If there's one feature of Spore that should be adapted to many other games, it's the creature history timeline. A visual history with snapshots of memorable and personal moments in a player's game experience offers far more than a simple achievements system.
A cornerstone of good storytelling is reflection -- showing how past events are relevant to the present. Providing the player with tools for reflecting on their game experiences encourages them to view those experiences as parts of one story (his or her own), rather than random and forgettable events.
Seen as part of one's story, an event takes on personal relevance. The emotional connection is deepened, and the game becomes more important to the player.
Showing posts with label player character. Show all posts
Showing posts with label player character. Show all posts
Thursday, August 13, 2009
Thursday, April 30, 2009
fluid personalities
People who know me only casually often say they're impressed with my intelligence or something similar. But when I'm with family, I often feel like a moron (and they share the sentiment). The simple fact of the matter is that I often am.
I've noticed that my tone of voice changes with family. My voice becomes higher pitched, somewhat timid and submissive. On the other hand, if I'm hanging out with a bunch of guys on a back porch or in a bar, my voice naturally becomes deeper, my comments more assertive. This is nothing particular to me. It's similar with everybody.
Only the core of our personalities are hard-set. Who we are changes slightly from moment to moment depending on who we are around and what the situation is.
Our expressions change from group to group. We're silly and light-hearted around some people, serious and philosophical with others. In some groups we take leadership roles, in others we become followers. Our interests rise and fall with the settings.
Why don't we see this more in game characters?
I've noticed that my tone of voice changes with family. My voice becomes higher pitched, somewhat timid and submissive. On the other hand, if I'm hanging out with a bunch of guys on a back porch or in a bar, my voice naturally becomes deeper, my comments more assertive. This is nothing particular to me. It's similar with everybody.
Only the core of our personalities are hard-set. Who we are changes slightly from moment to moment depending on who we are around and what the situation is.
Our expressions change from group to group. We're silly and light-hearted around some people, serious and philosophical with others. In some groups we take leadership roles, in others we become followers. Our interests rise and fall with the settings.
Why don't we see this more in game characters?
Tuesday, March 17, 2009
when friends are enemies
Writers learn that characters can be flat or round (stereotypical vs complex, mythical vs factual). But conflict is seldom discussed in terms of flat or round. A round character has both good and bad aspects, and the audience is expected to consider both. A round conflict similarly invites the audience to pick a side without wholly rejecting or supporting either.
Many stories involve friends who become enemies or enemies who become friends. Few involve characters who remain both enemy and friend. The movies Heat and Gangs of New York are two examples. This rarity is understandable, since it's not common in reality. Human beings are emotional, and it's difficult to openly struggle against friends or associate with enemies; so few do so. But, as those films demonstrate, unbreaking juxtaposition of love and opposition can be a powerful story element.
A milder example is the relationship between Mal and Inara in the TV series Firefly. Their relationship is charged with romantic attraction, yet at the same time they are distanced by Mal's disapproval of Inara's whoring and Inara's occasional undermining of Mal's authority as ship captain. A similar example is the relationship between Captain Jack Aubrey and Dr Stephen Maturin in Master and Commander.
I have no problem with the use of myths -- stories using straw figures purposefully and well. But I would like to see more games involving plots that are less about good vs bad than about the inevitable conflicts which arise from differences in values and perspectives.
Challenge yourself to write a story in which all the main characters are essentially good but conflict arises anyway.
Many stories involve friends who become enemies or enemies who become friends. Few involve characters who remain both enemy and friend. The movies Heat and Gangs of New York are two examples. This rarity is understandable, since it's not common in reality. Human beings are emotional, and it's difficult to openly struggle against friends or associate with enemies; so few do so. But, as those films demonstrate, unbreaking juxtaposition of love and opposition can be a powerful story element.
A milder example is the relationship between Mal and Inara in the TV series Firefly. Their relationship is charged with romantic attraction, yet at the same time they are distanced by Mal's disapproval of Inara's whoring and Inara's occasional undermining of Mal's authority as ship captain. A similar example is the relationship between Captain Jack Aubrey and Dr Stephen Maturin in Master and Commander.
I have no problem with the use of myths -- stories using straw figures purposefully and well. But I would like to see more games involving plots that are less about good vs bad than about the inevitable conflicts which arise from differences in values and perspectives.
Challenge yourself to write a story in which all the main characters are essentially good but conflict arises anyway.
Monday, February 16, 2009
the American hero
I watched the movie Die Hard for the nth time over the weekend. I'm going to go out on a limb and say that John McClane is like a modern John Wayne, and John Wayne is the quintessential American hero of our stories.
What defines the American hero?
First, there's rugged individualism, which is probably the most American trait. I feel the need to point out that rugged individualism is not the same as the selfish libertine attitude that modern Hollywood writers like to give protagonists. It's not individualism without a care for others, or doing things differently just to be different. Rugged individualism means stubborn self-sufficiency and a willingness to fight against any odds.
Most of John Wayne most memorable characters are polite and soft-spoken, but also no-nonsense persons who don't let law or manners get in the way of justice (if they were D&D characters, their alignment would be Neutral Good). Wayne usually ends up punching somebody. McClane isn't so polite -- definitely rough around the edges -- but he's similarly decisive in response to problems and quick to give jerks their due.
