For me, it’s mostly a lack of consistency (especially in earlier editions), though a lot of that is understandable due to how the setting developed over time. I never really had a big problem with characters I didn’t like; I just didn’t use them in my campaigns. In a lot of A/D&D settings (FR included), magic reaches Sorcerer’s Apprentice/Fantasia levels where it’s commonly used for all sorts of mundane stuff. I usually like magic in settings to be, if not rare, at least constrained in some ways so it fees like there are still unexplored/unknown elements to the world and a genuine need for labor that “easy” magic might logically negate.
Personally, I get bored with subversion. I’m more interested in exploring the things that I like that I also feel many players will also enjoy.
In any setting, I like thinking about how it would develop from the perspectives of the people (and creatures, and other forces) in it. I feel like it makes the world more believable. The world is an omnipresent character in all of the stories that take place in it. If a player or reader can believe in a world as much as he or she believes in any other character, the world can grow and change in ways that can move the audience. I don’t want to create worlds that feel like static characters. I want them to feel like they develop based on the actions of the people within them — not just extraordinarily powerful individuals, but everyday people as well.
In fantasy, we have characters who can accomplish amazing things. I don’t think that means we need to create settings where they bestride their narrow worlds like colossi, ordinary folks living and dying in their shadows. I don’t read a lot of comics, but I always remember this cover from Heroes Against Hunger:
http://www.batman4sale.biz/wp-conte...986-Heroes-Against-Hunger-x1-1.5-DC-Comic.jpg
Lex Luthor says, “They’re dying, Superman — and not all your power can save them!”
That’s really saying something, because it’s
Superman. He can do almost anything, but he can’t just make famine go away. Believable worlds — even magical ones — have believable problems and even extraordinary ass-kickers and fireball-hurlers can’t solve all of them.
This is going off tangent a bit, but when I was working with John Gonzalez, who was the creative lead and main story architect for Fallout: New Vegas (and the author of the Survivalist’s journals in Honest Hearts, since I get a lot of questions about that), there were a few things I kept insisting he had to include. One of the major elements was that during the final act of the game, the player
had to be directed to interact with actual people (human or otherwise) during the approach to the end of the game.
Whatever chip-inserting, lever-pulling stuff the Courier was involved with took a backseat to interacting with with people in the different factions. I felt that needed to happen so the player would come face-to-face with the actual problems that these folks had. More than the threat of physical destruction, they were worried about other things: their identity, their independence, their sense of purpose. The Courier’s participation in the Second Battle of Hoover Dam was not the end of the game as much as it was the validation stage for all of the choices the player made to reach that point.
And when the slides started showing up, not everything worked out the way the player wanted. A lot of it did — sometimes
most of it did — but there were always things that went awry, plans that developed in unexpected ways, characters that went off in their own directions. Not everyone likes that, but I definitely do and I believe that enough players also like it that it was a valid course to take.
With PE, I will continue to push for that sort of world development, places and problems that seem believable in their own fantastic way, with the player able to step in and make
some difference — maybe even a
big difference — but not all the difference. It should be a place where the world moves on with you but also in spite of you.
Some of this is in the setup of the world itself. It’s a Renaissance-esque setting. Obviously it’s not
literally the Renaissance, but it has some of the same elements. One of the most prominent to a lot of players is the fact that there are early firearms in the world. It has made some players think about the setting differently. More importantly, though this will come across more in the story, the time in which the story of PoE takes place is during an age of discovery. Animancy is a young and rapidly-developing field. With the development of animancy comes technology that can significantly change the lives (and deaths) of people in the world — not just kings and knights, but all sorts of people.
Hopefully these approaches will help us create a setting that feels like it is developing in ways that the player wants to help mold, that we can change from game to game and story to story.