Reps and faction systems in narrative RPGs are usually "systematic reactivity" the same way a KotOR-style MQ is non-linear. The same whole, broken into parts. Flavor at worst, a pleasant illusion at best. Sometimes we're lucky, and we can choose 4 of 5 ways to satisfy the counter... or maybe 3, if the hard one adds two! The underlying structure remains what it is, while the discrete goings-on occasionally provide context, but usually just a backdrop.
Even in FNV, those systems "do what they should" but are not the driving force of the game. Actually, those systems
hurt the game, if you join the side with most of its bespoke content sitting on the cutting room floor. So in a sense it's an added burden, without much benefit (at least from the perspective of trying to write it.) You're taking on the (perceived or real) responsibility of using these additional variables and (unless you want the player to grind for story) dreaming up multiple, non-exclusive ways to cumulatively satisfy them.
The player gains some agency, token or otherwise, but you're still mechanically writing just as you would for something like AP. But not creatively writing like it, since instead of bundling choice (and its consequence) into story beats, you're splitting them out into tasks and threshold. Obviously these styles aren't mutually exclusive (because they work on the same principles) but, well, FNV has precisely one "Benny" thread that runs out too quick* and no "Ulysses."
When writer-types start going off on things like this, I usually hear things along the lines of Crawford's projects. Narrative mechanisms, rather than mechanistic narratives. Noble, admirable, brilliant, lofty, and quite possibly unobtainable at least as we think of it (i.e. being built of artistic content, rather than artistic in intent but purely procedural.) So for actual output, outside of pure experiments, you wind up with things like "my sim was too scared of the fire to pee," which is valid, and the less-amusing "some guy I stole a fork from wants me dead and this will never be acknowledged again."
But here's the thing, about roving death squads for petty crimes: right idea, wrong use. The systematic narrative ideal, as applied to Skyrim, would be killing the emperor whether your told to or not (which is common in good RPGs) and instantly have the
entire plot of the game revolve around that act, as it completely and understandably should. The best that's being done for big, noticeable things like that, is making them one of the Official Things You Can Do, instead of just... a thing, that you can do, and the game can do back.
But probably he'd like to do looser games, and go broad with content. Kind of what he's been doing for a while, with his FTL additions and "commentary companions." Even my favorite aspect of Torment isn't the arc or actions per se, it's the little things built around it. If it were, say, an exploration-focused game instead of a cjRPG? I wouldn't miss the sequence if I didn't know I was missing it, as long as it was still packed with people and places supporting the themes. Or even just goofball and/or serial writing that isn't as middling as industry standard.
Pacing has always been the bane of cRPG design anyway, and their "plots" (not settings, or stories, or scenarios) are usually just backfired attempts at injecting and/or enforcing an intended momentum, or a sense of it.
*Not that he's a great character, or that the initial hook is compelling, but: he's one of the only recognizable characters that ever has a sense of being out in the world, both when you finally find him and if the Legion picks him up. The initial thrust matters less because the game's good about letting you take initiative. But what it needed most plot-wise, after Legion content, was a few more recurring players, making appearances outside of the place you go when you want to talk to them.
For an example let's adapt the companions. It's hard to avoid "coincidence syndrome" if you kept, say, running into Cass right as she was getting raided or something. Finding her broken down on the road, and tossing a plot thread / quest your way, is pretty much what happens anyway, and more believable. But someone like Boone lurking the map, helping out once in a while or showing up when there's lots of "movement?" Or maybe fucking hating you and providing harassing fire / taking down a companion, at the
worst possible times? Then you see him at either "that place" and get his angry lunatic speech, or his ANGRIER lunatic speech if you're Legion. Or you run into Arcade here and there, also trying to appeal to the power-players: reflects (and optionally directs) your efforts, while fitting nicely with his goals and companion quest.
This is all technically Avellone Appreciation since a lot of game writers get by writing Marvel Method for people who aren't necessarily storytellers... meanwhile this guy has the balls to leave a company he was a founder of for Artistic Reasons.
Yes but I also wonder why Mitsoda was brought up as a failure of Chris's considering that, at the time, the word was that his writing on Alpha Protocol was "terrible" and that's why he "quit." Now we're saying it's Chris's fault he left and that Alpha Protocol failed only because Chris criticized him?
CHOOSE, THORTON