This week we’re going to talk about player choice, and making sure that you’re prepared for the ones they make.
For starters, I want to clarify that I’m not talking about choice as it pertains to letting the players do whatever they want. If you’re running a D&D campaign and the players decide they want to open a ladder re-purposing Ten Foot Pole Emporium rather than actually play out that cool story with the dragon and the intrigue and the world ending terror you have prepared, then you may as well just ignore them, because they clearly did not show up to play the same game you did.
What I’m talking about is making sure that your game, be it a video game, tabletop RPG, or board game, supports a reasonable number of parallel paths to victory. These are all fairly straightforwards, so I’m going to touch on each of them in turn. I’m also going to focus largely on single player or cooperative games, as with multiplayer games this strays more into a discussion of game balance.
So, to finally get to what could easily have been the opening line of this post, the most important part of presenting a game in which parallel paths are implied is to make sure they are all supported. They don’t have to be equally difficult, but they have to function.
Let’s talk about Dishonored for a moment, if only because I put it in the title. For those of you who are unfamiliar, Dishonored is a first person stealth and action video game about betrayal, revenge, and absentee parenting. The core choices of the game, the ones presented during every moment of game-play and not just during the major moral choices towards the end of each level, are whether you are playing a stealth game or an action game, and whether you are a big murdery murderer or not. Overall, at least in the experience I had, the game does a good job of making both of these choices a great deal of fun, but that doesn’t mean it doesn’t let itself down in a few key areas, notably by rather limiting to player to being an action murderer or a nonlethal sneaker. By and large most of the choices the player will make in the game, from the use of either normal crossbow bolts or more limited sleep arrows to the decision of whether to stab a major villain in his neck meat or decipher a fairly elaborate puzzle to send them to a nonlethal fate worse than death, the dual focus design rewards more murder prone players with a quick and easy solution while providing nonlethal players with a more complex but perhaps more rewarding alternative. There are two notable exceptions to this ethos, however. When presented with an unaware enemy, one has the option of loudly and messily stabbing them to death while simultaneously alerting all nearby enemies or quietly strangling them into a restful sleep. While the murder option is quick to reward the player with more murder, something the player may or may not be thankful for, it is something of an issue when the nonlethal option’s only downside is a minor increase in the time it takes. So you have the potential to be spotted, which is a moot point with the other option is to always be spotted. Simply allowing the stealth kill to actually be stealthy would have solved this discrepancy, although combining that with making the strangling somewhat alarming to nearby guards would be more in keeping with the game-play philosophy, if not as balanced.
And then there’s the club I teased you with. Or, rather, there isn’t the club. There is no nonlethal melee weapon in Dishonored. This seems like a severe oversight when every other piece of game-play has a lethal and nonlethal option (for the sake of this argument, the sleep darts from the crossbow are also an alternative to the pistol). It seems like a rather easy fix, simply giving the player a nonlethal melee weapon usable in the same manner of their sword, possibly with a reduced reach and definitely with requiring them to land a few extra blows, and thus not completely removing the nonlethal gamer from the action half of an action stealth game. It could even be upgraded, as with all the other equipment in the game, perhaps adding taser like stun charges and such.
Alright, so that was video games, but what about tabletop RPGs, I hear you ask. Well, the good news, is that I’m not going to ask you to completely rewrite all of your favorite systems in order to cater to as many potential player actions as possible. That way lies madness, and as such has already largely been done. I’m also not going to sit here and tell you that if you were planning a game of courtly intrigue, you have to let Krod the loin-clothed barbarian swing from the rafters and throw axes at the punch bowl. The object isn’t to cater to the players, but to create a story with them. If you’re playing a game of courtly intrigue, and the viscount is holding a piece of important information, make sure that it’s not kept in a mental chest with a single lock. It makes no sense if a character would spill their darkest secrets for five gold, but will resist weeks of torture or the threat of a scary man standing over them with a knife in the middle of the night. If the players want to get into the ancient tomb of a long dead king, and the front is guarded by living statues who ask you three questions about your deepest fears, it’s understandable that they might want to just figure out around where the tomb is laid out and start some exploratory strip mining. Remember, the important thing is not that the players follow your story, no matter how cool you think it is. If you build a world and it reacts to the players actions appropriately, you will find all manner of fun and exciting role-playing opportunities crop up over the course of game-play. Maybe Krod wasn’t a good fit for courtly intrigue, but if he’s allowed in as an amusing oddity, he might just overhear some interesting rumors from folk who don’t believe he can understand them.
In conclusion, make sure that when the player has a choice of paths, each one is worthwhile to walk.