Characters in games range from one-dimensional drones to reasonably complex artificial characters and player heroes. However, at least at the time I wrote this, very few games have included characters with complete personalities or complex qualities, yet one fantastic way to make games more interesting is to feature characters who come alive for the player. This includes any NPC character as well as the player’s character. In this chapter I provide you with a collection of tools that, when used together, can help you create all kinds of characters with all kinds of realistic qualities.
There is a caveat, however. Combining separate elements from lists and working with specific archetypes, while useful, will not necessarily result in complex and realistic characters. Some of that has to come from you. There are other questions to ask when creating any character or substance:
“I should hope to approach the problem of characters, of heroes and villains especially, from a little more total perspective. After all, what makes a person? It is some ineffable mix of values and reactions, good intentions and bad, effective behaviors and ineffective behaviors. Even in a short play, a person may show a complexity of motive and confused aims. Macbeth, for example, was a mixture of hero and villain—brave, ambitious, loyal (to a point), but under the pressures of guilt and recognition of the presence of enemies, became cruel, faithless, and fearful. “One way of understanding people is in terms of life search, although often life search is not single nor simple. Sometimes a dominating theme in the search stands out—power, ambition, givingness, justification. Another way of understanding people is in terms of the value systems which inform their actions. And, of course, the repetition of history in the individual’s adaptations and behaviors is impressive—the repetition of mistakes, of successes, of the family history. “So in creating a hero (or a villain), what motivates him (or her)? What is being proved in his actions? How do his behaviors represent attempts to belong, to garner good will, or to reject those possibilities in an excess of rage and frustration? How has serendipity created opportunities which encourage (or discourage) his struggle to arrive, or his struggle to regain what has been lost?” | ||
| --Donald Ehrman, PhD | ||
This chapter is rich with information, ranging from sections about character arcs and specific character roles and motivations to lists of traits, hobbies, moods, and so on, to deeper information about how to build more believable characters. The chapter starts out with one potential method for developing main characters—heroes and villains—for your games.
This chapter contains a lot of information about characters, ranging from their physical characteristics to their emotions, hobbies, and fears. Although you can’t just randomly combine elements from these lists and essays like a chemical formula and get a truly satisfying result, you can use the information in this chapter to further inspire your creative process. There are a lot of systems for creating characters in stories. None of them will do it for you, but many can help you inspire your own creative process.
My Build-a-Character system is not necessarily better or worse than any other systems out there. It does, however, have the advantage of giving you reference material at your fingertips. Using the references available in this chapter and elsewhere in this book, you can think more deeply and come up with more possibilities for your characters, which is what I hope you will do.
Of course, if you just want to create a mindless drone, give it a gun, and set it loose on the world, there’s not too much I can offer to help you (other than Chapter 34, “Standard Modern Weaponry and Armor”). And, to be honest, mindless drones with guns have a place in games, as do shopkeeper characters who are little more than vending machines. Not all characters need to be important, well established, complex, or particularly interesting. It would be boring and unbelievably tedious to tell the life story of every character you might meet in a game. I mean, do you really care about the childhood traumas of the sentient reptilian soldier you blew up along with 50 of its buddies? You don’t even care about the reptilian soldier’s even more dangerous and intelligent commander. You only care that they’ll shoot you if you don’t shoot them first. Likewise, you might be slightly interested in the marital woes of Glenda the Good Witch, but I doubt it. You just care that she appears at key moments in the story to offer Dorothy some encouragement, some red shoes, and some information about clicking them together to go home. So, when you consider fleshing out characters in considerable detail, giving them a history, a family, complex motivation, a set of specific traits and individual behaviors, and so on, consider how important the character is and how much the player needs to know.
In some cases, you may go to a lot of trouble to create deeper and more realistic characters but find that most of the detail never appears in the final game. You may also discover that you have been inspired by the process of deepening your characters—that such characters inhabit your game world in unexpected ways, and that their dialog and actions are far more diverse and intriguing than they would have been if you had not taken the time to know them better. Their behavior and dialog may turn out to be far more characteristic of a real being than of a cardboard cutout.
So, while some characters are not much more than the roles they play in the game or story, others are important, and their behaviors and choices can significantly alter the course of the game. These types of characters may not appear in every game. Many “hero” characters are simply cartoons with no personality. If you think of the early comic-book heroes, such as the original Batman, Superman, or Dick Tracy, they had no personal problems (other than in some cases protecting their secret identities and juggling would-be girlfriends). But later comic superheroes, such as Spider-Man, introduced the idea of a complex human character with super powers. With the new Marvel Comics characters, suddenly the superhero became complex, human, and in some ways quite ordinary, with eccentricities, weaknesses, families, financial problems, quirks, and even hobbies outside of their role as superhero.
When creating game characters, you have choices in determining how much detail and depth to include. It may be completely appropriate to treat your heroes and villains as more or less two-dimensional caricatures. It totally depends on the type of game you are creating. But in any game genre, the possibility of story lurks, and if you have a strong story you may also want to consider some stronger, more complex and self-consistent characters. If you really want to go all out, you can consider characters who encounter life-altering experiences and who change significantly as a result of the events of the game. This is not so common in current games.
For instance, Lara Croft really doesn’t change from game to sequel. It is technically possible to have her evolve, perhaps fall in love, get married, have babies...and still she could be the adventurer. But somehow it would be a little more difficult to see her in all those significant life roles. It’s so much simpler if she doesn’t change from game to game—or if she does change, it is something reflected in the gameplay by her abilities or perhaps in the shifting of her character toward slightly different goals or motivations. For instance, you could conceivably do a Lara Croft adventure in which she became enamored of the Dark Side, to mix metaphors. Perhaps that would be interesting, but Lara’s home life is of little interest unless she were to do a cameo appearance in The Sims.
Nor do we want to see a whole lot of Indiana Jones doing college lectures and settling down to a life of quiet complacency as a college professor. It’s all right to establish his “normal” identity, but we want to see him in a pit full of snakes (which, incidentally, give him the creeps), rappelling down some steep cliff, or running for his life, dodging spears chucked at him by angry tribesmen—or bantering with a tough, beautiful woman. Maybe Lara Croft and Indiana Jones should meet....
While some characters are not meant to change as a result of their adventures, others are on a life path that requires them to change or die (spiritually or physically). Some are caught up in events they can’t control or have been slowly dying in their ordinary lives and crave something new. Sometimes the whole world must be saved, and the player’s character is just the one to do it. Sometimes the character is simply seeking, but doesn’t know what he seeks when the story begins, or he may have some half-cocked idea about what he wants or needs. Inevitably, in a good story, the character will discover a lot about himself and possibly about others, and he will change as a result of what he experiences and how he responds to it.
So what follows is simply one way to explore your characters—those characters you really want to know well and who will engage the player and even provide some surprises and individuality. If you are interested in making games with deeper stories and deeper characters, my Build-a-Character system is a decent place to start, along with references to places in this book that can provide you with more information or resources.
My Build-a-Character system begins here. It is not just a questionnaire to fill out. It is an interactive process that uses the material in this book to help you come up with new ideas and more complete characters for your games—whether they are heroes, villains, or NPCs of various kinds. Any character you want to create, you can create here, but be sure to use the cross-references to help expand your possibilities.
What kind of character are you creating? (Reference this chapter, the “Kinds of Heroes, Villains, and Minions” section. Also see Chapter 13, “Character Roles and Jobs.”)
Player hero
Main enemy
Sub-boss
Enemy minion
Enemy group leader (lieutenant)
Ally/party member/companion
Leader (ally)
Love interest
Victim (significant to the story)
Guide character
Shopkeeper
Random NPC
Gatekeeper
Characters could be other than these, such as:
Yourself
A mystery
An amnesiac
A disembodied voice
A shape-shifter or role-player, imposter
A puppeteer
A god
What is this character’s:
Age?
Gender?
Ethnicity?
Economic status?
Social status?
Marital status?
Name?
References in this chapter include “Gender/Type of Character,” “Character Racial/Species Options,” and “Character Traits.”
Optionally, describe the character’s family—parents, grandparents, and siblings—and what his/her relationship was like with them. Look for influences, traumas, and other profound effects that the character’s family might have had on him or her. Examples include a famous and highly successful parent, a jealous brother or sister, being orphaned at an early age, an alcoholic or workaholic parent, a dysfunctional relationship with parents and/or siblings but a close relationship with a grandparent, lost parents at an early age, and so on. Be wary of clichés, however. Use these ideas as guidelines for possible behavioral tendencies, but not as stereotypes.
Does this character have a job? If so, what is it? (Reference Chapter 13, “Character Roles and Jobs.”)
Describe the events that bring the character into the story. (Reference Chapter 5, “Game POV and Game Genres,” Chapter 9, “Storytelling Techniques,” Chapter 11, “Scenarios” and Chapter 21, “Experiential Design.”)
What does this character want or think he wants? These are conscious goals and may not be what the character needs, which is often described in the character arc. (See the next section.) (Reference Chapter 23, “Goals” and the “Character Goals” section in this chapter.)
What does the character need and how does he change inwardly in the story? (Reference the “How a Character Grows...Character Arcs” section in this chapter.)
Does this character have any significant flaws or limitations? (Reference the “Character Flaws and Strengths” and “Character Traits” sections in this chapter.)
Does the character have any particular strengths that help him get what he wants or deal with challenges and adversity? (Reference the “Character Traits” section in this chapter.) This is different from powers and special abilities, which you can determine in a later step of this process.
What kinds of emotions or moods are predominant in this character? This is not a single mood, but possibly a range of emotions or a predominant theme. For instance, some people tend to be pessimistic and depressive, while others may be steady and unflappable. Still others could be manic or highly optimistic. (Reference the “Moods” section in this chapter.)
What are the other general traits of this character? (Reference this chapter the “Character Traits” and “Personality Types” sections in this chapter.)
Does this character have any interesting individual quirks? (Reference the “Quirks” section in this chapter.)
What is this character afraid of? (Reference the “Phun with Phobias” section in this chapter.)
Where does this character spend most of his time? In a modern story, where does the character shop and hang out?
Does the character have any hobbies? How can you define the character through his hobbies? Can you combine two or more hobbies to further define the character as unique? (Reference the “Hobbies” section in this chapter.)
What kinds of pets (if any) does the character have? If the player has pets, what kind of relationship does he have with the pets? How many does he have?
What are the character’s preferences in food, music, and other entertainment? (Reference the “Character Traits” and “Hobbies” sections in this chapter.)
What kind of sexual preferences or deviations does this character have? What sexual activities and habits? (Note: This information may or may not appear in the character’s activities in the game, but it can be interesting to consider in terms of the total character. This could be especially so if the character has something to hide or be ashamed of, or if he is particularly affected by some specific sexual stimulus. (Reference the “Gender/Type of Character” section in this chapter.)
How does the character ordinarily get around/travel? (Reference Chapter 18, “Travel.”)
Does the character have special abilities or powers? (Reference the “Character Traits” section in this chapter and Chapter 15, “Character Abilities.”)
How does the character deal with stressful situations? (Reference the “Personality Types” section in this chapter.)
What religious or spiritual beliefs does the character have? How does he practice them? (Reference the “Religious and Spiritual Practices” section in this chapter.)
How is this character related to other characters in the story at the beginning? Do you anticipate that the relationship will evolve? If so, what will it become? (Reference the “Relationships of Characters” section in this chapter and Chapter 13, “Character Roles and Jobs.”)
What is the characters’ initial physical description? Does the character change physically? If so, how? (Reference the “Physical Changes” and “Ways to Customize Avatars” sections in this chapter.)
Is the character funny? (Reference the “Attributes of Funny Characters” section in this chapter and “Creating Comedy” in Chapter 9, “Storytelling Techniques.”)
We’ll create a couple of characters using the Build-a-Character system—one relatively simple character and one that’s somewhat complex.
For the first character, we’ll create a basic ally character. This character should have some personality, and the more we give it, the more options we’ll have with it as we develop the game, dialog, and plot. Because this character is not a major hero or villain, some qualities might not matter too much. For some inspiration, I might start with the “Kinds of Heroes, Villains, and Minions” section in this chapter.
Although this character is not the main hero, he might share some qualities with the hero. We might decide that certain aspects of the character aren’t important to design for a minor character, or we might want to create a deeper description, even if much of it is never seen or experienced by the player. The more detail the character has, the more ideas we will have for him when designing the game, and the more consistently we’ll treat that character. But for simpler characters, filling in all the details of the Build-a-Character system is certainly optional, and it may be desirable to simplify the process for less important characters.
You can reference Chapter 13, “Character Roles and Jobs,” for ideas on character roles. We’re going to create an ally to the player’s character—perhaps someone who will join the player and be part of his party.
Let’s define the basic characteristics of this character, using the “Gender/Type of Character,” “Ethnicity/Race,” and “Character Traits” sections from this chapter to help with some of this information.
Age: 25
Gender: Male
Ethnicity: Elf
Economic Status: N/A
Social Status: None
Marital Status: Unmarried
Name: Evar Bowstringer
For a minor character, you normally wouldn’t need to go into too much detail, but we will find out that Evar had a family that was lost—that they are all presumed dead—and that he had a close relationship with them. Even though Evar could be a relatively minor character, simply giving him some family history could inspire a larger role for him and possible plot threads for the player to follow.
Here we can get some information from Chapter 13, “Character Roles and Jobs.” I’ve decided that Evar will be an archer.
Evar will meet the player character in the forest in a seemingly random encounter. It will turn out that his immediate goals coincide well with the player’s, so he will offer his help. It might be that the bad guys have murdered his village, he feels responsible for failing to protect them, and he seeks revenge and vindication. Or it might be that he wants to get to the town that’s on the way the player is headed. Or he might be looking for his long-lost sister, and he thinks that the player might be able to help him. There are many ways that Evar might become the player’s ally. You can get more ideas from Chapter 5, “Game POV and Game Genres,” Chapter 10, “Movie Genres,” Chapter 11, “Scenarios,” and Chapter 21, “Experiential Design.”
Evar’s goals are probably simplistic and may match one of the scenarios outlined in Step 5. I’m going to choose “the bad guys have murdered his village, he feels responsible for failing to protect them, and he seeks revenge and vindication” scenario. However, for more ideas, check out Chapter 23, “Goals,” the “Character Goals” section in this chapter, and Chapter 11, “Scenarios.”
It is entirely optional whether Evar has a true character arc. Does he change in the course of the story? For this example, I’m going to say yes. But probably most NPC characters in your game will not have a true character arc. Their goals will be simplistic, if any, and they will not truly change in the course of the story.
However, in this case, Evar’s goal is revenge, and he’s an angry and ashamed archer when the player first encounters him. Then, looking at the “How a Character Grows...Character Arcs” section in this chapter, his arc—the true evolution of his character—could be “coming to terms with his own (past or present) actions and taking responsibility,” or “forgiveness of self or others.”
Notice that simply the fact that Evar has this history and that his progression as a character will lead to a resolution of his emotional damage offers a deeper progression of gameplay and story than we would have had if we had simply decided to add a generic archer to the player’s party.
In the “Character Flaws and Strengths” and “Character Traits” sections in this chapter, we can look for interesting elements that further describe Evar’s character. I’m going to select, as flaws and limitations, that he:
Is headstrong (or reckless)
Is inconsistent (or irresponsible)
Is melodramatic
Is provincial (mostly)
Is promiscuous
Goes all to pieces when he’s faced with magical enemies
These traits will create a pretty interesting character—one who expresses himself in dramatic terms, can’t always be relied upon, is somewhat unsophisticated, and definitely has an eye for the women.
Also, check Step 21 for more ideas on how Evar’s personality can be further defined.
Turning back to the “Character Traits” section in this chapter, I want to balance Evar’s flaws with some useful traits, such as:
Skill. (He’s damn good with that bow.)
Sharp senses. (He notices everything and can see a bug on an elephant’s ear at 1,000 paces.)
Kindness and generosity. (For all his faults, he’s kind and generous at heart.)
Loyalty. (He may not be the most reliable guy, but he doesn’t change sides or abandon his friends.)
He sounds like someone who could be useful now, but still someone who can make mistakes or cause trouble for the player. Could be fun, eh?
Checking the “Moods” section in this chapter, we can characterize Evar as basically a cheerful sort of bloke, but with a smoldering anger and inner shame beneath his outward bravado. As one of his flaws is being melodramatic, his darker emotions do surface from time to time, and when they do, you really know about it! You might also find some interesting ideas in the “Personality Types” section. For more on that, see Step 21 of Evar’s design.
Here is where we can assign some other interesting traits to our character, again referring to the “Character Traits” section. I see Evar as:
Being bit careless.
Being determined.
Being direct.
Being musical. (He plays tunes on his bowstring.)
Having poor impulse control (gambling and women).
Ultimately being a romantic at heart.
See also Step 21.
Referring to the “Quirks” section in this chapter, we can come up with some individual behaviors or preferences to further distinguish and identify Evar. In this case, he:
Walks on the tips of his feet, lightly, and sometimes skips as he walks.
Often stops and sniffs the air, making faces that reflect what he has smelled.
Often has an arrow in his hand, smoothing the feathers and feeling the edge of the arrowhead.
Is never seen without his cap.
Will eat anything and everything.
Stops and gawks when he spots a pretty wench.
Looking at the list of phobias in the “Phun with Phobias” section, you can see that people can develop an unholy fear of almost anything—and everything. But if their particular brand of fear is to be at all significant, they should be afraid of something that is likely to occur in the game and make a situation more interesting. In this case, I’ve decided that Evar has a deathly fear of:
Going bald (which is why he never takes off his cap)
Homosexuality
Witchcraft
Failure (to protect those he loves)
His fear of homosexuality will affect his behavior toward men and his sometimes overly macho bravado. His fears of witchcraft make him less effective when facing magic users. He will still fight—and fight hard—but he is obviously scared and rattled. He might be a little less accurate unless somehow bolstered by the player character or other NPCs. In a swords-and-sorcery type of game, this could be an interesting development and could ultimately become one of his major limitations.
His fear of the failure to protect those he loves is something that has developed since the loss of his family and his village. It motivates his actions at times and can make him more reckless, but also more determined.
By using the “Personality Types” section, you may ever further refine Evar’s character. See Step 21 for an example.
Evar can probably be found in the local tavern or gambling joint when he’s not on duty or off with some wench.
How much can you learn from somebody’s hobbies? Looking at the available range in the “Hobbies” section of this chapter, it’s obvious that there is tremendous variety here. For instance, it wouldn’t be too surprising to learn that Evar collects feathers, which he can use to fletch his arrows. But he could be interested in other activities, such as storytelling, poetry, tree climbing, or even weaving. For this game, however, I’m going to assume that Evar has no hobbies other than collecting feathers, unless you consider gambling and wenching hobbies.
I don’t think Evar has any pets, though he might have lost one when his village was destroyed. Poor old Fluffy...
I did consider giving him a hawk, which could be used for hunting and fighting, but I decided against it.
Other than those preferences and traits already mentioned, I see no need to add more to Evar’s description. But if I did, I’d probably check the “Character Traits” and “Hobbies” sections again.
In this case, Evar is an inveterate womanizer, and he has a strong appetite for sex of just about any kind. I’d categorize him as insatiable and experimental. His aversion to homosexuality does affect his behavior toward men, however, as was noted already. You might look at the “Gender/Type of Character” section for other ideas.
Evar walks a lot, though he can ride a horse if necessary. He doesn’t have any special powers that allow him to fly or anything like that, so he’s just consigned to basic transportation. Of course, he may find other ways to move around during the course of the story. You can find some suggestions in Chapter 18, “Travel.”
Evar is a pretty skilled archer with very sharp senses, but he doesn’t have any supernatural or magical powers. But if he did, I’d look in the “Character Traits” section in this chapter and Chapter 15, “Character Abilities.”
People behave differently under stress. How can we estimate Evar’s behavior when he’s in danger or when events are out of control? One way is to check the “Personality Types” section and see whether we can match Evar with some typing system, then determine how he might behave. Another way is just to make it up based on his other qualities, which is easier. I might decide that Evar is the Enneagram Type 4: The Romantic/Individualist. In the Myers-Briggs system, he might be an ESFP, with several of their positive and negative traits. He might also be an ENTP, but I’m leaning more toward the ESFP’s qualities. I wouldn’t necessarily try to make a character exactly like one of the personality types, but I would look for ways he might behave, given his other traits, and use the personality information to help fill in some of his behaviors under stress. So, from the “Personality Types” section, I’d take the following ideas:
Myer’s Briggs: ESFP
Can be distracted by social interests.
Can feel hurt if warmth is not reciprocal.
Often lacks the ability to see logical consequences of his actions.
Can become bored and restless.
Looks for immediate gratification.
Avoids working alone.
Doesn’t always take care of himself.
Enneagram Type 4:
Can be self-absorbed.
Expects solutions from outside himself.
Somewhat moody and temperamental.
Fears abandonment.
Womanizing comes from a fear of being ordinary or unlovable.
I would keep these characteristics in mind whenever I designed a scene with Evar in it, and I might even check these traits and design scenes expressly to evoke a specific reaction consistent with who Evar is.