The American hero doesn't want to be heroic. He wants a quiet, ordered life; but he accepts a personal duty to protect the weak against evil and injustice. Incidentally, the American hero is in this sense very similar to the farmer-soldier of ancient Rome -- he does his duty, then returns to a quiet, humble life.
The American hero is humble (which is definitely harder to see in McClane). In the film McClintock, Wayne's character owns most of the land around town and is a sort of unofficial mayor, yet most of the townsfolk admire him because he's fair and respects the lowliest people. He's gives money to the town bum, despite knowing the money will be spent on liquor, and jokes around with the bum as a friend. He's friends with the same indians who put arrows in him years ago, and even represents them against his own government. The American hero is usually uneducated, relying on street smarts and a poor man's wisdom.
Which, perhaps, is another characteristic of the American hero: an open heart. He's friends with unlikely people... people who are very different from him. He might not even understand them, but he still travels with them, jokes with them, and fights for them. You see this with McClane, too, in the way he befriends a young, aloof limo driver or an eccentric airport groundskeeper. The American hero isn't multicultural. Wayne and McClane aren't worldly. They are proud of their own culture and not too interested in learning others, but they are accepting of people from any origin.
What else might be a characteristic of the archetypal American hero?
And can you think of any game characters that come close? I think the Master Chief in Halo and Marcus Fenix in Gears of War might.
I've asked my English friend, David, to describe who he thinks is the quintessential British/English hero from film and literature. His gut reaction was Sean Connery as James Bond. I'll be interested to see how American heroes compare to heroes of other cultures. My guess is that heroes cross-culturally are basically the same, but there are a number of significant nuances. Humility, for example, is not a virtue in all cultures.
What defines the American hero?
First, there's rugged individualism, which is probably the most American trait. I feel the need to point out that rugged individualism is not the same as the selfish libertine attitude that modern Hollywood writers like to give protagonists. It's not individualism without a care for others, or doing things differently just to be different. Rugged individualism means stubborn self-sufficiency and a willingness to fight against any odds.
Most of John Wayne most memorable characters are polite and soft-spoken, but also no-nonsense persons who don't let law or manners get in the way of justice (if they were D&D characters, their alignment would be Neutral Good). Wayne usually ends up punching somebody. McClane isn't so polite -- definitely rough around the edges -- but he's similarly decisive in response to problems and quick to give jerks their due.
The American hero doesn't want to be heroic. He wants a quiet, ordered life; but he accepts a personal duty to protect the weak against evil and injustice. Incidentally, the American hero is in this sense very similar to the farmer-soldier of ancient Rome -- he does his duty, then returns to a quiet, humble life.
The American hero is humble (which is definitely harder to see in McClane). In the film McClintock, Wayne's character owns most of the land around town and is a sort of unofficial mayor, yet most of the townsfolk admire him because he's fair and respects the lowliest people. He's gives money to the town bum, despite knowing the money will be spent on liquor, and jokes around with the bum as a friend. He's friends with the same indians who put arrows in him years ago, and even represents them against his own government. The American hero is usually uneducated, relying on street smarts and a poor man's wisdom.
Which, perhaps, is another characteristic of the American hero: an open heart. He's friends with unlikely people... people who are very different from him. He might not even understand them, but he still travels with them, jokes with them, and fights for them. You see this with McClane, too, in the way he befriends a young, aloof limo driver or an eccentric airport groundskeeper. The American hero isn't multicultural. Wayne and McClane aren't worldly. They are proud of their own culture and not too interested in learning others, but they are accepting of people from any origin.
What else might be a characteristic of the archetypal American hero?
And can you think of any game characters that come close? I think the Master Chief in Halo and Marcus Fenix in Gears of War might.
I've asked my English friend, David, to describe who he thinks is the quintessential British/English hero from film and literature. His gut reaction was Sean Connery as James Bond. I'll be interested to see how American heroes compare to heroes of other cultures. My guess is that heroes cross-culturally are basically the same, but there are a number of significant nuances. Humility, for example, is not a virtue in all cultures.
Thursday, February 05, 2009
old fogies
Looking at that picture of General Patton in a previous post, it occurs to me that game protagonists are rarely, if ever, old. James Bond might be the only character over 40 that I've ever played as in a video game. Of course, I don't play slow-paced detective games.
It makes sense that the majority of protagonists would be young, just as they are in films. Young people have more mobility, sharper reflexes, room for new romantic relationships, more to learn and more to discover about themselves, etc. But is this lack of elderly player-characters an odd gap?
Some elderly traits could make for interesting story elements and gameplay twists. For example: long and tested relationships, a focus on younger generations, limited ability to flee or pursue, a patient pace, extensive familiarity with certain places and things, a value system at odds with current events and culture, preference for old tools and strategies, etc.
It's not that I think old people should be represented. I just think old protagonists could offer gameplay not possible with younger characters. It's a possibility to keep in mind when starting a new game.
It makes sense that the majority of protagonists would be young, just as they are in films. Young people have more mobility, sharper reflexes, room for new romantic relationships, more to learn and more to discover about themselves, etc. But is this lack of elderly player-characters an odd gap?
Some elderly traits could make for interesting story elements and gameplay twists. For example: long and tested relationships, a focus on younger generations, limited ability to flee or pursue, a patient pace, extensive familiarity with certain places and things, a value system at odds with current events and culture, preference for old tools and strategies, etc.
It's not that I think old people should be represented. I just think old protagonists could offer gameplay not possible with younger characters. It's a possibility to keep in mind when starting a new game.
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