feel about the "talk your way through the game" path? Can it actually compete with the "kill 'em all" path in terms of excitement or is it, at best, a side dish, something to do between the killings? If yes, what are the challenges of getting it done right? If no, why not?<br /><br />It caters to a small % of players, and those players find it meaningful if that's the power fantasy they want. To cite the best example, in Fallout 1, I think it's pretty ego-boosting to point out the flaws in your adversaries' master plan so much that he suicides after talking to you. I really can't be more of a talking badass than that. It is difficult to implement a speech/sneak path, and the main obstacles to it are many, so here's my opinion on how to approach it:<br /><br />The speech path should present more than a skill check challenge - there needs to be some other obstacle associated with it. I usually veer toward exploring conversations (asking about back history, reading lore, discovering evidence to a criminal case), exploring the environment (discovering an enemy encampment, learning a secret path into a fortress, discovering a rival caravan is already sending an emissary to scout a new trade route), or being able to draw logical connections between two topics... as an example, without it being given as a quest objective, realizing that the local historian who's obsessed with the Montaine family tree would be interested to learn of an exiled Montaine living in a remote city, and then returning to tell the historian that is a simplistic example of paying enough attention to a conversation and its topics and remembering who might be interested in that information... but again, this involves the player remembering and knowing who to speak to next. We sometimes do this within a dialogue tree - if a player has enough presence of mind to return to a previously-asked dialogue node once they've obtained information learned from a later node is an example of a speech-based challenge.<br /><br />We did something a little different with the Fallout 3 pen-and-paper game and also with Alpha Protocol - in the Fallout PNP game, we allowed players with a high Speech to gain a little mini-dossier psychology profile of the temperament and the psychology of the person they were speaking to either by purchasing them or speaking to them for X period of time - what the NPC's triggers were, what they were uneasy about, what they got angry about, etc, and then once the player had that information, then they would attempt to use those triggers (without the need for a speech check) to manipulate a situation. As an example, when we were playing Boulder in Fallout PNP, Josh Sawyer's character Arcade got a dossier on the leader of the Boulder Dome, enough to realize that the leader would almost always refuse any request or become unreasonably angry if a comment was phrased as a challenge to his authority or any hint that he was managing the situation improperly - but almost any other comment that built up the leader's skill as a manager or drew in a compliment about the progress he made would almost always generate a favorable response, and then Josh could choose how he wanted the target to respond by structuring his comments and debates accordingly. If he wanted to make the leader mad and lose face in front of his followers, he knew how to do it - if he wanted to make the leader agree to a course of action, he knew how to do that, too, but there wasn't a "speech check" to win the conversation, only hints on how to manipulate it. Alpha Protocol did this a bit without a speech skill - if you gathered enough info on an opponent (intel), it began to give you a picture as to what attitudes (aggressive, suave, professional) and mission approach (violent, stealth, diplomatic) they respected and what they didn't, and the player could use that to navigate the conversation to achieve a desired result, even if that result was something that might seem unfavorable at first, like making the person angry.<br /><br />I always liked how the old Fallouts had the empathy perk that forecasted whether a topic would make someone mad or not, but you never knew if that might be a good thing or not unless you really paid attention to the NPC's outlook and philosophy. Was making X person mad a good thing or not?</p>
</blockquote>
<p><a href="http://www.irontowerstudio.com/forum/index.php/topic,2055.0.html" target="_blank">Read the interview here.</a></p>
<p> </p>
<p>Spotted at: <a href="http://www.irontowerstudio.com/forum/index.php/topic,2055.0.html">ITS</a></p>
<p>Vault Dweller had the opportunity to get Magnificient Chris Avellone to <em>share his innermost thoughts on choices & consequences with the less fortunate. Some concepts and ideas can only be described as "really fucking cool" and are a must-read for any developer.</em></p>
<blockquote>
<p>4. You've talked before about creating a good story with reactivity. Care to elaborate?<br /><br />You can pull a character through a story by having events unfold around them, or you can make it clear that events are happening because of what the player did - and *specifically* what the player did. Part of the fun of a world and a story is how your presence is causing changes in it, seeing those changes play out, and being made aware exactly how you caused those changes. Being an agent of change, the spark lighting the fuse, or the butterfly wings that spark the hurricane on the other side of the world is pretty gratifying. It's much different than the player being passively subjected to a changing story they are having no effect on - or if it's obvious the events that are changing have nothing to do with their actions.<br /><br />This is probably putting me out of a job, but it's what I believe and what I've noticed from both computer game GM'ing and pen-and-paper gamemastering: Special casing reactivity I've found is generally a waste of time compared to giving the player a series of game mechanics and encounters and see what happens. This is an example I've used before, but as a narrative designer, I can't compete a player's story about how their dwarf fighter with 3 hit points exploited a crack in the canyon terrain and the limited range of motion of orcish axes to lure 20 orcs to their death one by one. Simple, but that's a legend being made right there. Once you add reputation systems, faction systems, and more, and the range of player-made stories increases without narrative designers having to do much work at all.</p>