It may turn out that Evar’s fear of witchcraft is based on some conservative religious beliefs. Whether this is useful to the storyline and plot is debatable and depends on the story itself and the world you are creating. For instance, it would be very appropriate in a world like that of the early American colonies in the late 1600s.
With less well-drawn characters, it may not always be necessary to imbue them with a deeper spiritual life. In Evar’s case, he was raised in a strict tradition but has strayed considerably from its tenets. He still retains a few old beliefs, however, such as his fear of magic in general. See also the “Religious and Spiritual Practices” section.
It is necessary to have other characters designed before you can complete this step, but overall, based on what I’ve already done with Evar, it would be safe to say that he is flirtatious with pretty women, kind with most people, angry or defensive when reminded of his past, and loyal if treated well. He may struggle with emotional commitment because, loyal as he is, he is afraid to fail again and once again lose those closest to him. For more ideas, I’d check the “Relationships of Characters” section.
This step is really about how you visualize the character. Useful references in this chapter are in the “Physical Changes” and “Ways to Customize Avatars” sections. For some observable behavioral traits, see also “Mental/Emotional Signals: The Other 93%.”
Evar is not specifically designed to be a comedic character, but he may have some funny characteristics. Looking at “Creating Comedy” in Chapter 9, “Storytelling Techniques,” as well as the “Attributes of Funny Characters” section, I can imagine some moments of humor with Evar.
He could have some funny expressions he uses at key moments, such as when he sees a pretty woman or just before a battle.
He could be a practical joker and play pranks on another of the player character’s allies—or even on the player character.
He could do funny things when distracted, such as walk into a lamp pole when he’s gawking at a woman on the street.
His favorite cap, which he never takes off, could be funny in some way, or he might be even funnier if he lost it.
You may want to find a way to summarize your character. One way is with a simple statement, such as:
Evar Bowstringer. Archer who seeks revenge and resolution of his past. Loyal, if a bit unpredictable, companion with a deep fear of magic. Womanizer, gambler, and a bit melodramatic at times. But a good scout, a helluva shot with a bow and arrow, and sometimes makes you laugh!
Another way to summarize your character would be to create a character summary sheet that lists all these traits and characteristics.
I took a lot of time to consider Evar Bowstringer. I might have skipped more parts of the process and still had a good, solid archer ally for my game. It’s possible that I will never use or explicitly reveal some of Evar’s real traits to the player, but whenever I involve Evar in a situation, I will have this character design to refer to, and I will be able to create a character with some depth, consistency, and unique personality. By using the Build-a-Character system, I have avoided creating a pure cookie-cutter character. Instead, I have one who I can use in a variety of ways in whatever game I create.
Also, although some of the details of Evar’s descriptions would need to be adjusted, this profile could be changed to fit a modern soldier in a different sort of game or possibly even a gangster character in an urban setting. The process of examining a character to this extent in some ways becomes its own reward as you begin to think more deeply about characters in general, and—because in many ways characters make and inspire stories and action—about the possibilities in your games.
Evar is a relatively simple character, but he is a good example of how a role that is common in many games—an archer—can be expanded into a character. In most games, the archer is just the archer. In my game, Evar would be Evar and an archer, and I would be able to use his unique qualities to develop special situations, events, and storylines that would not be suggested with the pure role of archer.
This next example takes the idea of creating a character quite a bit beyond Evar and into some creative territory. It involves a very complex character—really two characters in one body—and suggests the kind of story that might evolve from the juxtaposition of two completely different characters with adversarial goals, who must share the same body...for now, at least.
This character is a main villain and the main heroine at the same time. Let’s look at the villainous character first. For some ideas on roles, see Chapter 13, “Character Roles and Jobs,” and, since this is going to be a main character villain, also see the “Kinds of Heroes, Villains, and Minions” section in this chapter and Chapter 14, “Enemies.” In this case, I’m going to pick The Demon archetype for my main villain and possibly take a few characteristics from other examples in that section.
Because this story will involve possession (take my word for it for now), there will be a second character, a sub-hero if you like, who is the victim of the possession. I’m going to model her on the Reluctant Hero archetype (from the “Kinds of Heroes, Villains, and Minions” section), but probably borrow from other personality types. For that, I might check the “Personality Types” section to round her out a bit. But I’m getting ahead of myself. Let’s move on to Step 2.
Entering age, gender, and so on may or may not be important right away. You may choose to wait until later to flesh out these details. Or, if you have a clear idea of the character, you can begin now. The type of character you create might change based on age or if the character is American, Latino, or Middle Eastern, for instance. And, of course, gender often makes a difference.
Sometimes you may know the function of the character, but these specific details may not make much difference. In other cases, these qualities have profound effects on the character’s personality and interaction in the story. For our purposes, we’ll make a character as follows:
Age: 3,200 (more or less)
Gender: Male
Ethnicity: Egyptian
Economic Status: None
Social Status: Dead
Marital Status: N/A
Name: Nebtawi (which means Lord of the World in ancient Egyptian)
This character is somewhat unusual because he has inhabited the body of another character, who we describe as follows:
Age: 36
Gender: Female
Ethnicity: Irish/Iranian
Economic Status: Loaded
Social Status: High society
Marital Status: Divorced
Name: Monica Iwazi
In this story, the family plays a less important role than it might in some stories. Nebtawi’s family background is essentially irrelevant, but we could make one up. Because he’s practically a personification of evil, he is somewhat two-dimensional, and family history isn’t going to make much difference in how we handle him in a story.
Monica, on the other hand, does have a history with the family—in particular, with her grandfather, who was her mentor and who, until he died when she was only eight, showed her the affection she never got from her parents; and with her mega-wealthy father, who disapproves of her lifestyle. Monica, on the other hand, acts out to get her father’s attention because while she was growing up, he was rarely there for her. Because he is powerful, influential, and successful, she craves his approval and love, but she has rarely received it. She resorts to actions that she knows will get his attention, however negative, in order to prove to him that she exists. This could be important later on when she comes to grips with her own life, perhaps at the end or close to the end of the story. It could also come into play if her father enters into the story.
Her mother, on the other hand, secretly lives vicariously through Monica, whose wildness is something the mother could never express but always wished she could. Where she has essentially an antagonist in her father, she has a secret ally in her mother, should the plot require it. (Also see the “Relationships of Characters” section in this chapter.)
No job. Monica is a wealthy playgirl. Nebtawi is a discorporate evil entity. He was once a great wizard under Ramses the Great. But you can always check out Chapter 13, “Character Roles and Jobs.”
Looking in the “Basic Game Activities” section in Chapter 21, “Experiential Design,” I found:
Possession (taking over the bodies of other characters, pretending to be them, or forcing them to take pain for you, such as beating out the fire or killing themselves, and so on)
In Chapter 11, “Scenarios,” I found in “Imprisonment Scenarios”:
How Did That Get In Me? Something has taken up residence in your head or your body (or both). You’re trapped while it runs the show.
And also in Chapter 11, in “Godlike Roles,” I found:
Big Bad Boss. The main bad guy seems to have godlike powers. He’s going to be tough. But he must have a weakness, if only you can discover it and live long enough to exploit it!
So this is the scene I’ve come up with: Monica’s grandfather was a dabbler in the dark arts. While exploring in his long-forgotten basement laboratory, she stumbles on a terrifying secret—a mummified body. She removes some odd stones marked with various hieroglyphs and unwittingly frees the dark soul of Nebtawi, the Lord of the World. Although she is outwardly unchanged, the dark energy of Nebtawi takes control of her and, through her, is bent on unleashing a reign of terror upon humanity. As time passes, Nebtawi’s power grows, and Monica’s personality begins to lose its grip on her body.
In this chapter, I’ve added a short list of possible “Character Goals,” while more general game goals can be found in Chapter 23, “Goals.” While the ostensible character, Monica, wants to marry the hero (find a mate), Nebtawi wants to subjugate first Monica, then the human race under his power (obtaining power and revenge). He is after revenge for what he considers ill treatment in ancient Egypt and, well, because he has been dead for nearly 3,200 years and he has become quite cranky.
For this section, I referred to the “How a Character Grows...Character Arcs” section in this chapter.
Monica does have a character arc. She starts out being flighty and simply wanting to have fun and perhaps marry the hero. She discovers that her true happiness and fulfillment will come from helping others, but that’s only after her harrowing adventure is completed. This would be something like the arc called Finding Their Life’s Purpose.
On the other hand, Nebtawi’s not a character who really changes. He’s dead at the beginning of the story and, hopefully, will be really and positively dead at the end. Alternatively, he could have an arc. Since he is infatuated with the ancient Egyptian Serpent Goddess, Menhit, a possible arc for Nebtawi is that he realizes that his hatred of humanity is misguided, that Menhit is a snake, and that he can leave a last gift to the people he has harmed, then die in peace. This would conform to Resolving or Releasing Some Issue of Their Past, or even Discovering Inner Truth.
Or suppose Nebtawi’s arc is that he is able to inhabit a brand-new body all his own, and he decides to take up residence in Monica’s world (but without using her body this time). This is a different story, but it could conform to Finding a Way to Be Part of a New Culture, World, Environment, Society....
Because we are actually creating two characters here—Monica and Nebtawi—let’s look at their traits side by side. That will be helpful when creating the character’s behavior to make subtle differences in the way the character behaves when one is more dominant than the other. I found all these traits in the “Character Traits” section.
Strengths Monica | Nebtawi |
|---|---|
Beautiful | Determined |
Charming | Persuasive |
Honest | Powerful |
Resilient | Brilliant intelligence |
Simplistic | Crafty |
Flaws/Limitations Monica | Nebtawi |
|---|---|
Forgetful | Arrogant |
Frivolous | Bodiless/dead |
Fragile | Fixated |
Temperamental | Humorless |
Willful | |
Drama queen |
During the course of events, each character can display a wide variety of emotions. But some emotional states and states of mind are more basic to the character’s personality. Looking in the “Moods” section in this chapter, you can find some suggestions for these more basic emotions and mindsets.
Moods Monica | Nebtawi | ||
|---|---|---|---|
Cheerful | Jealous | Condescending | Proud |
Confused | Petulant | Angry | Predatory |
Sweet |
This chapter contains a long list of possible character traits in the “Character Traits” section as well as the “Character Flaws and Strengths” section. Looking through these lists, you can get some ideas about the character in addition to strengths, flaws, limitations, and basic emotions/mindsets. The “Character Traits” section is also a good place to seek additional characteristics. For instance, though we have begun to define both Monica and Nebtawi, we might also give them some additional qualities, such as that Monica is also alert, anal about her makeup, and big-hearted about children and puppies. Nebtawi may also be an expert at many things and sentimental about someone he knew in the past. Of course, when you get to Step 21, you can further enhance their characteristics by referring to the “Personality Types” section.
Again, checking the “Quirks” section, let’s see whether we can come up with some interesting quirks for both Monica and Nebtawi, keeping in mind that these quirks will be useful in identifying who is dominant in the body.
Quirks Monica | Nebtawi |
|---|---|
Adjusts her hair | Unblinking stare |
Taps her foot when impatient | Mutters under his breath |
Files her nails when bored | Rolls his eyes around |
Tends to avoid eye contact | Stares intensely into people’s eyes |
What people fear often affects their behavior and how they make decisions. Let’s look at what Monica and Nebtawi fear by referring to the “Phun with Phobias” section. We can pick out a few fears that might help further define their characters. Obviously, each could have many fears:
Fears Monica | Nebtawi |
|---|---|
Snakes | Extinction (permanent death) |
Being misunderstood | Vulnerability |
Objectification as a sex object | Loss of power |
Abandonment | Abandonment |
The last of Nebtawi’s fears could be the most important. In reality, perhaps all his evil acts stem from this one fear, and this could be the key to dealing with him. This could be the one human side he still has, and it could be manipulated in the plot. And because it is a fear they both share, it might be fun to explore some point when they realize their common fear. On the other hand, since Nebtawi seeks reunion with the Serpent Goddess, this will create more than a little stress for Monica, given her fear of snakes.
Nebtawi has spent a virtual eternity trapped in a moldering mummy case, so he hasn’t really been hanging around anyplace interesting. On the other hand, Monica can often be seen at chic restaurants, parties, clubs, and shopping districts. She is well known about town—at least in the high-society circles. However, her craving for hamburgers (see Step 17) has her sneaking into various hamburger joints from time to time, and she has a few favorites. She’s furtive about it, though. Hamburger joints and high society don’t seem to go along with each other very well. (As a side note, this could be a great way to build a relationship with the hero, who might also crave hamburgers and could introduce Monica to the absolute best burger she’s ever had, or something like that.)
The characters of Monica and Nebtawi are starting to take shape, but in an effort to bring them more fully into focus, let’s look at what they do for fun—their hobbies. The “Hobbies” list is pretty extensive. Let’s say that Monica likes to write in her diary and do ballroom dancing. Nebtawi, coming from a different time, likes to dabble in alchemy and the occasional wench (though occupying Monica’s body somewhat limits his enthusiasm for that particular penchant...interesting possibilities, however). He also used to make his own magical weapons, and he may recognize new opportunities to indulge in that hobby with modern technologies...more interesting possibilities there.
What kinds of pets do people have? It’s not a big issue, but it can tell you something about who they are. In this case, Monica keeps a large wolfhound dog while Nebtawi, when he was alive, kept a pet monkey and several Nubian slaves.
Monica really enjoys hamburgers, but she rarely gets them, being that she is far too involved in the high-society set and eats fancy food most of the time. She likes music from the Big Band era as well as some soft rock and classical. She likes movies—especially comedies and tearjerkers. Nebtawi likes a rousing tale told by a good storyteller, eats everything except braised papyrus, and, though he misses the haunting melodies of the ancient lira, soon develops an appreciation of the work of early rap pioneers, which Monica disdains. He does show a certain appreciation for the Big Band music that Monica likes—a possible link between their otherwise opposing personalities.
Monica actually likes a dominant man, but although she can be flirtatious, she’s sexually innocent...she hasn’t fully discovered that yet. Nebtawi is quite turned on by women with snakes and enjoys subjugating women. He secretly likes to be dominated by a woman, but only the Serpent Goddess has ever been psychically strong enough to do that. (See also the “Gender/Type of Character” section.)
Monica gets around in her limo. Nebtawi used to have a palanquin carried by six of his Nubian slaves, but he must make do with Monica’s motorized contraptions. For more options, check out Chapter 18, “Travel.” As his powers increase, Nebtawi may gain the ability to travel as a bodiless astral projection and/or by teleportation.
You might find some abilities in the “Character Traits” section, but for the real juicy powers, check out Chapter 15, “Character Abilities.”
While Monica has no real powers—in fact, she’s quite ordinary—Nebtawi more than makes up for it by having a full complement of abilities, including Control of People, Possession, Summoning and Sorcery, and apparent Immortality.
Most interesting characters in a game will be faced with challenging situations and various difficulties. How do they react when the stress is poured on? One place to go for that kind of information is the “Personality Types” section in this chapter. That section deals with various theories of personalities and includes at least some information about how these types of personalities react when under stress. It isn’t necessary to stick to types, however. Just use the section as a reference, along with the “Moods” section for general emotional options.
Monica, for instance, often responds to stress by becoming confused and rattled. She loses command of language and tends to blather. After a time, however, she often finds inner strength and tends to externalize her frustration into a high degree of focus on the cause of the stress. In these times, she can be quite effective.
Nebtwai responds to most stressful situations by lashing out and trying to hurt something. However, his weakness has to do with his fears of abandonment and of love, so in deeper emotional situations he withdraws, becomes sulky, and often shifts his attention to something else, which he then wants to hurt.
Monica thinks she is a Christian with some New Age leanings, but in fact she has no deeper moral or spiritual values. She will revert to prayer and invocations of God when scared, but she doesn’t really believe any of it.
Nebtawi has direct experience with the old gods—knows them personally, in fact—and consequently believes in the pantheon of ancient Egypt. He also believes that he is a demi-god and that divinity is his true right and calling.
This section is best added after you have created other main characters, but one place to begin is the “Relationships of Characters” section. In this case, we know that Monica is sweet on the hero (or player character). We looked at some family ties in Step 3. She might also have some best friends, male and/or female, that we can add. For instance, her best friend Adelita is the daughter of a wealthy Argentine family who is as spoiled and wild as Monica, and her gay pal, George, simply adores her wardrobe and likes to accompany her to clubs and on shopping expeditions.
Nebtawi generally hates everyone, but he may come to hate the hero most and create some attachment to Monica. At the beginning of the story, at least, he has a desire relationship with the Serpent Goddess.
You might find some clues in the “Personality Types” section for different ways people relate, and you can go further into that subject with some research on the web.
This step is required to finally render these characters, but I’ll leave it to your imagination what Monica looks like and what Nebtawi would look like if he ever got his own body. In this game, Monica might actually change appearance based on how much control Nebtawi has.
This is a specific step only if you want to identify humorous characteristics of the characters you have created, particularly if they are meant to be funny characters. In this case, although she is the heroine in distress, Monica could also be a funny caricature of a dizzy blonde or a spoiled heiress. If so, check out “Creating Comedy” in Chapter 9, “Storytelling Techniques,” as well as the “Attributes of Funny Characters” section. I might choose a) funny voice, b) says funny things, and c) does funny things. She might also have d) the “says or does funny things in times of danger” attribute, since she’s going to be in danger a lot.
That’s it. All that’s left is to summarize these characters’ personalities somehow, as we did for Evar, our comparatively simple archer.
One possible summary might go:
Nebtawi, a sorcerer in ancient Egypt, died 3,200 years ago, and his mummified remains awaited the arrival of Monica, a young, attractive, and flighty socialite who unwittingly freed his evil spirit, which quickly entered her body. Now Nebtawi is bent on seeking power and revenge over the entire human race, but he first has to subdue Monica by taking full control of her body and soul. Monica turns out to be spunkier than one would have guessed, and she doesn’t give up control easily. In the battle for control, sometimes Nebtawi achieves dominance, and sometimes Monica does. Can our innocent heroine prevent the ancient sorcerer from achieving his evil plans?
Okay. That’s one possible summary of this complex dual character. Can you think of another way to summarize Nebtawi and Monica? Can you alter some of the characteristics and completely change the nature of these characters? Perhaps it is really a comedy or a love story. Treat it as an exercise to take this situation and alter it to fit your own imagination. Who knows? You might come up with an idea for a completely original game.
Of course, creating characters such as Monica and Nebtawi might be amusing, and the possibilities for stories range from true horror to some kind of warped buddy comedy. However, games are not purely stories, but interactive experiences, and it is important to consider the gameplay possibilities of the characters you describe. Evar Bowstringer (the first example I presented) is an obvious character for a swords-and-sorcery RPG, and his basic description could be used in any number of games. However, the possession model of Monica/Nebtawi is less common, and using this model in a game might require some thought. While I was designing the character, I imagined that there would be a player character who was the hero and who would ultimately save Monica from Nebtawi’s clutches. However, another way to consider this would be that Monica is the player character, and the game evolves around the player attempting to do what Monica wants but sometimes having to do what Nebtawi requires, all the while dealing with the inner dialog of the characters. It’s not readily apparent how to make this a fun game experience, but it is something different, so it’s worth considering.
In the end, I might end up discarding this character in favor of something simpler, but the process of creating it does present some ideas. As a challenge, take the Monica/Nebtawi character and story descriptions and consider different ways to use them in a game. What kind of games could you create? What would make them fun? What challenges would they present?
As you create games with characters in them, you can use the various parts of this book—with my Build-a-Character system or not—to consider the specific nature of those characters. Where appropriate, you can gain a deeper understanding of what makes them tick and use that knowledge to create more interesting situations and more consistent responses to those situations. Again, depending on the type of games you are creating, you can use this sort of deeper character design as a basis for some artificial intelligence system, thereby creating non-player characters with more complex, consistent, and realistic responses to the world you create for them.
The next few sections of this chapter are devoted to simple lists of characteristics. I’ve added these lists both as references and as brainstorming challenges. It’s easy enough to create characters and imbue them with the most immediately obvious characteristics, but what you end up with are likely to be less imaginative, cookie-cutter characters, and as a consequence, the basis for your game may be less innovative than it could be. I’m not saying that you can’t create characters simply from your own knowledge of people or from established character types. There are certainly plenty of examples in literature, movies, and games to draw from, but the goal of this book is to get you thinking of new ideas, so these lists ideally will help you see some of what already exists and perhaps find some characteristics that would inspire more interesting characters—and as a consequence, more interesting games.
I encourage you to use these lists at any time. Take them to meetings and refer to them during design discussions. Keep the book on your desk and refer to it when you’re considering the characters in your game or even the situations in which they will find themselves. And also, think of anything we’ve left out. Can you add to these lists? If so, let us know what you’ve come up with.
Known genders:
Male
Female
Androgynous
Hermaphroditic
Asexual
Transsexual
Eunuch
Other possible genders:
Vampiric
Full copy/duplication
Body snatcher
Plant (vegetative)
Multi-species (requires cross-species reproduction)
Sexual orientation:
Heterosexual
Homosexual
Autoerotic
Bisexual
Trisexual
Anything goes
Nothing doing (asexual)
Earthly origin:
Human (any known race—see the “Ethnicity/Race” category later in this section)
Humanoid (basically like human, but not a known race—such as most of the races in Star Trek, but not necessarily alien):
Insectoid
Reptilian
Aquatic
Amphibious
Avian
Vampiric
Demonic
Fungal
Gaseous
Viral
Amorphous
Prehistoric
Futuristic
Robotic
Ape
Rock/siliconoid
Arborial
Alien:
Humanoid
Insectoid
Reptilian
Aquatic
Amphibious
Avian
Vampiric
Non-corporeal
Gaseous
Fungal
Viral
Spirit:
Nature spirits
Earth
Air
Water
Fire
Metal
Stone
Tree (plant/wood)
Wind
Electricity/lightning
Ether
Evil
Good
Fantasy:
Elvish
Dwarven
Ogre
Troll
Barbarian
Halfling
Undead
Gnome
Orc
Centaur
Minotaurs
Cyclops
Demons
Angels
Gods
Fairies
Nymphs
Sirens
Cerberus, the Three-Headed Dog
Leviathan
Earthworm Jim
Dryads
Satyr
Griffon
Manticore
Gargoyle
Chimera
Dragon
Imps
Naga
Ents
Generic human
Caucasian
Black
Latin
Asian
Chinese
Japanese
Korean
Thai
Malaysian
Singaporean
Tibetan/Nepalese/Bhutanese
Vietnamese
Mongolian
Jewish
WASP
Scandinavian
Irish
Scot
French
German
Italian
Spanish
Portuguese
South American (various)
Brazilian
Mexican
Australian
New Zealander
Filipino
African
North African
Gypsy
Inuit
Native American
Indian
Arab
European (generally)
Polynesian
Basque
Aborigine
Pygmy
Zulu
Masai
Nomad
Faerie
Elvish
Dwarvish
Orcish
Goblin
Troll
Giant/titan
Hobbit
Gnomish
Entish (tree creature)
Gods and demi-gods
Mer-people (mermaids/mermen)
Monster type (varies)
Sentient plant creature
Insectoid
Avian
Reptilian
Sentient mineral creature
Discorporate entity
Shape-shifter
Alien (other planetary—varies)
What makes a strong character name? In truth, almost any name can be strong if the character and the setting are right. Harry isn’t a particularly heroic-sounding name, and neither is Potter. And someone named Harry Potter wouldn’t seem to be particularly impressive, from his name alone. But, unless you have just crawled out from under a particularly soundproof rock, you know that Harry Potter is a household name throughout much of the Western world. So, Harry can be a strong name in the right context. What about a name like Lenny or Tony? In some cases, those names might not be particularly interesting, but set them in a Mafia story in Little Italy, and they suddenly increase in potential.
Therefore, the context of a game or story may help determine what names can be strong and effective. And the action and experience of the player will certainly contribute to the power of the name. Without Tolkien, names such as Gandalf and Frodo would simply seem odd. But to many people, those names are loaded with power.
I started out thinking I could create a list of strong names for male, female, good, and evil characters. What is a good villain name? What is a good hero name? The more I thought about it, the more I realized that creating a name should be not only contextual, but individual, and the power of the name comes from the power of the player’s experiences and the designer’s depiction of that character. An archvillain named Percy could be a joke, but with the right mixture of evil and ruthlessness, I guarantee you that the name Percy could become pretty frightening—perhaps even more so because it sounds so un-macho, effete, and anything but evil.
I often come up with names simply by finding something that sounds good to me—a name that never existed (as far as I know), but could have been a perfectly good, if unusual, name. Tolkien drew names from mythology. Other people use names allegorically. For instance, a very strong character might be called Rock. A devious character might be Snake or Fox or even a word that means fox in some other language. A ferocious character might be named Wolf, Wulf, or Wolfe. Or a wise character could be some exotic word for owl. But as we see with characters such as Harry Potter, Frodo, Mario and Luigi, Link, Luke Skywalker, and Mickey Mouse, names can be imbued with power by how we use them. “Call me Ishmael.”
Of course, there are many resources for finding names. Any Internet search for names will produce hundreds of name lists—more than you probably have time to deal with. But some are probably more useful for naming game characters than the general name-your-baby sites. You’ll probably find many that interest you, but I found the site www.lowchensaustralia.com/names/fantasylinks.htm, which contains lots of links to various fantasy name lists and even a name generator (www.prairieden.com/articles/character_names.php).
(See also the “Nicknames” section in Chapter 16, “Speech,” for some examples of nicknames that also can serve as good character names.)
So, you can start with a name such as Flash, Rocky, or Brigitte that you figure has a certain inherent implication of strength or sex appeal (or whatever), or you can make any name a household word by creating a great name out of a great game.
Relationships are not only those of father, mother, sister, brother, son, and daughter; they are what involves people with each other. Some people are related by common interests or the work they do. Some are bound to each other by rivalries, grudges, or prejudicial feelings. The range of relationships of one character to another is actually quite large, but it’s a wonderful way to explore characters as you introduce them into a game. In the best of worlds, your more important characters will have multiple relationships. A grandfather is a part of the family but could also be a guide. A best friend could be a rival. A love interest could also be an enemy, a guide, a partner, a victim, or a supernatural helper—or all of those at once, somehow. The point is, relationships help create story, and story can help create gameplay opportunities. So here are some possible relationships you can use in various ways. Feel free to mix and match and to add to the list any relationships you don’t see here.
Father
Mother
Brother
Sister
Son
Daughter
Wife/husband
Cousin
Aunt
Uncle
Grandfather
Grandmother
Great-grandmother
Ancestor
Step-relation
In-law relation
Bastard
Lover
Partner
Teacher/trainer/guide
Friend
Neighbor
Buddy
Sidekick
Someone who needs protection/victim
Gatekeeper (someone who bars the way)
Law enforcer
Hero
Enemy
Archenemy
Heir
Accomplice
Ally
Minion/henchman
Servant/slave
Annoyance
Employee
Employer/Boss
Assistant
Slave
Servant
Lieutenant
Oracle
Ruler
Subject
Pet
Stranger
Captive
Captor
Authority figure
Protector
Alibi (provider of)
Scapegoat (takes the blame)
Living deity
Imaginary friend
Hallucination
Conscience (embodied)
Benefactor
Sugar daddy
Mistress
For information about jobs, see Chapter 13, “Character Roles and Jobs,” specifically the “NPC Jobs” and “Evil Jobs” sections.
(See also Chapter 23, “Goals.”)
Every character has some goals, regardless of whether they are shown or implemented. Even random NPCs walking down the street presumably have the goal of getting somewhere (although in reality they will never actually get anywhere unless the programmers gave them a destination). Or the typical shopkeeper in a game presumably has the goal of buying low and selling high. But in reality, most game shopkeepers have no real depth or intelligence. They are basically vending machines. If a shopkeeper were created as a real character with a real life, he might, for instance, lower prices when business was bad or when the tax collector was threatening to foreclose on his house, in the hope of stimulating more sales. He might raise prices when other merchants raise their prices. In short, his behavior would be based on a more complex set of circumstances and emotional responses. He might, for instance, give you a better deal if he likes you—a feature that is present in some games already, though implemented fairly crudely. Or he might offer volume discounts, something I have not seen. For instance, if you buy a sword from a shopkeeper, you pay full price. But suppose you were purchasing a whole set of armor and weapons all at one time. Wouldn’t you expect to get some kind of a break on all that? Not with a vending machine, you won’t.
Main characters, on the other hand, have specific goals that are often important to the plot or unfolding gameplay. But it is important to realize that a character’s ostensible goals in a story (speaking in the literary sense) are sometimes different from whatever it is they need to accomplish for their own growth. For instance, in Shrek, the main character has the conscious goal of being left alone, but what he really gets and needs is to feel better about himself and his place in the world.
In every good story, of course, obstacles stand in the way of the character achieving his goals. This is the essence of story, in fact. If the characters had no goals and no obstacles to attaining them, there would be little to no story.
While some goals can be deep-seated and unchanging, others will change from moment to moment—particularly those intermediate goals that are common in stories, in life, and in games. A man driving home from work may have the goal of getting home and watching a ballgame on TV, but when an alien spaceship lands in front of his car, his immediate goals are likely to change.
In many games, the player’s character has no important goals at the beginning and is subsequently thrown into a situation that defines his goals. In the typical Japanese Role-Playing Game, the main character is often a kid with no particular direction. Then the village is destroyed, some girl is kidnapped, or something cataclysmic happens in his world. Suddenly, a wise person (the guide or mentor character—see also “Functional Character Roles”) tells him that he has to go save the world or the girl or something. Now he has a goal. In a typical FPS, the player’s character has a goal, which is generally to kill every enemy, remove the source of the enemy’s power, and protect his base and/or take over or destroy the enemy’s base, whatever that is.
In such games, there is really very little character growth. The character may get better stats and abilities, weapons, armor, and items, but really, there’s no character arc. (See the “How a Character Grows...Character Arcs” section later in this chapter.) The character doesn’t grow inwardly.
So what is the importance of goals? Simply this: Goals motivate the actions of the character, and stories are about action. Characters may grow in all kinds of ways. They may realize their dreams or may fail miserably. They may come to realize that what they wanted was in reality not good for them, or they may find their perfect Shangri-La. But something drove them in the first place, and that’s what goals are all about.
Also, the very fact that a character has a particular goal means he doesn’t have that thing (or at least he doesn’t know he has it). For instance, if a character’s goal is to find peace of mind, then it’s a safe assumption that he isn’t at peace. So that suggests the question: What state is he in, if he isn’t at peace? And what does he do to achieve his goal of peace of mind, assuming this is his conscious goal at the beginning of the story? He might think some time in the country would provide the relief he needs, only to find out that the experience in the country is challenging in different ways. But, perhaps through the experiences he has in the country, he will truly find what he is seeking in a way he hadn’t anticipated, as in the movie City Slickers.
I do want to point out that this section does not deal with the player’s goals, which are inherent elements of any game design. The whole purpose of games is to motivate the player to take action, but that action takes place through the player’s in-game character and with the other characters in the games—allies, enemies, and neutral NPCs—or with other players in multiplayer games. The point is that a player’s goals may differ entirely from those of the character he plays in the game, or they may coincide. This section deals primarily with goals of in-game characters, including the non-player characters.
The following list contains some goals that would apply to non-player characters in a game. (For a list of short- and long-term goals applicable primarily to player characters, see Chapter 23, “Goals.”) Note that sometimes these goals can be the same as what the character needs to find—the character arc, as shown in the next section. But the character’s conscious goals are not necessarily the character’s arc, which often involves his inner and unconscious needs. A character’s goal could be to find a girlfriend, but his arc is to achieve self-acceptance or to become compassionate. This deserves repetition: It’s important to recognize the distinction between goals and the character’s arc.
Character goals:
Make money/get rich
Get out of debt
Find a mate
Rescue someone
Save the world
Get revenge
Get justification
Obtain power
Retain power
Gain fame
Look good
Be sexually attractive
Get a job
Express anger
Express love
Be normal
Fit in
Be creative
Be smart
Succeed (at anything)
Accomplish something big or personally significant (such as skiing down K-2 or running a mile in less than four minutes)
Prove something to someone (themselves or another)
Convert others to their way of thinking (missionary)
Follow a spiritual or religious path
Lose weight
Become stronger or more fit
Get big muscles and a six-pack
Fool people
Repair something
Prevent a disaster
Find happiness
Find love
Kick a bad habit
Drugs/alcohol
Overeating
Laziness
Compulsive gambling
Compulsive lying
Master a trade or art
Get through school/graduate
Get through one day at a time
Get divorced
Commit suicide (think of the beginning of It’s a Wonderful Life)
Run for office
Get something tangible (a new car, a fancy TV, a home, etc.)
Hide
Escape danger
Be noticed
Be left alone
Climb the corporate ladder (or equivalent)
Keep things the same (stability)
Find adventure/excitement
Find spiritual fulfillment/faith
Find peace of mind
Be brave
Cure cancer (or other societal woes)
It is generally held that in any good story, one or more of the characters changes. Usually it is the main character, but it can be other characters who change, while the main character stays more or less the same. In essence, each character is on his own journey through the events of the story, and each of them encounters individual challenges and has individual goals. Whenever you are creating a major character in a game (or any type of story, for that matter), consider what he is seeking through his involvement in the events that occur. Note that what he outwardly seeks may be different from what he actually accomplishes. This is the essence of the character arc.
Note
Character arc is the term used to describe how a character changes in the course of a story. This is particularly true of the main character(s). There are a lot of ways to think of a character arc, and many sort of canned or categorized approaches exist. But some old-school writers say that the term character arc is a buzzword, and that, quite simply, what you want to do is tell a story about people—what happens to them, what they do in response, and how they change as a result.
In the preceding section, I discussed character goals—the outward goals of the character. But the character’s inner goal may be different, and this is where the character’s true opportunity for growth, evolution, or other sorts of change comes in. For instance, a character may be outwardly seeking a love interest, but really comes to find his independence and self-reliance. Or he may be seeking a cure for the common cold, but he finds true love. The character goals in this list are what the character actually finds, but not always what he thinks he wants.
There are many ways to describe character arcs, some more specific and some more general. Here are a few to fire up your imagination. Think how your main characters—even the player character—might follow these paths:
Acceptance/love/appreciation of themselves and/or others
Balancing conflicting elements in their lives
Becoming a leader
Becoming self-confident
Becoming the master/mistress of their own fate
Being honest with themselves and/or with others
Coming of age
Coming to terms with their own (past or present) actions and taking responsibility
Creating a new self-image or direction
Dealing with disaster (overcoming hardship)
Discovering inner truth
Eliminating self-destructive behavior
Examining, understanding, and maybe changing their inner beliefs and/or resolving conflicting beliefs
Finding a way to be part of a new culture, world, environment, or society
Finding a way to fit into the world they live in
Finding happiness or peace of mind
Finding love, romance, or a mate (generally as a consequence of some other inner understanding or growth)
Finding something to believe in
Finding their life’s purpose
Forgiving self or others
Learning self-reliance or assertiveness; no longer being a victim
Learning to be compassionate or empathetic
Learning to trust (themselves, others, or life generally)
Letting go of fear
Making a difference in the world
Resolving or releasing some issue of their past
Revitalizing their lives
Trusting their intuition or inner guidance
A typical plot might be “rags to riches,” in which a poor man or woman somehow gains great wealth. But what is the character’s arc? Did he or she start out greedy and selfish, only to become a great philanthropist, valuing relationships more than the money he or she has acquired? Or does he or she start out humble and kind, only to end up miserly, lonely, and miserable because of his or her accumulated wealth and its impact? These two examples describe possible character arcs based on a “rags to riches” plot. Of course, the character might start out poor but honest and end up rich but honest. He or she might start out poor and unhappy and end up rich and unhappy. Just about any combination of poor to rich is possible, some being more interesting than others. The goal is to examine what happens as this poor person seeks and finds riches: What does he or she experience along the way, and what effect does it have on his or her life? There must be some impact from being poor and then being rich. In the case of the character in this story, what is that impact? How does the character grow or change because of it? Does he or she change inwardly? Do his or her values change? Does his or her behavior change? Is he or she better off in the long run?
What is interesting from a game design perspective is that, although other characters can have character arcs, the main character is inevitably the player’s character, and it is up to the player to guide that character and make the decisions. The story, too, is often nonlinear and can take different directions. There may be no fixed storyline, and the story emerges as a result of the gameplay. How, then, do you use character arcs with a character who is an actor in an unfolding story and is simultaneously an extension of a living person—a persistent deus in machina, if you will? The question arises: Can you, in fact, move the player character through the necessary changes to see him or her develop and evolve in order to complete the arc? What happens with the player? How does the player’s experience parallel that of the character? Or does it?
The answers to these questions depend on the type of game you are creating. Generally speaking, however, you can create a story in which both the player’s character and the player have a significant experience, though that experience might be different in each case. For instance, the player’s experience is usually of satisfaction for having completed the game, combined, perhaps, with the audience’s traditional response to the resolution of a good story—whether that is sadness, elation, thoughtfulness, a warm and fuzzy moment, a good laugh, or whatever. To the extent that you can get the player to identify with the character, you will be successful. Meanwhile, the character’s arc could be the happiness that comes with a successful romantic outcome, the sense of empowerment that comes with having overcome the odds, or the peace at the end of a long struggle. The hero character could even have a darker ending, becoming embittered and disillusioned at the end, but if the game is good and the story is successful, the player will still feel satisfaction and an emotional connection to the character.
What is important here is to remember that the character’s experience and the player’s experience are different, but that both can be served by a good story.
Here are a few more examples of character arcs in some common plots:
Revenge plots revolve around past events and a character’s driving need to punish those responsible.
The hero ultimately hunts down and kills/arrests/destroys those responsible and feels vindicated. Now his life can go forward—but where? Is there a love interest?
The hero learns new information in the course of the story that reveals his quest for revenge is misguided or aimed at the wrong person or group. The hero then comes to realize that his life has been a lie and has an awakening—either continuing to go after those truly responsible or perhaps moving off in a new direction and walking away from the whole revenge motive.
At some point, probably at the very end of the story, the hero realizes that revenge is self-defeating and walks away from the quest without completing it—now at peace with himself.
The hero becomes an avenging angel and destroys the guilty. But perhaps he later discovers that the people he destroyed were actually innocent. Perhaps nobody was consciously guilty. Perhaps the player was most at fault. Perhaps now the player’s character must find a way to atone for his mistake.
Self-discovery plots involve a character who is basically going through the motions of life and, because of some pivotal event in the story, comes to question who he is. The story is about finding the answer.
The hero faces impossible odds and, in meeting all the challenges, grows from someone with little to no self-esteem into someone with confidence. This may allow him to return to a former situation where he was ineffectual and succeed there—for instance, getting the girl he lost at the beginning of the story because he was a nerd or beating up the bad men who victimized him at the beginning. In a game setting, imagine that something is terribly wrong at home, and the player’s character is not powerful enough or skilled enough to deal with the situation. However, by taking on a great quest or adventure, the player’s character becomes stronger and more skilled so that, by the time he returns to the original location, the tables have turned and the enemy is easily (or not so easily) vanquished.
The hero has everything—or so it seems. But when the situation changes, he comes to realize that what he didn’t have was love. In the end, the character’s priorities change, and he comes to value his relationships and, as a consequence, he becomes happier and more loved by those around him. Although successful before, he becomes even more successful—or, he abandons all material success for a simple, happy life. Although this kind of storyline wouldn’t work in all games, it could be effective in some game situations, if there were a substantial payoff for the player in taking the character in that direction.
The hero is stuck in a dead-end situation in life, but circumstances change, and he embarks on an adventure—at the end of which he knows what he really wants out of life. He goes from essentially living dead to fully alive. Again, this may be difficult to implement exactly in a game, but the concept of going from the ordinary to the extraordinary works quite well. What the character (and the player) learns from the experience depends on the game and how it’s designed.
The hero has some issue about his identity. It could be something as broad as the quest of an amnesiac to find out who he really is or an adoptee who seeks his birth parents. These are examples of the “unknown identity” plot. Or, it could have to do with someone who is seeking his place in the world—the current one or a new one. This sort of story is similar to the self-discovery genre, but it can be more subtle.
The amnesiac must search for clues to his identity. To make things worse, there is probably someone who doesn’t want him to find out, or there is something dark and dangerous associated with who the hero is or was. In the end, the hero will always discover the truth and deal with the dangers. However, although he may then return to a former life, the greater change and the more interesting arc is that he has learned something about himself from his amnesiac persona, and it is those unique lessons that determine who he will be at the end. Or perhaps his wife finds he was nicer or a better person without his memories and connections to the present world than he becomes when his memories return.
The adoptee searches for his parents and family identity. Along the way he confronts many obstacles—some bureaucratic, perhaps, or even real dangers. Or he travels and has adventures in the course of the search. Perhaps the travel and associated adventures are the real lessons of the story. Or it could be a comedy of errors, as in Meet the Parents. In the end, the character grows to greater self-knowledge throughout the search, regardless of the results. For instance, the ending could involve a warm and tearful reunion where everyone feels happy and fulfilled and the character feels love and a true sense of belonging for the first time. Or, the parents could turn out to be crooks or rotten people, and the character has to confront his own rottenness or revulsion toward such parents. Or the parents could be dead, and the character has to piece together their lives, in the course of which he grows to understand the meaning of his own life, and so on.
The main character is somehow a stranger in the story’s environment. For instance, perhaps he’s a California surfer who somehow gets drafted into the Intergalactic Army or a robot who must find where it fits in the world of humans, such as Data in Star Trek: The Next Generation. In the course of the story, the robot becomes more aware of what humans are all about and how it differs from them. It learns where it fits in the world and learns to understand its human masters on one hand and its own robot nature on the other. Or perhaps it becomes the leader of a robot underground rebellion and goes to war against the human oppressors. But then, in the end, it must have some realization of who it really is or what its place in the world is. Another example of identity might be an aging athlete who must find where he fits into the world, no longer young and skilled, but now older and wiser....