<p>...</p>
<p>7. Let's talk about diplomatic solutions to problems. Since all conflicts can be resolved with violence, which is the legacy of the olden days when violence was the only way to solve anything in RPGs, how do you feel about the "talk your way through the game" path? Can it actually compete with the "kill 'em all" path in terms of excitement or is it, at best, a side dish, something to do between the killings? If yes, what are the challenges of getting it done right? If no, why not?<br /><br />It caters to a small % of players, and those players find it meaningful if that's the power fantasy they want. To cite the best example, in Fallout 1, I think it's pretty ego-boosting to point out the flaws in your adversaries' master plan so much that he suicides after talking to you. I really can't be more of a talking badass than that. It is difficult to implement a speech/sneak path, and the main obstacles to it are many, so here's my opinion on how to approach it:<br /><br />The speech path should present more than a skill check challenge - there needs to be some other obstacle associated with it. I usually veer toward exploring conversations (asking about back history, reading lore, discovering evidence to a criminal case), exploring the environment (discovering an enemy encampment, learning a secret path into a fortress, discovering a rival caravan is already sending an emissary to scout a new trade route), or being able to draw logical connections between two topics... as an example, without it being given as a quest objective, realizing that the local historian who's obsessed with the Montaine family tree would be interested to learn of an exiled Montaine living in a remote city, and then returning to tell the historian that is a simplistic example of paying enough attention to a conversation and its topics and remembering who might be interested in that information... but again, this involves the player remembering and knowing who to speak to next. We sometimes do this within a dialogue tree - if a player has enough presence of mind to return to a previously-asked dialogue node once they've obtained information learned from a later node is an example of a speech-based challenge.<br /><br />We did something a little different with the Fallout 3 pen-and-paper game and also with Alpha Protocol - in the Fallout PNP game, we allowed players with a high Speech to gain a little mini-dossier psychology profile of the temperament and the psychology of the person they were speaking to either by purchasing them or speaking to them for X period of time - what the NPC's triggers were, what they were uneasy about, what they got angry about, etc, and then once the player had that information, then they would attempt to use those triggers (without the need for a speech check) to manipulate a situation. As an example, when we were playing Boulder in Fallout PNP, Josh Sawyer's character Arcade got a dossier on the leader of the Boulder Dome, enough to realize that the leader would almost always refuse any request or become unreasonably angry if a comment was phrased as a challenge to his authority or any hint that he was managing the situation improperly - but almost any other comment that built up the leader's skill as a manager or drew in a compliment about the progress he made would almost always generate a favorable response, and then Josh could choose how he wanted the target to respond by structuring his comments and debates accordingly. If he wanted to make the leader mad and lose face in front of his followers, he knew how to do it - if he wanted to make the leader agree to a course of action, he knew how to do that, too, but there wasn't a "speech check" to win the conversation, only hints on how to manipulate it. Alpha Protocol did this a bit without a speech skill - if you gathered enough info on an opponent (intel), it began to give you a picture as to what attitudes (aggressive, suave, professional) and mission approach (violent, stealth, diplomatic) they respected and what they didn't, and the player could use that to navigate the conversation to achieve a desired result, even if that result was something that might seem unfavorable at first, like making the person angry.<br /><br />I always liked how the old Fallouts had the empathy perk that forecasted whether a topic would make someone mad or not, but you never knew if that might be a good thing or not unless you really paid attention to the NPC's outlook and philosophy. Was making X person mad a good thing or not?</p>
</blockquote>
<p><a href="http://www.irontowerstudio.com/forum/index.php/topic,2055.0.html" target="_blank">Read the interview here.</a></p>
<p> </p>
<p>Spotted at: <a href="http://www.irontowerstudio.com/forum/index.php/topic,2055.0.html">ITS</a></p>
So much for the "bwaaaaaak player skill has no place in rpgs bwaaaaaaaaak* bullshit so many of you faggots feed me. Looks like even Avellone approves of my own take on Role Playing GAMES to the detriment of traditional codex wisdom.