Put the protagonist in a completely unfamiliar and alien environment, and you have instant conflict and opportunity for myriad stories. Often called the “fish out of water,” this sort of theme offers the hero the opportunity to learn about an unfamiliar society and environment, and generally in the process, learn a lot more about himself.
Some aspects of self-discovery and identity exist in these stories, but they can also be about learning lessons of diversity and tolerance, learning new skills, or overcoming bigotry or preconceptions. Other examples include “country bumpkin in the big city” or “city slicker in the country,” time-travel stories—to the past or future—and adventure stories of various kinds in which the protagonist is lost, shipwrecked, crash landed, and so on and has to find his way back to civilization or adapt to a wild environment. This can also include stories among aliens, native tribes and societies, animal communities, and so on. Classic examples are Hank in Mark Twain’s A Connecticut Yankee in King Arthur’s Court, Billy Crystal’s character in City Slickers, Robinson Crusoe (of course), or Tom Hanks’ character in Castaway.
Boys and girls, men and women—it’s a perfect chemistry set for stories and character arcs. This is about as basic as it gets, and, not surprisingly, every kind of story and character development option you can think of fits neatly into the romantic drama, comedy, or adventure. Romance can be of the love-at-first-sight variety, or it can grow from shared experience or even evolve from animosity. In the end, characters learn about themselves. The guy or gal who fears commitment goes through the adversity of really loving someone enough to fight those fears and ultimately (probably) overcome them. The man or woman who has been wounded in the past learns to feel safe. The shy kid finds love. The dull, boring office drone finds adventure and excitement with a vibrant love interest. The sky’s the limit. So how do you put this in a game?
As with romance, war stories abound throughout history and mythology. Sometimes they are combined. War and romance, it seems, often coincide. But war stories often involve heroism and cowardice, adventure, danger, objectives, mistakes and catastrophes, wild triumphs, and lots of fighting and/or intrigue. No game player is a stranger to war as a theme, but how can you take stories that ring true and turn those into great game experiences? Can you create a great game set in a war scenario and add strong story elements to it? It’s done in movies all the time. Why not in games? Why not a Band of Brothers, Saving Private Ryan, Platoon, Basic, or The Guns of Navarone, or even a Schindler’s List? These movies had action, but they also had strong characters and character interactions, and, at least in some cases, changes the characters experienced as a consequence of the actions and situations that occurred.
Social stories involve people in very specific social environments and generally also contain an outsider (sometimes the hero) who doesn’t fit in and therefore exposes the society’s foibles, weaknesses, and flaws. Where the hero is the outsider, he may attempt to fit into the society, or he may actually change the people around him by force of his personality. There are many examples, such as the old movie Mr. Smith Goes to Washington, in which an idealistic man becomes a U.S. Senator and ultimately has a profound effect on people around him; or Meet Joe Black, in which a mysterious man shakes up the lives of a family; or Six Degrees of Separation, in which a brash black man completely overturns the lives of a set of wealthy white society people. The examples are numerous. How might such a scenario work in a game? What kind of game might it be?
Characters are defined by a complex combination of qualities. Among the most important qualities of any complex character are his flaws. Character flaws contrast with the character’s strengths, generally giving him depth and challenges in his life. Both flaws and strengths are basically traits of the character, and many examples can be found in the upcoming sections “Real People’s Attributes” and “Character Traits.” When creating a character, be sure to include strengths and flaws. These can be physical, psychological, or emotional strengths and weaknesses. The movie Crash was a great example of showing people with flaws who, nevertheless, could show great heroism, empathy, or grace, proving that a character can have both flaws and strengths, and sometimes it is simply circumstance that causes one or the other to be revealed.
People are diverse and quirky and have traits that make them individuals. All people have unique qualities that make them different and similar qualities that they share with others. When you create characters in a story or game, you want to give them unique qualities that make them seem real. Some of this is done by how the characters are modeled, what they wear, and how they move. Some of it is done by their speech patterns and language or by tricks, such as giving them a facial tic or giving them something they do repetitively (for example, excessive blinking or adjusting their glasses). These little tricks are easy ways to distinguish characters and set them apart from others. But these tricks are merely surface effects.
To make deeper and more realistic characters, consider that real people are not static and one-dimensional. They have past histories. They display different identities and even act in contradictory ways. For instance, a murderous villain might be very kind to animals. A judge who upholds the law may go home, running stop signs along the way, and later steal music off the Internet. People also have hopes and dreams balanced against their fears, limitations, and past histories that affect their decisions. By thinking about the characters in a story or game, giving them traits, past histories, interests, special abilities, and skills, you can create situations in which they respond to events like real people, not like cardboard cutouts. Their beliefs and past experiences will determine how they respond to situations, what they say and how they say it, and how their outward actions may differ from their inner selves.
Some of this information will never appear directly. The game player may not actually know all the details you have created for your characters, but when you are creating the game’s plot or even when you are creating a realistic response system for your characters, all this information will go into who they are, what they do, and why they do it.
In addition to the deeper level of character development, which is often revealed in how scenes play out and the choices your characters make, there are some less subtle tricks you can use to distinguish your characters and make them seem more believable and unique. These “tricks” are quick and easy ways to make a character unique, but they do not really create deep and believable characters on their own. Here are some examples:
Speech traits:
They stutter.
They speak very fast or very slow.
They put words together in unusual ways: “A right dicey little mess, to be sure it is.”
They have a common word or expression: “Dang,” “To be sure,” or “Make it so.”
They have an accent or speak in a dialect: “Methinks yon laddie kin provide ye wi’ fodder for yer mounts.”
Behavioral traits:
They ask a lot of questions, as if they can’t trust what you tell them.
They don’t react well to change.
They can’t face the truth, and they live in denial or in a fantasy world.
They get angry whenever their brother/sister/mother/father/best friend/ex/past love/ex-business partner/etc. is mentioned.
They yell and curse whenever they don’t get what they want.
They are an upstanding citizen—for instance, a judge in the courts—who steals music off the Internet.
They are the life of the party, and they yell at their wife and kids when they are at home.
Their behavior changes dramatically around certain people or in certain situations.
They constantly lie about themselves and their accomplishments to impress people or to get something from people.
Action traits:
They light up a pipe or cigarette when nervous.
They drink a lot.
They sweat profusely.
They pound the table when they get excited, or they stamp their foot.
They tap their fingers.
They scratch a lot.
They turn to watch pretty girls whenever one walks by.
They walk with a limp.
They brush hair out of their face often or toss their head.
They chew tobacco and spit.
They smoke.
They stand in a distinctive posture.
The wring their hands.
Contrasting traits are best revealed by actions that show the contrasting nature of a character. As such, they are a bit more complex than the simpler examples mentioned earlier. Some examples of contrasting traits are:
They are tough and mean, but terrified of snakes, spiders, or rats.
They are brutal and evil but have a soft spot for women and won’t allow them to be harmed.
They are meek and mild ordinarily but will fight like a tiger when cornered.
They are a magnificent performer but shy and awkward when not performing.
They are powerful and successful, but in private they are a mass of worries, anxieties, and low self-esteem.
They are awkward and socially inept but have an intellect the size of the Pacific Ocean. (And they are great lovers.)
They seem to have no emotional response to life, except when they are alone and they weep copiously. Or they write eloquent and scathing letters to the newspaper, signing them, “Anonymous.”
People create identities as layers of personality they reveal to the world, often to cover or hide their real feelings. Some identities are adopted intentionally and serve as useful vehicles for being effective in life, especially in professional roles. For instance, a judge on the bench may be stern and formal, but he may have a bawdy sense of humor at a party.
However, often identities are like costumes people wear based on their fears, self-perceived or real limitations, needs, or life traumas. In many cases, the character is not even aware that he is presenting a false or cover identity to the world because it is so much ingrained in who he is and intertwined with what he wants to hide. Examples of such identities characters might adopt are:
Someone with low self-esteem acting like a snob or presenting a superior air around others.
Spending much of their energy seeking some idealized state of personality, when the activities they engage in are only used to create the image of a “seeker,” and not really to effect change.
Being critical of others when, in actuality, they are unhappy with their own performance.
Habitually acting sad or morose in order to get sympathy and attention.
Habitually acting brave when they are terrified.
Acting as if they are very poor when they are rich but insecure about money.
Basing their behavior on an attitude or belief that is really at odds with who they are, such as a licentious person condemning sin based on moral principles when they really want to behave sinfully.
Blaming their misfortunes incorrectly on some trait of their own, such as that their nose is too big or they are too stupid, too ugly, or not sexy enough.
Playing a habitual part or role in a relationship with others, such as the successful executive who becomes passive around his mother.
The braggart who makes all kinds of claims about his prowess, but is in reality terribly insecure.
The quiet character who appears shy and insecure but is really a devious genius studying the rest of humanity. Or maybe he is an alien sent to scout out an invasion or a serial killer watching for his next victim.
Creating Interesting Characters with the Character Diamond©
By David Freeman (www.freemangames.com)
Note
I’ve taken multiple Hollywood screenwriting classes. One I particularly enjoyed was by a guy named David Freeman. He’s a classic deconstructionist and reminded me just how much I enjoy taking concepts apart. He focuses on adding emotion and depth to writing and making interesting characters, and his classes are highly inspiring. (I suggest you go!)
I was once invited to meet Michael Jackson at his Neverland home. He wanted to discuss some game/story ideas. I decided to test out Dave Freeman, so one time when I returned, I brought him with me. Watching him sit with Michael Jackson and deconstruct what his visions were was really something you had to see to believe. So this idea of laying out a map of idea components and then using them as springboards to make new ideas never seen before really works.
I asked David if he would share some of his ideas, so he has written this section of the chapter, which is his take on character creation. It’s just a taste of what he teaches, but you can find out more at: http://www.freemangames.com or http://www.beyondstructure.com.
CHARACTER DIAMONDS
A key to making a major NPC interesting, or to making the character played by the gamer interesting, is to give that character a “Character Diamond.”
Picture a diamond. Each corner of the Character Diamond represents a different major facet of the character’s personality. These major facets determine the character’s dialogue and actions.
Search the Internet for the script for The Matrix and locate the first scene, where Neo meets the Oracle. The Oracle has an interesting Diamond. Analyzing her actions and dialogue, we see her traits are:
An Easy Power. She’s so powerful that the agents either can’t find her or avoid her out of fear. And she’s quite secure and relaxed about this fact. Of course, in The Matrix Reloaded, we learn why the agents don’t destroy her. However, someone who has only viewed the first film, The Matrix—whether they think the Oracle is human or whether they think she’s a sentient computer creation—will assume that she’s too powerful for the agents to find or too powerful to control.
Psychic and Intuitive. She knows a lot about what Neo is thinking and that he’s going to break a vase even before he does.
Motherly. She bakes cookies and has kids in her living room bending spoons and whatnot. She speaks in a motherly way.
Revolutionary. She says she’s on Morpheus’ side and supports his cause.
Wry Humor. She makes a number of jokes that Neo doesn’t get. For instance, after telling him that no one can tell him whether he’s the One, she then proceeds to completely contradict this by looking in his mouth and ears and proclaiming that what she sees reveals that he isn’t the One.
A FIVE-CORNERED DIAMOND?
But wait—her Character Diamond has five corners! It’s a Character Pentagon.
Thus, you see that, according to my private, offbeat geometry, a Character Diamond can have three, four, or five corners.
For a major NPC or a character played by a gamer, three traits is the minimum you need to make a character interesting; five is the maximum. If you have more than five major traits, then your character will turn to mush. No one will be able to get a sense of who the character is.
Whether a character has three, four, or five traits, for simplicity’s sake, we can still call that combination a Character Diamond.
The way to make a character interesting is to make sure you don’t have a grouping of traits on the Character Diamond that we’ve seen frequently before. For instance, I’m not aware of any movie with a character who has the same Diamond as the Oracle.
Let’s say you have a Greek warrior, but you don’t want him to be a cliché. He could be:
Sly. He steals some food off of a merchant’s cart.
Heroic. He’ll always jump into a fight for a just cause, no matter the odds against him.
Absentminded. He forgets all sorts of minor details.
Aesthetic. He likes to pause and enjoy a scenic vista or a striking sunrise. And he fights with incredible grace and style—it’s wonderful to watch him.
CHARACTER TYPES
If you want to quickly have the player identify your character as a type (such as a Mafia type), you can still give your character one or two atypical traits so that the character isn’t a total cliché.
To be honest, quite often when game designers create types, it’s not because a type is required by the game, but just because they’re thinking in terms of clichés, and they don’t know how to create characters with interesting Diamonds.
WHAT ABOUT MINOR CHARACTERS?
They just need one or two traits, not three or more.
AND THAT’S ALL THERE IS?
Well, not quite—there are other aspects to characters besides Diamonds, such as techniques to make us like or hate them, ways to make us bond with them, or ways to give them depth. And some characters have fake personalities that cover up who they really are inside. But all of these are above and beyond the Character Diamond, which is the foundation of character creation.
A TRAIT CAN BE MANIFESTED IN ACTION OR DIALOG
Remember, a trait can be manifested in action and/or dialog. But why did I have to restate that—didn’t you read the header for this section?
AN EXAMPLE OF A CHARACTER DIAMOND IN A SAMPLE GAME SCRIPT
Let’s say you’re playing an action-adventure game with a swashbuckling Three Musketeers type of feeling.
Luther (an NPC) is a swashbuckler who is your rival—sort of. Sometimes you two are enemies; sometimes you get along...somewhat.
His Diamond is that he’s:
Cocky, ironic
Incredibly athletic and a superb swordsman, beautiful to watch in action
Touched by a deep sadness, which might be fueled by guilt
Keenly insightful into and empathetic with people
Sneaky/stealthy
The way Luther speaks, the choices he makes, even the way he fights—all these will be determined by his Diamond.
Some notes about the following example:
There is no standard format for game scripts. The format for one game might be as different from the next as a porpoise is from pickled ham.
In this example, I adapted a screenplay format. However, this format doesn’t allow for all of the “if X happens, then Y happens” types of events that are often written into games, although one such example is included.
The format must be further changed when the following scenarios are present: “If X happens, then either Y or Z happens.” In this case, Y or Z might be randomly chosen by the computer—or, alternatively, selected due to whether events A, B, or C happened earlier in the game.
And, of course, if the script branched in any way, even for a short time, the format would have to change again.
So what’s below is a simplified game script, but not a particularly representative one. It does, however, offer an easy way to study an NPC Character Diamond.
I’ve worked on game scripts that were written with hot-linked documents, written using Excel, and created using formats you’d have to see to believe—all in an effort to try to assist programmers in programming all possible variations of “If X then Y” scenarios.
IN GAMEPLAY:
You’re driving a stagecoach at night, on a muddy dirt road lined by dense trees. You’re moving at top speed, since you heard Helena is in danger. You need to steer the stagecoach to avoid fallen logs, pits in the road, etc., which could overturn the coach.
CINEMATIC
Note
A cinematic is a section of the game where the player has no control and instead watches action unfold as if watching a short movie. Cinematics can either be pre-rendered or constructed in real time using the game engine.
FOUR HIGHWAYMEN step out from the trees. They block your path. The horses stop and rear up. The highwaymen pull out pistols.
HIGHWAYMAN #1 (to you; coolly threatening) Sweet night for a ride.
Suddenly the end of a WHIP wraps around a branch, and Luther SWINGS OUT onto the road, holding onto the handle of the whip. In his swing, he KNOCKS OVER Highwayman #1.
HIGHWAYMAN #2 (to LUTHER) You!
LUTHER (to you) They all know me. But they never get the name right. (To Highwayman #2) It’s not “you”; it’s Luther.
RESUME GAMEPLAY
You and Luther together fight the four Highwaymen. He’s extremely fast and fluid in his movements.
SCRIPTED SEQUENCE
Note
A scripted sequence is like a cinematic in that something is triggered to happen at a certain point—but you don’t lose control of your character.
When your sword is knocked from your hand by one of the Highwaymen, Luther TOSSES you his and pulls out a dagger.
RESUME GAMEPLAY
The two of you eventually defeat the Highwaymen.
CINEMATIC
You climb up on the carriage seat. Luther, like a cat, jumps up next to you, his dagger still drawn. Will he kill you?
RESUME GAMEPLAY
IF YOU DRAW YOUR SWORD [CHOICE 4a-1]:
—Then you two fight on the stagecoach for 45 seconds.
CINEMATIC
He then jumps off the stagecoach.
LUTHER (disappointed) Betrayal—it doesn’t suit you. And it’s far too familiar to me.
He SLAPS the rump of the lead horse, and the carriage VAULTS FORWARD.
[NOTE: CHOICE 4a-1 mandates Cinematic 13c-2 in Mission 13]
IF YOU DON’T DRAW YOUR SWORD [CHOICE4a-2]:
Luther waits for a moment.
CINEMATIC
LUTHER (small smile) My sword?
You hand him back the sword he had tossed you earlier.
LUTHER (serious) Helena is too pure. She’ll crack under his torture. Godspeed.
He LEAPS off the carriage.
LUTHER I have my burden. Helena is yours.
He SLAPS the rump of the lead horse, and the carriage VAULTS FORWARD.
[NOTE: CHOICE 4a-2 mandates Cinematic 13c-3 in Mission 13]
NO MATTER WHICH OF THE ABOVE CHOICES IS MADE BY PLAYER:
RESUME GAMEPLAY
You must continue to steer the carriage around various obstacles without tipping it over. This time, your task is made more difficult because other HIGHWAYMEN occasionally shoot at you from between the trees. If you’re hit, or if you don’t kill at least one of them with your pistol, then you won’t make it to Helena in time.
CLEARING UP SOME POSSIBLE MISUNDERSTANDINGS
The idea of creating Character Diamonds seems easy. Yet, in one of my most recent screenwriting classes, most of the students struggled to create interesting Diamonds. Here are few guidelines:
Remember that we’re only talking about major NPCs here, not minor ones. Minor NPCs don’t need Diamonds—just one or two traits.
In giving an NPC different traits, we’re not trying to make a character well rounded by somehow balancing the traits. For instance, you don’t give the character a strong trait—for example, being a leader—and then balance that with a soft trait—for example, loves furry little animals. Of course, there’s no law against this if it serves your game.
Nor is the idea to confuse the player as to who his friends are and who the bad guys are by making NPCs both friendly and hostile—unless you specifically want this effect.
Nor is the idea to balance out likeable (or virtuous) and unlikable (or evil) traits—unless you want this effect.
A GAME SCRIPT IS NOT A DARTBOARD
One game designer told me that, if all you need is a colorful grouping of traits to make an interesting major NPC, then it sounds like you could put a list of traits up on the wall and throw darts at it and then create a Character Diamond by using whichever three, four, or five traits the darts hit.
He might be right—this method could potentially create an interesting character. I doubt, though, that it would create a character who would be useful in your game.
Picking the traits is where the art comes in. There are many factors that might weigh in on the selection, but ultimately it’s up to the person who creates the character to make the difficult choices.
This is exactly why I and so many other professional writers study the work of writers we admire: to examine what choices they made and to try to discern the thinking behind those choices.
Personally, I give very serious consideration to the traits I pick when creating a major NPC’s Diamond. I deliberate on the choices, since I, the other designers, and ultimately the players will have to live with these characters for a long time.
DIALOGUE IS SOMETIMES NOT YOUR FRIEND
But it’s not necessarily your enemy—more like an annoying uncle.
Because games are more about action than dialogue, it’s usually a good idea to pick traits that can be shown without dialogue, but instead through the character’s choices, actions, animations, taunts, clothing, signature gestures, and the way he fights. In general, the more traits that can be revealed without dialogue, the better.
Characters in life and in stories always have specific traits that tend to define their personalities. Character traits do not live in a vacuum, but are interrelated with the other elements of the whole person. Some seem to be inherent to the person. Others may have been affected by his history and life experiences. Some traits are physical, and some are emotional or personality based. Here is a list of many different character traits. Can you think of more?
Able
Absentminded
Abstract thinker
Abusive
Academic
Accepting
Accommodating
Accomplishing
Accountable
Accurate
Activist
Adaptable
Addictive/addicted
Adventurous
Aesthetic
Affectionate
Aggressive
Airhead
Alcoholic
Alert
Alien
Aloof
Ambitious
Amiable
Amputee
Anal
Analytical
Angry
Annoying
Antisocial
Anxious
Apathetic
Appreciative
Appropriate
Argumentative
Aristocratic
Arrogant
Articulate
Artistic
Ashamed
Aspiring
Assertive
Athletic
Authoritarian
Available
Avenger
Average
Avoids attention
Avoids conflict
Aware
Awkward
Axe grinder
Backs away from commitment
Bad
Attitude
Behavior
Body odor
Breath
Digestion
Memory
Sense of style
Teeth
Balanced
Beatnik
Beautiful
Belligerent
Big-hearted
Bigoted
Biker
Bitchy
Black sense of humor
Blaming
Bland
Boastful
Boisterous
Bold
Bombastic
Bookish
Boring
Bossy
Boyish
Brave
Bright
Broken
Brotherly
Bullsh*tter
Bully
Buoyant
Burned out
Busy
By-the-book thinker
Callous
Calm
Cantankerous
Capable
Capacity
Careless
Casual
Causal/initiating
Caustic
Cautious
Charismatic
Charitable
Chaste
Cheap
Cheerful
Childish
Chiseler
Clairvoyant
Class conscious
Clean
Clean-cut
Clear communicator
Clear thinker
Clever
Clumsy
Cold fish
Collegiate
Comedian
Comfortable with ambiguity
Commanding presence
Commanding voice
Committed
Compassionate
Competitive
Composed
Compulsive
Con artist
Conceited
Concerned
Concerned with trivia
Conciliatory
Concise
Condescending
Confident
Conformist
Confused
Congratulatory
Conservative
Considerate
Consistent
Conspiratorial
Constructive
Content
Conventional
Convict
Cool
Cooperative
Corporate
Corrupt
Cosmopolitan
Courageous
Courteous
Cowboy
Craftsman
Crazy
Creative
Cries easily or a lot
Crippled/injured
Crude
Cruel
Crusader
Cultist
Cultured/cultivated
Cunning
Curious
Cynical
Dainty
Daring
Dark
Deceitful
Decisive
Defensive
Defiant
Delicate
Deluded
Demanding
Democratic
Dependable
Dependent
Depressed
Destructive
Detached
Determined
Devious
Diligent
Diplomatic
Direct
Disagreeable
Discerning
Discouraged
Discreet
Disfigured
Dishonest
Disinterested
Disorganized
Dissatisfied
Distrustful
Ditto head
Docile
Dogmatic
Dominating/domineering
Dorky
Dramatic
Dreamer
Drifter
Drug user
Dry
Dynamic
Earthy
Easily
Bored
Distracted
Embarrassed
Frustrated
Offended
Easygoing
Eccentric
Effective
Effeminate
Effete
Egotistical
Emotional
Empathetic
Emphatic
Empirical thinker
Encouraging
Encyclopedic or eidetic memory
Energetic
Enlightened
Enthusiastic
Epileptic
Eruptive
Ethical
Evasive
Evil
Excited
Exhibitionistic
Expert
Expressive
Extravagant
Extroverted
Fair
Fair-minded
Fake
Fanatic
Fancy
Fascinated
Fascist
Fast learner
Fatherly
Fearful
Fearless
Feels sorry for self
Feminine
Fickle
Fighter
Flake
Flamboyant
Flappable
Flexible
Flippant
Focused
Foggy thinker
Follower
Foolish
Forgetful
Formal
Freaky
Freeloader
Friendly
Frivolous
Frugal
Frustrated
Fugitive
Fun-loving
Funny
Fussy
Gallant
Gambler
Gangster
Generalist
Generous
Genius
Genteel
Gentle
Gentleman
Giggly
Girlish
Given to fantasy
Glamorous
Goal-oriented
Gold digger
Good at detail
Good at sex
Good judge of character
Good listener
Good self-understanding
Good sense of humor
Good-natured
Gossip
Graceful
Gracious
Grandiose
Grandstander
Grateful
Greedy
Gregarious
Grief
Grotesque
Grouchy
Grubby
Grudge holder
Grumbler
Guilt-ridden
Gullible
Gypsy
Handsome
Happy
Hard
Hard-boiled
Hard-headed
Hardworking
Has deadly disease or condition
Has poor self-image
Has seizures
Has skin condition
Headstrong
Healthy
Hears voices
Heartbroken
Heavy drinker
Helpful
Helpless
Hesitant
Hick
High frustration tolerance
High standards
Highly controlled
High-strung
Hippy
Holy
Homeless
Honest
Honorable
Hospitable
Hostile
Hot-tempered
Humanitarian
Humble
Humorless
Humorous
Hypochondriac
Iconoclastic
Idealistic
Ignorant
Illiterate
Ill-mannered
Ill-tempered
Imaginary companions
Imaginative
Immature
Impassive
Impatient
Impeccable
Impertinent
Impractical
Impudent
Impulsive
Inconsistent
Indecisive
Independent
Indifferent
Indirect
Individualistic
Industrious
Inferiority complex
Inflexible
Influence peddler
Inhibited
Innovative
Insane
Insecure
Insensitive
Insincere
Insubordinate
Integrated
Intellectual
Intelligent
Intense
Interested
Introverted
Intuitive
Inventive
Investing
Irrational
Irresponsible
Irritable
Isolated
Jealous/envious
Jerk
Job hopper
Jock
Joyful
Judicious
Jumps to conclusions
Juvenile
Keen
Kind
Knowledgeable
Lackadaisical
Lacks integrity
Ladylike
Laughs inappropriately
Lazy
Leader
Lethargic
Level-headed
Liar
Liberal
Light
Lighthearted
Listless
Literal thinker
Logical
Lonely
Loner
Losing
Fortune
Hearing
Keys
Memory
Mind
Sense of humor
Sight
Loud
Lovable
Loving
Loyal (to family, friends, country, employers)
Lucky
Macho
Malicious
Maniac
Manic
Manic depressive
Manipulative
Masculine
Masochistic
Masterful
Materialistic
Mature
Mean
Mediocre
Melodramatic
Mentally healthy
Messy
Middle class
Mild-mannered
Militaristic
Mindful
Mischievous
Miserly
Missionary
Modernistic
Modest
Money-oriented
Monotonous voice
Moody
Moral
Morbid
Motherly
Motivated
Mundane
Musical
Mysterious
Naïve
Name dropper
Narcissistic
Narcoleptic
Narrow-minded
Nationalistic
Natural leader
Neat
Needs job satisfaction
Negative
Nerdy
Nervous
Neurotic
Nice
No style
Nonconformist
Obedient to authority
Objective
Obnoxious
Obscene
Observant
Obsessive
Obsessive-compulsive
Obstinate
One-track mind
Open-minded
Opinionated
Opportunist
Optimistic
Orderly
Organizer
Outlaw
Overachiever
Overactive
Overly serious
Overweight/obese/fat
Pagan
Paranoid
Party animal
Passionate
Passive
Patient
Patrician
Patriotic
Peaceful
Peevish
People pleaser
People-oriented
Perceptive
Perfectionist
Perky
Persevering
Persistent
Personable
Persuasive
Pessimistic
Philosophical
Phony
Photographic memory
Pious
Pitiful
Plain
Playboy
Pleasant
Pleasing
Poised
Polished
Political
Poor
Poor impulse control
Anger
Drugs
Food
Gambling
Sex
Shopping
Video games
Popular
Positive
Possessive
Practical
Practical joker
Pragmatic
Precise
Preoccupied
Present-oriented
Prestige-oriented
Presumptuous
Pretentious
Pretty
Prim
Procrastinator
Prodigy
Productive
Professional
Promiscuous
Proper
Proud
Provincial
Prudent
Prudish
Psychic
Psychotic
Punctual
Pushy
Quick
Quick-tempered
Quick-witted
Quiet
Rabble rouser
Racist
Radical
Rash
Rational
Realistic
Reasonable
Rebellious
Reckless
Redundant
Reflective
Reformer
Relativistic
Relentless
Reliable
Religious
Resentful
Reserved
Resilient
Resourceful
Respectful
Responsible
Rich
Rich inner life
Rigid
Robust
Role player
Romantic
Rude
Rule follower
Ruler/leader/king/queen/etc.
Ruthless
Sad
Sadistic
Sagacious
Saintly
Sarcastic
Savvy
Scapegoater
Scarred
Schemer
Schizoid
Schizophrenic
Secretive
Secure
Seductive
Seedy
Seeks approval
Seeks attention
Seeks conflict
Self-absorbed/narcissistic
Self-blaming
Self-caring
Self-centered
Self-confident
Self-conscious
Self-debasing
Self-deluded
Self-denying
Self-destructive
Self-educated
Selfish
Self-motivated
Self-reliant
Self-righteous
Self-satisfied
Self-seeking
Self-starter
Sense of mission
Sensible
Sensitive
Sentimental
Serene
Serious
Sexually obsessed
Sexy
Shallow
Sharing
Sharp senses (sight, hearing, smell, and so on)
Short
Short attention span
Showman
Shrewd
Shy
Simple
Simple-minded
Simplistic
Sincere
Sisterly
Skeptical
Skillful
Slothful
Small-town
Smart
Smug
Snob
Social climber
Socially militant
Soft
Soft-spoken
Sophisticated
Sour
Speculative
Spiritual
Spiteful
Stable
Stereotype thinker
Stern
Stingy
Storyteller
Straight-forward
Straight-laced
Street smart
Stressed
Strong
Strong achievement drive
Stubborn
Studious
Stupid
Stylish
Suave
Subservient
Successful
Suicidal
Sulky
Super intelligent
Superficial
Superstitious
Suppressed anger
Survivor
Sympathetic
Sympathy seeker
Synthesizer
Tactful
Takes initiative
Talented
Talkative
Talks to self
Talks with hands
Tall
Team player
Tease
Temperamental
Tender
Tense
Theatrical
Theorist
Thief
Thin-skinned
Thorough
Thoughtful
Threatening
Thrifty
Thrill seeker
Thrilling
Throws tantrums
Tight
Time conscious
Timid
Tireless
Tolerant
Tough
Traditionalist
Trashy
Trusting
Trustworthy
Ugly
Uncomfortable (situational)
Uncomfortable with ambiguity
Uncooperative
Underachiever
Unflappable
Unhappy
Unhealthy
Uninhibited
Unselfish
Unstable
Uptight
Vain
Vampish
Verbally adept
Vibrant
Violent
Visionary
Visual
Volatile
Volunteers
Wacky
Weak
Wealthy
Well-dressed
Well-groomed
Well-prepared
Wild
Willing
Wise
Withdrawn
Witty
Workaholic
Worldly
Worrier
Worthless
Youthful
Zealot
Ideological
Political
Racial
Religious/spiritual
Zombie
Quirks are odd individual traits that fall outside the norm in some way. They are highly individualized and unique to a particular character. Not that other characters might not have similar quirks, but the nature of a quirk is that it is not a common behavior and is probably based on some habit, behavior, or past history of the character that is specific to that character alone. For instance, a ballet dancer might stand in one of the ballet positions even at casual moments. A cowboy might walk with a bowlegged swagger. An electrical engineer might be always fiddling with a notepad or calculator. A young woman might always watch everything intently because she grew up in an alcoholic household and learned to be hypervigilant, and so on. The following list suggests just a few quirks a person might have, but not why they would have those quirks. If you are doing a thorough job of character development, you can also come up with a reason why a character has these quirks:
Adjusts neck
Adjusts sleeves, collar, belt, tie, etc.
Always adds a bit of powder to her beverages (and claims it is a health tonic)
Always agrees with everything
Always asks people to repeat themselves—is either deaf or not very attentive
Always carries a big wad of money in pockets/purse
Always carries a hidden weapon
Always has a dark suntan, even in the deep of winter
Always has a drink—soda or coffee, etc.
Always has a glass or a beer in hand
Always has a mild sunburn
Always plugs her favorite politician (or guild, royal family member, etc.)
Always seen with certain items—such as certain jewelry or Laverne’s L on her sweaters from Laverne and Shirley, Michael Jackson’s single glove, and Indiana Jones’ hat and leather jacket.
Always snacking on something (peanuts, raisins, candies, etc.)
Always starts sentences with some catch phrase: “Ummm,” “Here’s the thing,” or “Don’t get me wrong...”
Always wears shades
Apologizes a lot
Asks a PC for a lock of his or her hair
Avoids eye contact
Believes firmly that the culture is degenerating and always talks about the “old days”
Bites nails
Blinks obsessively
Blows his nose into his hand and then shakes it clean
Boasts about his sexual exploits (real or imagined)
Breaks into dance moves in the middle of doing something normal
Can add a column of figures in his head
Carries lots of bags, parcels, and packages
Changes the subject
Checks in mirrors and windows for people who might be tailing him
Chews fingernails (or toenails)
Chokes or swallows something wrong in the middle of conversation
Cleans/trims/files fingernails in public
Collects something strange, such as a hit man who collects dolls
Constantly has to brush hair out of face
Constantly refers to her (always present) “friend” (who only she can see)
Constantly refers to herself in the third person
Does various stretches, such as yoga stretches, at random times
Doesn’t finish thoughts
Doodles when talking with someone or on the phone
Drums fingers
Eats other people’s leftovers (without asking)
Eternal pessimist/optimist
Farts or belches a lot
Flips coins or rolls them across knuckles
Freaks out and runs away in the middle of a conversation (maybe she remembers an important appointment or maybe it is more sinister)
Grins constantly
Groans, grunts, and emits other monosyllabic utterances
Has a bad cold or a chronic sinus condition
Has a distinctive laugh (Woody Woodpecker, Horshack, etc.)
Has a nasty rash
Has a noticeable accent
Has a one-track mind
Has a peculiar walking style
Has a pouch of candied giblets
Has a very hairy neck
Has bird droppings on his turban
Has fleas
Has Parkinson’s disease and shakes
Has shifty eyes
Has strong body odor
Has Tourette’s syndrome and makes random statements, possibly obscenities
Has trouble hearing
Hates going to new restaurants
Hocks loogies and spits
Hypervigilant
Impresses all with the ability to play music through her nose
Injures himself while talking to the PCs
Interrupts people
Is a serious flirt
Is excessively cheap/miserly
Is extremely clumsy
Is injured (broken bone, recent burn, etc.)
Is never without her pet mouse (or rodent of choice)
Is really awkward around the opposite gender
Is rude to waiters and waitresses
Juts out lower lip
Laughs nervously
Likes a particular currency better than others and insists that people change their money first
Looks at watch frequently
Looks people intently in the eyes
Loves to dance
Makes funny or odd faces
Makes specific hand gestures, such as the “finger gun” or fingers to represent “air quotes”
Makes strange movements with mouth
Mangles people’s names (calls Jane Julie, Bob Bill, etc.)
Mumbles to others
Mumbles to self
Odd juxtapositions—a boxer afraid of spiders
Often disappears into a bathroom, claiming a weak bladder
Paces back and forth
Pats pockets to be sure something is still there (wallet, gun in shoulder holster, etc.)
Picks nose
Picks teeth a lot (with a knife?)
Plays with ear
Plays with hair
Plays with some talisman, such as a pet rock
Purses lips when nervous or when thinking about something
Remembers one of the PCs from school (or a similar chapter in the character’s life)
Repeats a specific phrase often: “Capiche?” “Am I right or am I right?” “I’m all over that!” “Gollum,” “Okie dokie,” “Groovy,” “No way,” “Like,” etc.
Rocks back and forth or side to side while standing
Rocks in chair
Scratches a lot
Scratches butt or crotch
Sits or stands oddly slouched
Sits or stands very erect
Sits with back to corner in restaurants and other public places
Smells really good (subtle perfume, very clean, whatever)
Some unusual aspect of apparel—one glove, fur-lined jacket, mismatched socks, or a bedraggled old hat on an otherwise spiffy outfit
Spaces out
Spins ring on finger
Spins the cylinder of a revolver
Stops in front of mirrors (and reflective windows) to look at herself
Stumbles into one of the characters while walking (maybe a pickpocket, maybe not)
Stutters, especially when under duress
Talks obsessively
Talks very softly
Taps foot
Tells a lot of jokes, perhaps at inappropriate times
Thinks the world is far too loud
Throws things—trash into trashcan, for instance, or rocks at passersby, etc.
Tosses an item into the air repeatedly—a coin, knife, rock, etc.
Twitches (eyes, mouth, hands, fingers, knee, leg)
Uses clichés a lot
Uses words in odd ways
Wears a turban and nothing else to bed every night
Wears a turban and nothing else until noon each day
Wears gaudy jewelry
Wears hair in an unusual and distinctive style
Whistles (tuneless or tuneful)
Yawns under very specific circumstances
People display a wide range of emotional states, which can change rapidly in any given circumstances. People’s moods and emotional responses can be surprising, especially when their responses are based on misconceptions and miscommunications. This is very common, and a person can become angry, sad, or scared instantly, depending on how they interpret a situation, action, or statement.
This list contains a wide range of mood descriptors. Use them as a reference and consider the range of available moods any given character might have. For instance, some people are predominantly positive and tend to stay on the happy side of life. Others are morose and tend to be bitter, cynical, and angry. Most people are in between, and almost all people have a wide range, except for some clinically disturbed people with flattened emotional responses. On the other hand, some clinically crazy folks can jump from extreme highs to extreme lows in a heartbeat. But the way to use this list is simply as a guide for the kinds of emotions and associated behaviors your characters may display. Note that these descriptors are neither scientific nor a specific emotional state (in every case). However, they do indicate an attitude or emotion that could be useful in developing a character’s responses to situations:
Accepting
Admiring
Adventurous
Afraid/fearful
Aggressive
Agitated
Alienated
Aloof
Altruistic
Amazed
Ambitious
Amorous
Angry
Anxious
Apathetic
Apologetic
Appreciative
Approving
Arrogant
Ashamed
Assertive
Assuming
Aware
Awestruck
Balanced
Bigoted
Blissful
Bored
Burned out
Caring
Charitable
Cheerful
Civil
Committed
Compassionate
Competitive
Complacent
Condescending
Confident
Confused
Contemptuous
Content
Cooperative
Courageous
Courteous
Creative
Credible
Critical
Cruel
Curious
Cynical
Decisive
Delighted
Depressed
Desirous
Despairing
Detached
Determined
Devoted
Disappointed
Disillusioned
Distracted
Distressed
Doubtful
Dysfunctional
Eager
Ecstatic
Embarrassed
Empathetic
Envious
Excited/Enthusiastic
Expansive
Extravagant
Fair
Forgiving
Frightened
Frugal
Frustrated
Generous
Glad
Glamorous
Gloating/self-satisfied
Gluttonous
Grateful
Gratified
Greedy
Grief-stricken
Grumpy
Guilty
Happy
Hateful
Homesick
Hopeful
Horny
Hostile
Humble
Hysterical
Impatient
Indecisive
Indifferent
Inhibited
Ironic
Irritable
Irritated
Jealous
Joyful
Kind
Lonely
Longing
Loving
Lustful
Mad
Manic
Mischievous
Morose
Motherly
Nostalgic
Obedient
Obsessed
Open-minded
Optimistic
Panicky
Paralyzed with fear
Passionate
Patient
Pitying
Predatory
Prideful
Relieved
Reluctant
Remorseful
Reproachful
Resigned
Resistant
Resourceful
Restless
Righteous
Sad
Satisfied
Self-loathing
Shamed
Shy
Surprised
Suspicious
Sweet
Sympathetic
Tender
Vengeful
Wistful
Worried
Sometimes characters can be further differentiated by the things they do for fun. Imagine a stockbroker who likes mountaineering versus one who likes stamp collecting. Just the difference in hobbies gives you a very strong impression of how these two stockbrokers would differ from each other. What about a stockbroker who likes mountaineering and stamp collecting? Or the general of an army who plays chess versus one who likes to go out drinking and whoring?
With this list, you can easily give your characters more depth, even if you don’t show the hobby in the game. Just knowing that the character has this hobby tells you a lot about him or her and can help you create more realistic actions and dialog for the character. Just pick a couple at random and imagine how your character would be if that were his hobby.
Acrobatics
Acting
Air hockey
Alchemy
Amateur radio
Animal breeding
Anthropology
Archeology
Archery
Architecture
Armory
Astrology
Astronomy
Auctioneering
Auto mechanics
Auto restoration
Aviation
Babysitting
Backpacking
Badminton
Baking
Ballet
Balloonography
Barbecuing
Baseball
Basketball
Basketry
Baton twirling
Beadwork
Beekeeping
Begging
Berry picking
Bicycling
Billiards
Bingo
Bird watching
Black powder shooting
Blacksmithing
Board games
Bobsledding
Bocce
Body painting
Bodybuilding
Bonsai
Bookbinding
Boomeranging
Bowling
Boxcar hitching
Break dancing
Breeding
Dogs/cats/birds/horses, etc.
Plants (including orchids)
Bungee jumping
Butchering
Butter churning
Cake decorating
Calisthenics
Calligraphy
Camping
Candy striping
Canning
Canoeing
Card playing
Carpentry
Cars
Cartography
Cartooning
Caving
Ceramics
Chemistry
Cinema
Cinematography
Clamming and crabbing
Clowning
Coaching (sports)
Collecting
1965 Volkswagen Beetles
Acoustical record players
Americana
Antiques
Art
Autographs
Balls
Bed Pans
Beer Cans
Bells
Belt buckles
Bolo ties
Bookmarks
Books
Bottle Caps
Bottles
Business cards
Campaign buttons
Celebrity handshakes
Christmas decorations
Cigarette lighters
Clocks
Coins
College paraphernalia
Computers
Coupons
Crayons
Credit cards
Dolls
Elements
Feathers
Figurines
Flags
Fonts and clip art
Fossils
Guns
Hair ornaments
Handkerchiefs
Hat pins
Hats
Hobbies
Hotel artifacts
Insects
Jell-O molds
Jewelry
Key chains
Keys
Kitchen utensils
Knickknacks
Knives
Lapel pins or brooches
Lawn ornaments
Leaves
License plates
Maps
Matchbooks
Memorabilia
Military paraphernalia
Miniature spoons
Mouse pads
Mugs
Music
Neckerchief slides
Neckerchiefs
Oddities
Other
Outhouse artifacts
Outhouse graffiti
Papal paraphernalia
Periodicals
Photographs
Plates
Pop cans
Postcards
Postmarks
Refrigerator magnets
Rental properties
Rocks
Salt and pepper shakers
Shells
Soap scraps
Software
Soil
Sports memorabilia
Stamps
Statistics
Stocks and bonds
Stuffed animals
Thimbles
Ties
Tools
Toys
Trivia
T-shirts
Uniforms
Videos
Wines
Winter camp artifacts
Wire samples
Wood samples
Writing implements
Comedy (standup)
Comedy writing
Community service
Competitive mathematics
Computer programming
Conservation and ecology
Continuing education
Cooking
Cosmetology
Cosmology
Cricket
Crocheting
Croquet
Cross-country skiing
Crossword puzzles
Cruising for the opposite sex
Curling
Dancing
Ballet
Ballroom
Country Line
Ethnic
African
Afro/Cuban
Balinese
Belly dance/Middle Eastern
Chinese
Flamenco
Indian
Japanese
Folk
Modern
Polka
Salsa
Square
Tap
Trance
Darts
Dating
Debate
Decoupage
Diapering
Diving
Dodgeball
Dog grooming
Dog training
Dominoes
Downhill skiing
Drawing
Drinking
Dry walling
Eating human flesh
Egg decorating
Electricity
Electronics
Electroplating
Embroidery
Engraving
Exercise
Falconry
Fantasy role playing
Farming
Fashion design
Fencing
Field hockey
Fife and drum
Figure skating
Fine dining
Fire eating
Firemanship
First aiding
Fishing
Flea marketing
Flower arranging
Football
Foursquare
Frisbee
Furniture refinishing
Futurism
Gaelic Football
Gambling
Game designing
Gaming
Gardening
Flowers
Vegetable
Genealogy
Genetic engineering
Geography
Geology
Glass blowing
Grain milling
Graphic arts
Gymnastics
Hackey sack
Handball
Hang gliding
Heraldry
Hiking
Historical reenactment
History
Hog calling
Home decorating
Hopscotch
Horsemanship
Horseshoe pitching and quoits
Hot-air ballooning
House painting
Hunting
Hurling (Irish sport)
Hydrology
Hypnosis
Ice climbing
Ice hockey
Ice sculpting
Ice skating
Indian lore
Internet surfing and chatting
Inventing
Investing
Jai alai
Journalism
Jousting
Juggling
Karate
Kayaking
Kickball
Kite flying
Knitting
Lacrosse
Landscaping
Language (foreign)
Language (signing)
Lapidary
Lawn darts
Leatherwork
Lexicography
Lexicology
Lithography
Lumberjacking
Machine restoration
Macramé
Magic and prestidigitation
Making
Barrels
Candles
Candy
Cider
Clocks
Costumes
Dioramas
Furniture
Gum
Jerky
Jewelry
Light bulbs
Musical instruments
Paper
Progeny
Puzzles
Radios
Rope
Rugs
Sand castles
Sausage
Soap
Soft drinks
Time capsules
Marbles
Martial arts
Jujitsu
Brazilian
Gracie system
Japanese
Karate, many styles including:
Goju Ryu
Kenpo
Kyokushinkai
Shorin-Ryu
Shotokan
Aikido
Bagua
Boxing (Western style)
Capoeira
Escrima
Fencing
Haganah
Hapkido
Hsing Yi (Xing Yi)
Jeet Kune Do
Judo
Kapu Kuialua (Hawaiian “bone-breaking” style)
Kendo
Krav Maga
Kuk Sool Wan (modern Korean fighting style)
Kung Fu (many styles)
Lan Shou
Modern pragmatic hybrid martial arts, such as those inspired by the Ultimate Fighting Championships (UFC):
ASAX
Jo Son Do
Moo Yea Do
Pitfighting
Ruas Vale Tudo
SAFTA
Shootfighting
Tung Kung Kalan
Muay Thai (Thai boxing)
Ninjutsu (Ninja training)
Pencak Silat (Indonesian style)
Russian Sambo
Savate
Street fighting
Sumo
Tae Kwon Do
Taebo
Tai Chi (taiji) Chuan (different forms)
Testa (African “big knuckle” head fighting)
Wing Chun
Wrestling (Greco-Roman or others)
Masonry
Metal casting
Metal detecting
Metalwork
Meteorology
Miniature golf
Mining
Model railroading
Modeling
Cars
Clay
Planes
Rockets
Ships
Ships in a bottle
Yourself
Motorboating
Motorcycling
Mountain biking
Mountaineering
Mushroom picking
Music (creating)
Music (DJ)
Music (listening)
Mythology
Needlepoint
Off-road vehicle driving
Old-time radio
One-armed paper hanging
Orienteering
Origami
Pageantry
Paintball
Painting pictures
Pantomiming
Paperclip sorting
Papier-mâché
Parade marching
Parasailing
Partying
Personal recordkeeping
Pet raising
Pet showing
Philosophy
Photograph developing
Photography
Picnicking
Picture framing
Pigeon raising
Pinball
Ping pong
Pioneering
Play grounding
Playing a musical instrument
Plumbing
Poetry
Pogo sticking
Policing
Politics
Pottery
Public speaking and lecturing
Puzzle solving
Quilting
Racing
Automobiles
Bicycles
BMX
Greyhounds
Horses
Radio-controlled cars
Running
Sled dogs
Speed skating
Yacht
Racquetball
Radio-controlled airplanes
Rafting
Rappelling
Rapping
Reading
Refereeing or judging sports contests
Religious study
Riflery
Rock climbing
Rock polishing
Roller hockey
Roller skating
Rollerblading
Roofing
Rowing
Running and jogging
Sailing
Scatology
Scatterball
Scouting
Scuba diving
Sculpture
Search and rescue
Sewing
Shopping
Short-wave listening
Signaling
Silk-screening
Silversmithing
Singing
Skateboarding
Skittles
Skydiving
Snorkeling
Snowboarding
Snowmobiling
Snowshoeing
Soccer
Social activism
Softball
Spectator sports
Spinning yarn
Spying
Squash
Stained-glass art
Stilt walking
Stone tooling
Storytelling
Sunbathing
Surfing
Sweepstakes entering
Swimming
Taxidermy
Taxidermy with humans
Tennis
Tetherball
Theater
Tiling
Tobogganing and sledding
Topiary
Track and field
Tracking and stalking
Trading
Magic cards
Patches
Sports cards
Tie-dying
Trap and skeet
Trapping
Travel gaming
Traveling
Treasure hunting
Tree climbing
Tree tapping
Unicycling
Ventriloquism
Video gaming
Visiting
Amusement parks
Canadian provinces
Canals
Castles
College campuses
Continents
Counties
Countries
County courthouses
Covered bridges
Cruise ships
Friends and relatives
Frontiers
Hard Rock Cafes
Highpoints
Historical sites
Interstate highways
Lighthouses
McDonald’s restaurants
Museums
National park operations
Outhouses
Peak bagging
Sports stadiums
State capitols
State tri-points
States
Tourist traps
U.S. highways
White Castle restaurants
Volleyball
Walking
Wally-ball
Water polo
Weaving
Weightlifting
Welding
Whoring
Wilderness survival
Windsurfing
Wood burning
Wood carving
Woodworking
Wrestling
Writing
Diary
Letters
Novels
Stories
Xylography
Yo-yoing
Yodeling
Zymurgy
People’s religious and spiritual beliefs can have a profound effect on how they behave, so it’s worth considering the various types of beliefs that are possible. Some of them are fairly obscure, but perhaps looking into them more deeply can suggest some interesting character traits. At any rate, here’s a sample of world religions and spiritual practices.
Abacua
Agnostic
Ancient Egyptian Pantheon
Ancient Greek Pantheon
Ancient Roman Pantheon
Animism
Astrology
Atheistic
Babylonian (Hammurabi)
Bacchanalian
Buddhist (many branches)
Candomble
Christianity (many branches)
Confucianism
Divination (various methods)
Freemasons
Hinduism (many branches)
Hoodoo
Islam (many branches)
Jainism
Judaism (several branches)
Macumba
Mormon
Native American traditions
New Age spirituality
Norse Pantheon
Paganism
Palo Mayombe
Parsis (Zoroastrianism)
Rosicrucian
Santeria
Satan worship
Shinto
Sikhism
Sun worship
Taoism
Tarot
Theosophist
Umbanda
Voodoo
Wicca
This list of things we fear is derived from a list of scientific phobias. As phobias, they represent extreme cases, and it may be that you want to give your characters a phobia if you can use it in plot development or as an element of the gameplay. But this list may also serve simply as a source of inspiration for developing characters who are afraid of something, even if it doesn’t manifest as a full-blown phobia. Many of these phobias seem quite silly, and I’ve left them on the list just to give you a chuckle. If you can find a way to use them, be my guest. Others are very common, and even if someone doesn’t have a phobia about, say, spiders, he or she may have more than a little uneasiness around them.
The degree to which someone has fear may determine how he’ll behave when faced with what he fears. If he has a phobia, it can be quite paralyzing. If he is merely uneasy, it may have little impact. Just about anyone would have a fear of sexual abuse, but some people may change their habits and behaviors specifically to avoid the possibility of being sexually abused. So, you can use fears to modify the behavior of your characters. At any rate, this list gives you a good glimpse into the range of human fears. I’m sure you’ll find some you can relate to. In fact, looking at this list for any length of time tells you that, as a whole, the human race is afraid of just about everything!
Note that each of these phobias has a nice fancy Latin scientific name, but I left them out to spare you.
Fear of:
Accidents
Air drafts
Alcohol
Amnesia
Amphibians (frogs, toads, newts, salamanders, etc.)
Amputees
Anger
Angina
Animal skins
Animatronics
Ants
Asymmetrical things
Ataxia
Atomic explosions
Aurora Borealis
Automobiles
Bacteria
Bald people
Bathing
Beards
Bearing a deformed child
Beautiful women
Becoming angry
Becoming homosexual
Becoming ill
Bees
Beggars
Being accidentally poisoned
Being alone
Being beaten severely
Being beaten with a rod
Being buried alive
Being close to high buildings
Being contagious
Being dirty
Being eaten
Being enclosed
Being forgotten
Being hypnotized
Being ignored
Being in a house
Being in love
Being infested with worms
Being locked in enclosed places
Being rained on
Being ridiculed
Being robbed
Being scratched
Being seen
Being smothered
Being stared at
Being tickled by feathers
Being tied up
Being touched
Being unable to stand
Bicycles
Birds
Biting insects
Blindness
Blood
Blushing
Body odor
Bogeymen
Bolsheviks
Books
Brain disease
Bullets
Bulls
Bums
Burglars
Cancer
Cats
Celestial space
Cemeteries
Certain fabrics
Changes
Chemicals
Chickens
Childbirth
Children
Chinese
Chinese culture
Chins
Choking
Cholera
Church
Clocks
Clothing
Clouds
Clowns
Coitus
Cold
Colors
Comets
Computers
Confined spaces
Constipation
Cooking
Cosmic phenomena
Crawly things
Creepy things
Criticism
Crosses
Crossing bridges
Crossing streets
Crowded, public places
Crowds
Crystals
Dampness
Dancing
Darkness
Dawn
Daylight
Dead things
Death
Decaying matter
Defeat
Defecation
Definite plans
Deformity
Demons
Dental surgery
Dentists
Dependence on others
Depth
Diabetes
Dining
Dinner conversation
Disease
Disorder
Dizziness
Doctors
Dogs
Dolls
Double vision
Drafts
Dreams
Drinking
Drugs
Dryness
Dust
Eating
Electricity
Empty spaces
England or English culture
Epilepsy
Erect penis
Everything
Expressing opinions
Extinction
Extreme cold
Eyes
Failure
Fainting
Falling
Falling in love
False statements
Fatigue
Fecal matter/feces
Feeling pleasure
Female genitalia
Fever
Fire
Firearms
Fish
Floods
Flowers
Flutes
Flying
Fog
Food
Foreign languages
Foreigners
Foreplay
Forests
Forests at night
Forgetting
France
Freedom
French culture
Friday the 13th
Frogs
Frost
Fur
Gaiety
Gaining weight
Garlic (one of Dracula’s favorites)
Genitals
German culture
Germany
Germs
Getting polio
Getting wrinkles
Ghosts
Glaring lights
Glass
God/gods
Going bald
Going mad
Going to bed
Going to school
Going to the doctor
Gold
Gravity
Greek terms
Growing old
Hair
Halloween
Hands
Handwriting
Having an erect penis
Hearing certain words or names
Hearing good news
Heat
Heaven
Heights
Hell
Heredity
Holy/sacred things
Home
Homosexuality
Horses
Hospitals
Houses
Ice
Ideas
Imaginary crimes
Imperfection
Infinity
Injections
Injury
In-laws
Insanity
Japanese
Jealousy
Jews
Jumping (from high or low places)
Justice
Kissing
Knees
Knowledge
Lakes
Large things
Laughter
Lawsuits
Learning
Leaving a safe place
Left-handedness
Leprosy
Lice
Light
Liquids
Loneliness
Long waits
Long words (Hippopotomonstrosesquippedaliophobia)
Looking up
Losing an erection
Loud noises
Machines
Magic
Magic wands
Making decisions
Making mistakes
Marriage
Materialism (the same word describes fear of epilepsy)
Meat
Memories
Men
Menstruation
Metal
Meteors
Mice
Microbes
Mind
Mirrors
Missiles
Mobs
Moisture
Money
Monotony
Monsters
Moths
Movement or motion
Mushrooms
Music
Myths
Names
Narrow places or things
Needles
Negative evaluations
Neglecting duty or responsibility
New drugs
Night
Noise
Nosebleeds
Novelty (newness)
Noxious substances
Nuclear weapons
Nudity
Numbers
Objects on the right side of the body
Old people
One’s own voice
Oneself
Open high places
Open spaces
Opening eyes
Operating (surgeon)
Opinions
Otters
Outer space
Pain
Painful bowel movements
Paper
Parasites
Parents-in-law
Peanut butter sticking to the roof of the mouth
Pellagra
People or society
People who smell bad
Performing (stage fright)
Philosophy
Phobias
Phobic’s preference for fearful situations (some people like to scare themselves)
Pins
Plants
Poetry
Pointed objects
Poison
Politicians
Poverty
Precipices
Pregnancy
Priests
Progress
Property
Prostitutes
Punishment
Puppets
Rabies
Radiation
Radical deviation
Railroads
Rain
Rape
Rats
Razors
Receiving praise
Rectal diseases
Rectums
Red lights
Relatives
Religion
Religious ceremonies
Remaining single
Reptiles
Responsibility
Returning home
Riding in a car
Rivers
Road travel
Rodents
Rooms
Ruin
Ruins
Running water
Russians
Saints
Satan
Scabies
School
Scientific terminology
Scratches
Seeing an erect penis
Seeing oneself in a mirror
Sermons
Sex
Sexual abuse
Sexual love
Sexual perversion
Sexual topics
Shadows
Sharks
Shellfish
Shock
Sinning
Sitting
Skin disease
Skin lesions
Sleep
Slime
Small things
Snakes
Snow
Sourness
Speaking in public
Speed
Spiders
Spirits
Stairs
Stars
Stealing
Steep slopes
Stepparents
Stings
Stooping
Stories
Strangers
Streets
String
Stuttering
Suffering
Sunshine
Surgical operations
Swallowing
Symbolism
Symmetry
Syphilis
Taking medicine
Taking tests
Tapeworms
Taste
Technology
Teenagers
Teeth
Telephones
Termites and other wood-eating insects
Tetanus
The color black
The color purple
The color red
The color white
The color yellow
The crucifix
The Dutch
The figure 8
The great mole rat
The heart
The moon
The number 13
The opposite sex
The Pope
The sea
The sun
The word yellow
Theaters
Theology
Things on the left side of the body
Thinking
Thinking about an erect penis
Thunder
Thunder and lightning
Time
Toads
Tombstones
Tornadoes and hurricanes
Train travel
Trains
Trees
Trembling
Trichinosis
Tuberculosis
Tyrants
Ugliness
Undressing in front of someone
Untidiness
Urinating
Urine
Vaccinations
Vegetables
Vehicles
Ventriloquist’s dummies
Vertigo (yes, you can be afraid of a fear)
Virgins
Voices
Voids
Vomiting
Walking
Walloons (certain Belgian people)
Wasps
Waves
Wax statues
Weakness
Wealth
Wet dreams
Whirlpools
Wild animals
Wind
Witchcraft
Witches
Women
Wooden objects
Work
Working on computers
Working with chemicals
Worms
Writing
Writing in public
X-rays
Young girls
A catchphrase is something a character says that becomes a signature for that character. In ideal circumstances, the phrase “catches on” and starts being used by people outside the game/movie/TV show/book where it originated. Catchphrases such as Dirty Harry’s “Make my day,” the Terminator’s “I’ll be back,” and Duke Nukem’s “Come get some” become popular for a variety of reasons. A catchphrase can be used as shorthand for a more complex thought, or it can be a simple utterance used at an unusual time. Each of the previous examples illustrates that concept.
While based in common experience, the combination of style of delivery, timing, and simple phrasing can turn an expression into a catchphrase. In movies they are used a lot to identify a character. In Elmore Leonard’s Get Shorty, the Chili Palmer character keeps saying, “Look at me” in a commanding but surprisingly gentle voice. After hearing it a few times, you identify the character with the phrase, which means a lot more than just “look at me.” In Things to Do in Denver When You’re Dead, the characters say, “Give it a name...” as a shorthand catchall expression. The phrase sticks with you after you’ve seen the movie because it is used in an unusual way.
Here are some elements that can produce a catchphrase:
Repetition. Use it several times during the story.
Distinctive Delivery. Tie the phrase with some accent, cadence of voice, tonal quality, or other distinctive quality.
Timing. When do you use it? Use the catchphrase at meaningful moments, often to break tension or to create it. Saying, “Make my day” when the waitress brings a hamburger has a very different impact than when the wounded crook is reaching for his gun and Dirty Harry has his monster .357 Magnum pointed at him.
Simplicity. Keep it simple.
Base the Phrase on Common Experience. Base it on what people think about all the time—greetings, eating, sleeping, taking a dump, money (such as, “Show me the money” from Jerry Maguire), and so on.
Unusual Use of Usual Phrase. Consider that the catchphrase has a deeper meaning than the words themselves and may even have more than one meaning, depending on the context. For instance, imagine a guy who says “Oh baby” whenever he does something well or something good happens. But then imagine he is making love and says, “Oh baby.” It will be the same phrase in a different context, and it could be humorous if properly set up.
The following list contains some of the attributes that can make a character funny in a game (or even in movies and literature). No one character has to have all these traits, but many can have more than one.
Creating funny characters is tricky, however. Many people set out to make a funny character and end up with an extremely annoying one, a stupid one, or an overly cute one. We’re not going for annoying, stupid, or cute here. We’re going for funny.
For further help with the concept of funny, check out the “Creating Comedy” section in Chapter 9, “Storytelling Techniques.” And remember, much of what strikes us as funny comes from some combination of surprise and timing. Some of the qualities you might find in a funny character are:
Funny physical features, particularly hair, nose, eyes, way of walking, etc.
Funny voice.
Funny name.
Funny and unusual turn of phrase—not so much what they say, but how they say it.
Funny style of dress.
Says funny things—particularly one-liners and humorous statements at odd times. This depends on timing.
A good time for a funny character to be funny is during great danger. A well-timed joke or a quirky observation can do wonders to endear the character to you. Bruce Willis often plays this kind of character in movies such as Die Hard. The more dire the circumstances, the more offhand his comments.
Does funny things, such as falling down holes or suddenly doing the tango with other characters.
Makes funny faces at the right times—reacts humorously to what the boring, evil, or annoying characters say and do.
Practical joker—likes to play little tricks on people. This is especially humorous if the victim is someone with little or no sense of humor—someone all too serious. (For those who remember that far back, Groucho Marx and Margaret Dumont come to mind.)
Oddball—someone who tends to see the world differently from most people and whose observations are weird or offbeat enough to be funny. A classic example would be the humorist Steven Wright.
Simpleton—someone so dense and slow that his very inability to “get it” is funny.
This section attempts to lay out a few conceptual sketches of different heroes, villains, and minions based on experience with games as well as with movies, literature, and myths. As sketches, these are nothing more than suggestions or hints at some characteristics you might have encountered before. The real trick is to use these “archetypes” as inspirations to go further. As with the majority of this chapter, there’s nothing carved in stone here, and I hope you’ll take these ideas and mold them to your own uses.
It may seem obvious to you what a hero is, but in fact there are different archetypes for heroes and heroines, and much literature has been written about them. Although the player character in games is generally the ultimate hero, there are different sorts of heroic types that players will meet (and embody) during the course of their gameplay experience. We’ve all seen these heroic types in other entertainment media, such as literature and movies, and you will probably recognize these archetypes when you read about them. In this section, I’ve put some characteristics of a few hero/heroine archetypes to help you create your own versions. Note that just about any hero archetype can apply to a female character, though some traits and characteristics might differ.
Before the archetypes, look at some of the elements of the hero’s world. See also the “Joseph Campbell Meets Star Wars and The Matrix” section in Chapter 9, “Storytelling Techniques.”
The hero usually suffers a great loss or some significant danger exists to start him on a quest.
There is generally someone with enough wisdom—an oracle or guide—who helps the hero understand how to start and what to do, at least at the beginning.
The path is beset with dangers and trials, which must be overcome.
The possibility of death (physical, psychological, or symbolic) is often present, and narrow escapes are common.
The hero often must penetrate the realm of the evil enemy to prevail over that evil.
When the quest is completed, the hero generally returns to society with new accolades and status rewards.
In most modern heroic epics, there is a happy ending, but that is not required.
Heroes are a basic part of our human life. We have probably always had heroes, or we have at least as far back as recorded history goes. With all that history to draw from, we’ve also come up with some basic templates for heroes—the hero archetypes.
In some cases, the player’s character, while the protagonist of the story, has no real characteristics, being more of a tool in the control of the player. The player character has abilities that the player uses to accomplish the goals and to meet the challenges of the game, but there is no indication that the character has any depth or characteristics beyond those abilities. For instance, what did we know of the personalities of Mega Man, Donkey Kong, or the Prince of Persia?
So, it’s up to you whether you create a player character or NPC as a tool or a role, and not a personality, or whether you decide to attempt the creation of a fuller character. I think hero archetypes are very useful, however, and for each archetype, I’ve added some possible characteristics, with an emphasis on possible. Pick the characteristics that work for you. Not all of them are necessary, and in some cases, they may even be contradictory.
A note about comedic heroes: Comedic heroes can often be parodies of these archetypes. For instance, Inspector Clouseau and Maxwell Smart are parodies of various types of heroes, such as the Smooth Hero and the Super Spy, but in their own way they are also Impetuous Heroes or Reluctant Heroes. They best fit the description of the Inept Hero, but they may be related to any of the other hero archetypes through parody. Among the best examples of comedic heroes in games were ToeJam & Earl, Sam & Max Hit the Road, and Earthworm Jim. Of course, comedic heroes might only be wise-talkers, such as Bugs Bunny, Duke Nukem, or the main characters in The Neverhood and Secrets of Monkey Island.
The Strong Leader is a hard-as-nails fighter who probably won his position as leader the hard way—with fists or with a domineering personality. Strong Leaders are very effective and can win tremendous loyalty from their followers, despite their gruffness and sometimes unapproachable demeanor. But this kind of Strong Leader doesn’t tolerate failure well and is also feared.
Leadership
Focused on goal
Confident
Decisive
Forceful
Serious, not very playful
Ultra responsible
Possessive
Stubborn
Unsympathetic/insensitive to human frailty
Domineering
Not a big talker (generally) unless it is important
Likes to be in control
The Anti-Hero is someone who comes from, or exists outside of, normal society, but who fights for something good. Often misunderstood, the Anti-Hero often works outside the law and in the fringes of society. The Anti-Hero may actually be at home among those he fights, and although outwardly he may seem angry or apathetic about the issues that affect ordinary people, deep inside Anti-Heroes are idealists, humanists, and true believers in what is right and good. Although we, the audience, may see Batman as a pure hero in The Dark Knight, one theme of the movie was that society needed to view him as an Anti-Hero.
Possible characteristics:
Charismatic
Disillusioned idealist
Street smart
Outwardly casual and uncommitted (but only outwardly)
Romantic at heart
Operates from intuition
Pessimistic
Bitter
Volatile
Troubled past
Conflicted
Victim of conventional society
Emotionally defended
Keeps his secrets
Smooth Heroes are guys like James Bond—self-confident, smooth-talking, and highly competent operators who can take over a situation or charm everyone in a room. They often accomplish their missions with a clean and simple result, but when things get nuts, things often start to blow up—literally. Smooth Heroes are often several steps ahead of their adversaries.
Possible characteristics:
Very charismatic
Smooth talker
Snappy dresser
Quick wit
One step ahead
Easygoing
Hard to nail down
Manipulative
Takes things as they come
Irresponsible
Can seem self-centered, but may have unseen loyalty
When you mention a Super Spy, you probably think of James Bond. And that would be accurate. But there are other types of Super Spies who may be less debonair and not really like the Smooth Hero. In fact, the Super Spy can incorporate elements of several other hero archetypes, including the Smooth Hero, the Thinker, and even the Anti-Hero. He can even have aspects of the Impetuous Hero or the Fighting Machine. What makes him a Super Spy is that he specializes in infiltration, uncovering mysteries within political worlds, and he is generally working for an organization with some kind of political (and sometimes financial) agenda. The villain archetype that has the most in common with the Super Spy is the Professional Killer/Assassin.
Possible characteristics:
Master of infiltration
Versatile—can improvise
Can be like a Smooth Hero (James Bond)
Can be a more or less ordinary character (George Smiley in The Spy Who Came in from the Cold or Dashiell Hammett’s Pinkerton detective, the Continental Op)
Also can have aspects of the Thinker Hero, the Fighting Machine, or the Impetuous Hero
Generally proficient with a variety of weapons, including hand-to-hand, but that is not always a prerequisite
Knows how to blend in, to tail a suspect, to set up surveillance, and to infiltrate the enemy’s location
Outsider Heroes are similar to Anti-Heroes, but even more on the fringes of society. They are even more angry and disillusioned, and they may be somewhat single-minded. Where an Anti-Hero is basically a “bad boy on the side of good,” Outsider Heroes are sometimes somewhat psychopathic, violent, and dark. For instance, think about the hero of Sin City. Because they are so far outside of society, Anti-Heroes have little love for the “ordinary” people, at least on the surface, but because they are heroes, they fight against injustice, are kind to children and small dogs, and have a few redeeming qualities. You might not want to invite them over for dinner, but you are glad they are on your side. In some ways, the Sociopath villain is similar to the Outsider Hero, but more deranged and less in touch with human empathy. However, both the Outsider Hero and the Sociopath desire to be included at some level, but they act out their separation in different ways. In simplistic terms, the Outsider Hero still retains a connection with humanity as a whole, while the Sociopath is intent on victimizing humanity.
Possible characteristics:
Live outside society
Generally tortured—sad, angry, or both
Hyper-aware, missing nothing
Focused on some principle or belief
Sensitive, easily affected emotionally if his guard is down
Dark
Fatalistic
Unforgiving
Hates injustice
Implacable enemy
Thinker Heroes are often more intellectual types who do not have great physical powers. However, they can plan, outthink enemies, and sometimes unleash awesome mental powers. The X-Men’s Professor X is a good example, but not the only kind. Sometimes Thinker Heroes have absolutely no special abilities but somehow manage to outwit the criminals; for instance, the character of Nick Charles in the Thin Man movies or another of Dashiell Hammett’s creations—Sam Spade from The Maltese Falcon. Sherlock Holmes was the ultimate Thinker Hero. Some Thinker Heroes can throw a good punch or fire a weapon, but they rely on wits over force whenever possible. The natural enemy for the Thinker Hero is the Mad/Evil Genius, but of course a good Thinker Hero should be able to beat any villain by use of superior intellect.
Possible characteristics:
Possible genius
Intuitive
Plans and analyzes
Accomplished
Sincere
Sometimes cryptic
Set in his ways
Egotistical
Impatient
Always confident in his abilities
No problem too hard
May be social or anti-social
May be absentminded or exceptionally present and organized
Impetuous Heroes tend to charge right into a situation. In some ways, they are the opposite of the Thinker Hero. They rely on a combination of power or skills and lots of luck. They tend to ignore danger and focus on accomplishing goals to the exclusion of other situations. Although they can be quite dramatic, Impetuous Heroes can be hard on their followers, who may become victims of their leader’s lack of planning. But on the positive side, Impetuous Heroes waste no time thinking. They are all action.
Possible characteristics:
Dives right in
Doesn’t calculate the odds
Takes unnecessary risks
Keeps things moving
Knows no fear
Highly skilled (or he wouldn’t still be alive)
Honorable
Unreliable
Self-centered
Can be charming and charismatic
Can be lighthearted in the face of danger
Ignores rules
Individualistic
Can charge ahead and do the wrong thing, creating trouble for his friends—but that’s half the fun, isn’t it?
The Inept Hero is generally a comedic figure but is still the protagonist of the story. Inspector Clouseau and Maxwell Smart are prime examples, as is the Tick. In games, my favorites were ToeJam & Earl and Sam & Max. The Inept Hero blunders through the story, making mistakes, toppling buildings and regimes, somehow making love to women despite his ineptitude, and solving crimes, mostly by dumb luck. Making an inept hero in a game is not easy. Players like to be in control, so a character who is always punching himself in the arm with a letter opener or falling down a flight of stairs might not be easy to sell to players. However, it would be fun to see whether anyone could solve the problems of the Inept Hero as a player character. The resulting game could be a lot of fun and different from almost all other games we’ve seen.
Possible characteristics:
Nerdy
Friendly
Innocent/naïve
Shall we say, “dumb as a post?”
Lucky!
Nervous
Self-deluded
Mimics others
Resourceful in crisis
Boundless energy
Fast runner
The Fighting Machine is similar to the Impetuous Hero, but far more serious and intent. It’s an attitude thing.... And the Fighting Machine is also far less emotional—nearly a robot that doesn’t so much charge ahead, but moves implacably to defeat the enemy. Fighting Machine heroes are very strong and capable, dedicated to their beliefs and not very social or jovial. They are not necessarily great leaders, but they are terrible enemies to have. They may have studied the arts of war, hand-to-hand and weapons combat, and strategy and tactics, or they may just be naturally strong and dangerous. They don’t take pity on the weak. If you are deemed an enemy, you are in the way.
Possible characteristics:
Deadly serious
High sense of honor
On a mission
Totally reliable
A formidable warrior
Highly skilled (often in many different fighting methods)
Strong and self-disciplined
Absolute sense of righteousness
No mercy
Can be cruel
Impatient with weakness
Loyal to his cause
Rule-oriented
Never gives up
Protects the weak but doesn’t respect them
Reluctant Heroes are ordinary people thrust into the role of hero by circumstances. They rarely choose to be heroes and often resist the idea with considerable effort. However, something about them always comes to the surface—a great intelligence, strong intuition, dogged determination, hidden and previously unknown powers, or old-fashioned luck. Whatever it is, Reluctant Heroes are common in literature, movies, and games. Reluctant Heroes also have more to learn from their heroism than other types of heroes. Whatever quest they find themselves engaged in, the experience changes them in certain ways. Many other types of heroes, because they are already heroes, may not learn much about themselves or life in general. Anti-Heroes also can learn about themselves, as can Outsider Heroes sometimes, but most other hero types don’t really change much in the course of a story. Classic examples of Reluctant Heroes are Frodo and Harry Potter.
Possible characteristics:
Often small, weak, or bookish—a dreamer (Frodo, Harry Potter)
Relies on wits and relationships
Humble
Discovers courage and self-confidence
May have hidden, untapped abilities
Fights against fate
Very noble at heart
Strong moral values
Romantic by nature
Sense of duty
Acute fear
Strong loyalty
A survivor
Lucky (often very lucky)
What kind of character makes a great sidekick? Sidekicks are not nearly as interesting as, say, the villain’s henchmen. Generally speaking, sidekicks are very much less powerful than the hero, loyal to a fault, and helpful in an emergency. Sidekicks always have a positive view of the future, based on their unfailing admiration for the hero. They also can have some skills that the hero finds useful, but they are generally less glamorous skills. For instance, the hero might be handsome/beautiful, tall, smart, powerful, and clever. The sidekick might be good at looking up stuff on Google. The sidekick is always shorter, younger (generally), and generally quite unimpressive overall. Batman’s sidekick, Robin, is the prototypical sidekick, especially in the earlier days, when he was completely overshadowed by his hero partner. In the animated series The Tick, the satire of the sidekick (Arthur) was a perfect parody. He was sycophantic, almost useless, unfailingly positive (despite any kind of abuse), and had the most ridiculous power.
But sidekicks do serve a purpose. They act as a contrast to the hero. They also can do things that are useful when the hero is otherwise tied up (sometimes literally). They allow the hero to talk out loud while revealing elements of the plot and displaying how clever they are. There’s a special bond between hero and sidekick, and if you can create that chemistry, more power to you.
Sidekick qualities:
Unfailing loyalty
Occasionally useful
Slightly skilled
Not the hero
Somebody to work things out with
Sometimes funny
Positive attitude
An extra set of arms and legs
Cute
Someone to rescue (from time to time)
Someone to save the hero or come to his aid in dire circumstances
Someone to get the coffee
See also Chapter 14, “Enemies.”
What would a hero do if there weren’t villains? It would be a much duller world for the average hero type. What is interesting is that villains are often very similar to heroes. They both share certain characteristics, and often it is simply which side you pick that determines who is the hero and who is the villain. And, in general, villains are heroes in their own minds. In games, however, the distinctions are pretty clear: Villains are in opposition to the player and the player’s character. (Of course, in some games, that can change.)
There are some characteristics shared by most villains. They are:
Driven
Arrogant/egotistical
Rule breakers
Unconventional
Self-righteous
Able to rationalize their actions
Likely to feel victimized
Likely to feel entitled (to something—the world owes it to him)
Self-centered
In denial (to a greater or lesser extent)
It might seem fair to say that all villains are greedy or ruthless; however, some villains can be fair minded and even altruistic (in their own minds, anyway). Some villains take up a cause in the belief that they represent some greater good. They may have all kinds of fine qualities. Other villains are heartless fiends who seem to enjoy the suffering of others. Some are reluctant villains, much the way that some are reluctant heroes. But what is always true of good villains is that they will do whatever they think they have to do to get what they want. Whether villains are torn by doubt and guilt or completely amoral and mean, they would not be good villains if they ever could be dissuaded from their villainy. (One exception would be if the hero was able to convince the villain of his mistakes and get him to change. In that case, there would be an even worse villain—an über-villain—who would have to turn up and be revealed as the true enemy and the one who had manipulated or controlled the reformed villain.)
Just as there are comedic versions of heroes, so there are comedic villains, and they often go hand in hand. A comedic hero does well battling a comedic villain. Austin Powers and Dr. Evil (and Mini-Me, of course) are perfect examples. Of course, villains may have comedic qualities or quirks but not be complete comedy characters. Even though they may sit around petting a plush Persian cat, that does not mean they can’t take over the world and threaten the lives of millions. At any rate, many of the archetypes in this section could be created as comedic parodies.
At the same time that we’ve had heroes throughout history, those heroes would have little to do if there weren’t villains—or generally, enemies. And just as we have been able to identify some hero archetypes, so we have archetypes for our villains.
Just as I did with the hero archetypes, I’ve added a short list of possible characteristics for each entry, with an emphasis on possible. Remember, not all of these characteristics need to exist in every villain of any particular type, and in some cases, they may even be contradictory traits. The point of these archetypes is to help you develop the most interesting villains you can.
The history of the world is littered with the stories of Tyrants of one kind or another. The quote (below) from Joseph Campbell does a good job of presenting one view of a Tyrant. Essentially, Tyrants wield power, and they wield it absolutely. They may have different reasons for being Tyrants, but ultimately they serve their own ends first and those of the people they rule second, if at all. If they were good to their people, they probably would be a) not villains and b) benevolent dictators instead of Tyrants.
Possible characteristics:
Shares much with the Leader hero type
In control
Absolute
Decisive
Rules with an iron hand
Is responsible for some great injustice
May have a weak spot for son, daughter, or spouse...or pet or something surprising
Greedy
Often very cruel, even sadistic
Sometimes convinced of divine right or demigod status
Can believe he is best for his “people”
Sometimes insane
Sometimes a brilliant strategist or warrior
Sometimes a great leader turned into a doddering old fool
Sometimes a noble leader whose actions are poisoned by advisors
The inflated ego of the tyrant is a curse to himself and his world—no matter how his affairs may seem to prosper. Self-terrorized, fear-haunted, alert at every hand to meet and battle back the anticipated aggressions of his environment, which are primarily the reflections of the uncontrollable impulses to acquisition within himself, the giant of self-achieved independence is the world’s messenger of disaster, even though, in his mind, he may entertain himself with humane intentions. | ||
| --Joseph Campbell, The Hero with a Thousand Faces | ||
Conquerors are villains who are determined to conquer other countries for some reason. Conquerors are often Tyrants as well. But the Conqueror has some drive to expand territory and defeat enemies. Alexander the Great comes to mind, as do Napoleon and Hitler. Each may have had different reasons for conquest, but they were Conquerors nonetheless. The classic case of a Conqueror from legends suggests a warrior leader. However, modern Conquerors often wear suits and direct others to do all their fighting. Either way...
Ambitious
Visionary
Ruthless
Charismatic
Shares qualities of the Leader and the Fighting Machine heroes
Greedy
Certain
Absolute
Brave
Military and/or political strategist
May or may not be noble
Driven by some idea, concept, dream, vision, or outside influence
May see self as liberator
May be guided by religious ideal
May be cruel or sadistic
May be merciless or can sometimes be merciful
So focused on conquest that he does not have many other interests
Very egotistical
Patriarch/Matriarchs are generally seen as benevolent, ruthless older leaders of a group. They have a certain accumulated wisdom and maturity that helps their younger followers stay in line, but they also have an iron hand with discipline and never forget an insult or betrayal. Their enemies don’t usually live long. They often seem very calm and in control, despite the fact that they may be leading an all-out war among factions. Because they are older, they tend to have younger lieutenants and sub-leaders (see also “Minions”).
Possible characteristics:
The Godfather
Fatherly/motherly demeanor
In control
Absolute authority
Delegates
Reads people
Cunning
Ruthless
Thoughtful
Protective of his/her own
May be extremely loyal to the “family”
Can be brutal and cruel
Can be balanced or unbalanced (sane or crazy)
Interested in keeping order
Sometimes interested in conquest/expansion
The Smooth Villain is much like the Smooth Hero, but working more for self-interest than some noble cause. But Smooth Villains are every bit as urbane and charming as Smooth Heroes—the anti-007, if you will. Smooth Villains vary somewhat in their approach. Some are dabblers who like to be criminals for the excitement and the challenge. They tend to take things a bit lightly. Others are psychopaths who hide their mania behind a false smile and a ready quip. But when the chips are down, they can turn quite nasty...or craven when standing in front of the barrel of a gun. They can also be quite mad, sharing some of the characteristics of the Mad/Evil Genius. In fact, many other villain archetypes can also be Smooth Villain types.
Very charismatic
Smooth talker
Snappy dresser
Quick wit
One step ahead
Easygoing
Hard to nail down
Manipulative
Quite self-centered
Egotistical
Everyone knows the Mad/Evil Genius villain. Usually he’s male, but that doesn’t have to be so. He always has some mad plan to turn himself into a cyborg, subjugate the human race through chemistry, or build the ultimate weapon and blackmail the world. Or he may simply be an evil genius who is pulling the strings behind a lot of mysterious events, such as a rash of perfectly executed bank robberies or the disappearance of key politicians. So the Mad/Evil Genius can be a scientific type or a genius of the Moriarty type from the Sherlock Holmes stories. Often he is a legitimate scientist whose passion for a particularly unsavory direction of experiments is met with typically shortsighted responses from his superiors or fellow scientists, so he is determined to “prove them wrong.” Of course, he’s mad as a hatter. Likewise, he may be simply a mastermind who finds a life of crime far preferable to a life of mediocre accomplishments in the legitimate world. It’s both the ill-gotten gains and the thrill of breaking the rules that attracts this kind of genius. The Mad/Evil Genius is somewhat similar to the Thinker Hero, but obviously either insane or intent on using his powers for criminal purposes.
Possible characteristics:
Brilliant but warped
May be scientific genius
May be intellectual genius (strategist)
Has a definite goal in mind (wealth, revenge, glory, get the girl, etc.)
Often the victim of his own creation
Arrogant
Generally wants recognition for his genius
Often has a grudge against society
May believe he is doing something for the greater good
Madness may come from experimenting on self
Likes to tell the hero how clever he is—explains everything
Often a recluse with few or no close associates
May have one or more lab-type minions
Almost always thinks everyone else is inferior (superiority complex)
Lonely, longing to meet an equal
Often enjoys matching wits with the hero—a somewhat worthy opponent
Sociopaths are people who have problems relating to society in various ways. The Sociopath villain is one who often feels excluded from society, possibly since he was very young, and has a deep-rooted bitterness about people within a society that can never accept him. The Sociopath may commit evil acts for revenge or for recognition. Secretly, the Sociopath is suffering, but that suffering may not be apparent. Or the Sociopath may have discovered people on the fringes of society who will accept him, and therefore he finds a place among the criminal element, where his ruthlessness and abilities often make him rise to the leadership position within that society. Sociopaths often can do anything without remorse—even the most heinous acts—and that makes them among the most dangerous villains, especially when they are also cunning and clever or endowed with superhuman abilities. In some ways, the Sociopath is similar to the Outsider Hero, but rather than being impelled to protect the innocent and right the wrongs, the Sociopath has become amoral and sees others as enemies. The Sociopath may also derive pleasure and satisfaction from harming others and can be quite sadistic.
Possible characteristics:
Clever or just sick
Amoral
Warped
May be working out childhood trauma
No empathy for others
Manipulates others
Can appear completely normal
Can be charming
Can be a serial killer
Generally a loner
May be a planner or may commit acts impulsively
Can join with others—has a secret wish to be included
Hides inner pain
May have some specific nervous or reflexive habit—can be very subtle or very blatant
Often takes feeling of victimization to an extreme
May be extremely sadistic and may derive intense pleasure from harming others
The Professional Killer/Assassin is just doing a job. He may be quite skilled, like the Super Spy, and may work for a specific organization. Professional Killer/Assassins might also be freelance killers or part of a mob. The Professional Killer/Assassin can be like the Smooth Hero in some ways, working more or less out in the open, or he may work from the shadows and never be seen or identified. However, Professional Killer/Assassins are rarely very emotionally connected with what they are doing. They kill for money or because they are told to by their organization. They may have political reasons for killing, but still it is very rarely personal. They are usually stealthy, careful, and hard to catch. Another type of Killer/Assassin is more of an ordinary enforcer type—like the guys in Pulp Fiction, who were neither smooth nor clever, but did their job with a sort of offhand efficiency. The Professional Killer/Assassin can seem quite ordinary outside his job and may even live an ordinary life with a family and a house in the suburbs.
Possible characteristics:
Careful
Unemotional
Not empathetic to others
Matter of fact
Probably working for someone else—just a job
Highly skillful
Clever and cunning
Might be a family man/woman
Generally has a favorite method, but may be quite versatile
Can blend in with the crowd
Shrewd
Can be quite flexible and adaptive, though some may be very fixed and will not proceed if conditions are not perfect
Takes care of Number One
Compartmentalizes feelings
Demon villains are enemies from demonic dimensions, and as such they aren’t human. They may vary in appearance from caricatures of devils to very human in appearance, but it is generally a mistake to assume that they respond to situations in the same way a human enemy would. Demon villains in fiction are often implacable enemies of humanity and want only to wreak havoc on the human world. However, more subtle Demons also exist, who may want to use humanity for some specific purpose, such as a breeding ground for demonic offspring or as a source of food. Some Demons are based in the Judeo-Christian tradition and may want to “steal men’s souls,” while others may come from other traditions with other agendas. Demon villains can also be vampires and undead of one kind or another—or even destructive deities from Eastern traditions. Demon villains almost always have supernatural powers of one sort or another. There is a lot of range in how to depict a Demon villain. Interestingly, there isn’t much fictional tradition for a Demon hero, although it may be possible to consider a demon in the role of Anti-Hero or even Outsider Hero.
Possible characteristics:
Supernatural origin
Has powers
Is generally evil for evil’s sake—pure evil
Has a weakness, if you can find it
Often shows up when you least expect it
May be sadistic
May be implacable
May be fixated on one victim or indiscriminate
Often grotesque, but can also be charming, handsome or beautiful, etc.
Can be misunderstood (not really evil)
Can be a good person twisted into a demon in some way
Can be a good being whose appearance causes people to treat it like a demon and it is only protecting itself
May think of itself as good and think the hero is evil
The Defector is a dangerous villain because he knows the hero’s strengths and weaknesses. He probably has some agenda against the hero or what the hero represents. He may have been “turned” by the enemy and can be redeemed, but most likely the Defector has become an implacable enemy of whatever the hero represents. There can be any number of reasons why the Defector defected, and these can be revealed in the story, but what is important is that the Defector is a special sort of enemy with ties to the hero’s own world and possibly even ties to the hero as well.
Possible characteristics:
Was once part of the hero’s affiliation/group
Has special knowledge of the hero or hero’s group
Is especially dangerous because of special knowledge
Has a grudge or a plan not shared by the group
May have special animosity toward the hero
May perceive that the group is wrong—has a higher purpose
May have fallen under the control of a rival or opposing group or leader
May turn out to be a double mole, actually only pretending to be a Defector
May have the characteristics of a hero, but has some flaw or weakness that prevents him from realizing his heroic nature
Or, may be basically weak and craven, selling to the highest bidder
Needless to say, has issues with loyalty
The Unscrupulous Bastard/Nasty Bitch is just a person who is really not nice at all. He may not be as amoral as the Sociopath, but he is pretty ruthless and often greedy. What Unscrupulous Bastards/Nasty Bitches do, they do for themselves, and they care little for anyone else—including their own followers and henchmen. They can be devious and deceitful, often putting on a mask of civility and graciousness, but it is only a mask and is utterly false. They look out for Number One and nobody else—although sometimes exceptions can be made for family members. They are impatient with others and insistent on having what they want. They probably aren’t in touch with their true self-hatred, and they spend a lot of time justifying their actions to themselves, though rarely to anyone else—the exception being when the hero has them cornered, at which point they are quick to justify their actions or put on a show of false penitence. In an odd and less noble way, the Unscrupulous Bastard/Nasty Bitch villain has some elements in common with Strong Leader Heroes, especially in their single-pointed approach to their goals, their impatience with others, and their ruthlessness.
Possible characteristics:
Often someone with power already, or someone who manipulates from within a closed group (family, workplace, community, etc.)
Wants something and stops at nothing to get it
Amoral
May have a grudge or rage against someone or some group
Completely selfish
Probably greedy
Probably self-justified and rationalized
Can be sadistic and take pleasure from the suffering or failure of others
Probably secretly wants to be loved
Has extreme but well-hidden self-hatred
May play roles, pretending to be subservient, obedient, or cooperative in order to gain advantage over others
Everything is about getting what they want
Ultimately a loner, though they need people to manipulate—able to be alone amidst a group
The False Ally is a subtle enemy pretending to be a friend. False Allies can be in a position of authority over the hero—such as the head of the security agency who is, in reality, an agent for the enemy. Or the False Ally might simply be a friend or member of the hero’s organization, an informant, or anyone pretending to be on the hero’s side—maybe even a boyfriend or girlfriend. Ultimately, the False Ally attempts to lead the hero into trouble or onto a false trail.
Possible characteristics:
Friendly (on the surface)
Helpful (where it suits them)
Wears a constant disguise
May occasionally slip and reveal hidden animosity, but covers it up quickly
Works behind the scenes to the hero’s detriment
Probably has a grudge or secret reason for wanting to see the hero’s downfall
May be associated with a hero’s nemesis (or may be the nemesis)
Has contempt for the hero and all like him
Wants to think he is superior
May have self-esteem problems
May not take direct action against hero, but only engage in various betrayals
Must at some point be revealed for what he is
Avenger villains are dedicated to some cause that, to them, is noble or important. The cause was initiated by something horrible that happened to the Avenger or to people who mattered to the Avenger. For instance, a subway accident might have killed the Avenger’s little sister, causing the villain to vow vengeance on the negligent subway company, or something like that. Sometimes, if the hero is involved, the Avenger can also become a Personal Enemy of the hero. Avengers are often a bit unbalanced and become very single-minded in the pursuit of their revenge. They also have a great capacity for justifying even the most horrible actions in the name of their cause. They are very similar to the Fanatic villain, but in the case of the Avenger, the issue is revenge, where in the case of the Fanatic, at issue is a cause or an ideal.
Possible characteristics:
Driven by a self-justified purpose.
The purpose may, in fact, have come from a justifiable cause.
Even where the cause is justifiable, the methods are not acceptable from the hero’s point of view.
Believes that he is righting a wrong.
Tries to get the hero to see his side.
Ruthless against what he perceives to be great evil.
To be a good villain, this character probably has to be driven somewhat mad by his anger/hatred or lust for revenge.
Definitely sees self as the hero.
Sometimes a loner, though not always.
Can be charismatic, or can be antisocial and unskilled with people.
Has a one-track mind.
Shares some qualities with the Fighting Machine hero.
The Fanatic is a lot like the Avenger. In fact, they are practically the same, but the difference is that the Avenger is set on righting a wrong—seeking vengeance—and it is generally something personal. The Fanatic is not necessarily engaged in a war initiated by a personal experience, but by a war of ideas and convictions. The Fanatic is full of righteous zeal and an equal disdain for those who do not share his fanaticism. Fanatics can engage in all kinds of nasty actions, justifying them in the name of their cause. Sometimes whether someone is a hero or a villain is a matter of point of view. The Fanatic does believe in his cause, and he believes it is right. But from the hero’s point of view, it is not right—or, even if it is a righteous cause, the villain’s method of solving it is not right. For instance, the Fanatic villain may have a righteous anger about chemical plants that poison soil or pollute rivers, but from the hero’s point of view, blowing up the plant or assassinating the owner of the plant is probably not an appropriate solution. At any rate, the Fanatic has something in common with many heroes, and Fanatics aren’t necessarily evil. But, being Fanatics, they are unbalanced and generally a bit wacky. And though some of the causes Fanatic villains may stand for are justified, sometimes they simply stand for something completely out to lunch, such as taking a militant stand on dental hygiene or human rights violations against postage stamps.
Possible characteristics:
Is focused on a cause.
Is convinced the cause is right.
Probably isn’t looking for a successful conclusion, but uses the cause as a way to express hatred, rage, frustration, and feelings of victimization.
Is inflexible.
Probably has some deep-rooted rage from childhood.
Shuts out feelings and contradictory thoughts.
Has a low tolerance for ambiguity.
Has no tolerance for other ideas.
May display traits of a spoiled child (who reverts to violence when he doesn’t get what he wants).
Would rather see wholesale destruction than lose.
Some Fanatic villains will consider suicide preferable to losing.
The Rival/Personal Enemy can be almost any kind of villain from this list, but he is distinguished in that he has an intensely personal relationship with the hero, and everything he does is in competition with, or actively aimed at harming, the hero. Unlike the False Ally, who pretends to be a friend, the Rival/Personal Enemy villain pretends nothing and openly admits enmity toward the hero. Even when performing evil actions not directly related to the hero, there is an element of rivalry in what this villain does, and the conflict between the hero and the Rival/Personal Enemy takes on a much more emotional character. There are many possible reasons for this situation, all related to some past relationship. The hero may have gotten the girl. Or the villain may blame the hero for the girl’s death. Or they may have been friendly rivals, but the villain was slighted, became angry, and blamed the hero for his failures. Generally, it boils down to the villain blaming the hero for some offense and essentially declaring a vendetta against him. And, of course, once the hero is seen as the source of all wrongs, then so is the society the hero represents—thus justifying the villain to start a life of crime and/or criminal activities.
Possible characteristics:
Has past history with the hero.
Wants to cause the hero’s downfall or hurt the hero.
Different from the False Ally. This is out in the open.
To be a villain, he must want more than a friendly rivalry, but he sometimes makes it look as if he is no more than a friendly adversary, instead of a mortal enemy.
Can be a man/woman scorned.
Can be someone who thinks he or she deserves the accolades/rewards the hero got.
Often a loner.
Tends to see things in black and white.
Generally inflexible.
Can be subtle (working behind the scenes) or blatant (tries to blow up the hero with a half ton of dynamite wired to his car).
Generally unbalanced by the relationship with hero.
Generally this villain’s attempts to hurt the hero cause collateral suffering and destruction.
May choose to victimize someone close to the hero—a girlfriend, for instance—by using her as bait or threatening her to get the hero to capitulate.
May rationalize hatred for the hero and use it to excuse other crimes.
The Complete Lunatic is simply crazy. Many other villains (and a few heroes, probably) are crazy, too, but whereas other crazy villains have some kind of justification for their craziness and their evil deeds, the Complete Lunatic is totally irrational and unpredictable and may do things for no obvious or logical reason. Although he may or may not appear to be insane on the surface, mentally the Complete Lunatic lives in a fantasy world of his own creation. Despite being a total fruitcake, Complete Lunatics can also be cunning and clever, unpredictable, and very dangerous. For instance, they might drop you from 1,000 feet, not because they mean you harm, but because they think you can fly or because they want to see what happens when you hit the ground. To be an interesting villain, the Complete Lunatic probably has some fantasy about reality that causes him to take antisocial actions requiring the services of a hero.
Possible characteristics:
Unpredictable.
May display wild mood swings.
Individuals can vary from very urbane and normal in behavior to completely wacko.
May seem to be merely eccentric.
Can also be a Mad Genius.
Has a completely distorted but self-referential view of reality.
Actions may seem illogical (for instance, blows up a building at night to watch the pretty flames).
Often cunning and elusive.
If able to seem sane, may have power and even an organization.
May have lost mind after attaining power, knowledge, abilities, etc.
May have moments of clarity or may even have normal emotional responses to some things—for instance, family members or a pet cat.
Lacks empathy, but may parrot it.
May have moments of clarity and even remorse.
The Unseen is an enemy that cannot be seen or easily identified. The Unseen could be a deadly disease from outer space or an invisible killer, a presence that takes over the minds and bodies of its victims, or any of a number of insidious but unseen enemies. As such, the Unseen may or may not be a villain in the human sense, but it is generally distinct from other types of enemies. In the sense that a “villain” is a personified enemy, defining the Unseen as a villain is a judgment call.
Possible characteristics:
Something that threatens the hero or the hero’s world, but cannot be easily identified.
May be of alien origin.
May be a disease.
Is deadly.
Generally does not have human feelings.
May not be intentionally malicious.
Can be implacable.
Knowing the identity of the Unseen is part of defeating it.
It has a weakness, or there is a solution.
Sometimes the solution is simple.
The Unseen can attack the body, the mind, or even the whole person (body snatchers).
The Meek are villains who really seem quite timid or harmless. Little kids can be Meek villains, as can be computer nerds, seemingly innocent young women, or even cute, cuddly puppies. Whatever fools us into thinking it is harmless when it is, in reality, a terrible threat to all we hold dear—that is the Meek villain. Meek villains may have powerful hidden abilities, or they may be more like the Mad Genius type, who can manipulate others and outwit their enemies, all the while appearing to be innocent and ineffectual. Meek villains may also be Sociopaths, Avengers, or Fanatics.
The meekest and mildest person.
Deep, hidden anger, or trauma.
Though he appears meek, mild, and agreeable, he is the real villain. May even be very powerful.
Has similarities to the Sociopath and may share many traits. Typified by the meek, unthreatening demeanor. Nobody would suspect this was a villain.
When revealed, he likes to boast and/or tell his story, justify actions, and so on.
Giant Monsters are generally beasts, such as King Kong or Godzilla, ill-tempered dragons from mythology, or any giant creature that the hero must face. Giant Monsters are usually just beasts, and therefore aren’t really villains in the sense that they have much conscious volition to be evil or to commit evil acts. In fact, most Giant Monsters aren’t really evil at all—they are often victims of Man’s meddling. However, occasionally a Giant Monster is also a sentient creature who opposes the hero, and in such cases, Giant Monsters are also villains.
Possible Characteristics:
Huge
Dangerous
May be non-sentient
Rarely sentient
Sometimes a victim of Man’s meddling
Sometimes a tragic creature that must be sacrificed for the safety of people
Sometimes (rarely) a giant mastermind who is the ultimate enemy of the hero
What if the giant monster were really an incredibly intelligent superbeing instead of the rampaging behemoth that is usually depicted?
Many villains work alone, but others attract a gang (or even a small army) of willing allies. We like to call these allies minions. Now, minions don’t tend to be as interesting as the villains or the heroes they fight. In fact, many of them are sort of one-dimensional caricatures. But that doesn’t mean there aren’t several minion archetypes, and minions often play an important role in a story or game. Some, such as the lieutenant sort, can even have somewhat developed personalities and play larger roles within a game—as mini-bosses and as threshold guardians. (See the upcoming “Functional Character Roles” section.)
What I’ve put in the following list are stereotypical minions. However, that isn’t to say that even within these archetypes, there isn’t plenty of room for creativity and new ideas. Although minions are generally disposable characters lacking in depth, you can provide some of them with more depth and personality and find a way for that to be used in the game. Suppose the hero meets a random minion who turns out to be a scholar and loves playing chess. Engaging the minion in a game of chess might be a way to get out of trouble or gain useful information. There are many possibilities.
Also, although many of these minion types are associated with the “bad” side, many of them could also be a hero’s allies just by shifting perspective. Perhaps if they are on the hero’s side, they would be called allies instead of minions.
Heroes often have sidekicks and allies, but villains, many of whom seek power over others, have a natural tendency to accumulate followers—what we often call minions. Minions are important in game settings, as they give you enemies who pose different levels of challenges and present different possible situations, leading up to the ultimate challenge—the main boss. Here are several types of minions, listed with their possible characteristics.
The Number 2:
May be very loyal to the boss.
May be jealous of the boss.
Sometimes more competent than the boss.
May be highly ambitious, but not bold enough to take power.
May be content with role as second banana.
May see the boss as a father/mother figure.
Can be a more intelligent form of muscle, but more likely a sub-boss with power and many characteristics of one of the villain archetypes.
Could be promoted to boss in a power struggle or in the case of some misfortune to the boss. In this case, the Number 2 should turn out to be worse than the original villain, or the story loses power.
The Lieutenant:
A little stronger and more capable than other minions.
May have special abilities.
May have some ambition. Could be promoted to Number 2 or even to boss in a power struggle.
The Random Grunt:
This is a simple character with no personality, but he is used in a variety of places and is easily expendable.
Different from the Red Shirt, who may or may not have some personality.
The Red Shirt:
Borrowed from Star Trek, Red Shirts are characters with only a little more personality than Random Grunts, but they are expendable, and you can expect them to get killed. Sometimes they are given a small role and a little personality, but still you know they are ultimately doomed. (Note: Red Shirts can be on either side—good or evil.)
The Guard:
Generic character assigned to guard a doorway, entrance, area, or object.
Basically a Random Grunt or Red Shirt with a specific task.
Differentiated from the Jailer in that Guards are not complex enough to guard people.
May be stronger than ordinary Random Grunts.
The Jailer:
Can have personality.
Can interact with the player’s character.
Can be the Muscle or the Sadist if they have some personality, or a Random Grunt or Red Shirt.
Can also be kindly.
Can be corruptible or gullible.
Basically used to guard prisoners.
Can be taken from the existing minion pool—the boss assigns them to the job of guarding some prisoners.
Different from normal guards, who have no interaction with other characters other than to challenge and/or fight.
The Muscle:
Stereotypically intellectually substandard.
Very strong.
A follower.
Lacks subtlety.
Can do a lot of damage and sustain a lot, too.
Undeterred by sentiment.
Will do the dirty jobs.
Can be outwitted but rarely out-muscled.
May have a cute hobby.
May have an attachment to something surprising.
Can form attachments to innocent characters in some scenarios.
Can occasionally have loyalty shifted.
The Sadist:
Basically, a brutal follower of the boss, who gets pleasure out of hurting and/or humiliating people.
Can also be a Number 2 or a Lieutenant.
As a minion, probably isn’t drawn as a very complex character, so no psychological conflicts or redeeming factors. Could be far more complex as a Sociopathic boss.
The Lab Minion:
Generally a mindless drone who can operate the Mad Genius’ equipment.
Sometimes can be a higher-caliber drone with special abilities used to protect the Mad Genius.
Almost always wears a white lab coat, unless a specialized type with specific gear, such as a radiation suit or a surgical outfit.
The Sneak:
Has special abilities to sneak or hide.
Makes a good thief or assassin.
Likes his role as a stealthy character.
Doesn’t have ambition to be boss.
Can have a more complex character description and personal story.
Can have complex psychology.
The Crazy Joker:
Loose cannon.
Prankster (commonly backfires.)
Fun to be around.
A wildcard/almost suicidal.
A gossip.
A loudmouth.
The Family Member:
Will fight to the death for his family.
Will fight to the death for the name of his family.
Feels his family is in some way better.
Respects his elders (Mafia style).
Even if he disagrees with ideals, the family tie will make him do whatever it takes.
Responds to kidnapping (over the top).
Probably reliant on the villain’s money for his own lifestyle.
Another type of family member might be secretly resentful and rebellious toward the family, which would offer different possibilities.
In love with the villain (even if it’s only one way).
Would take a bullet for the villain.
Will treat the villain’s enemies as his own.
Feels as if he can speak for the villain because he knows him so well.
Feels close to the villain, even if he is not really.
The Mole:
A special type of minion who has infiltrated some part of the “good” world.
More complex than most minions, in that he must fill dual roles.
Loyal to the villain or evil cause.
Not the main villain.
Can be found out.
Will be discovered or reveal himself at some point.
May have a complex history and psychology.
May have been co-opted by the villain or may have been placed in role.
In addition to their descriptive archetypes, characters may fulfill certain functional requirements of the story, particularly with reference to their relationship to the hero or, in the case of games, the player’s character. In Christopher Vogler’s book, The Writer’s Journey (Michael Wiese Productions, 1998), he mentions six character functions—essentially distillations of functional character roles mentioned or alluded to by Joseph Campbell in The Hero with a Thousand Faces. (More on Joseph Campbell’s work can be found in the “Joseph Campbell Meets Star Wars and The Matrix” section in Chapter 9, “Storytelling Techniques.”) Some of these character roles should seem quite familiar to game players, particularly the threshold guardians, mentors, and shapeshifters, though perhaps we in game design do not necessarily consider them in a literary light.
The following sections describe functional roles that characters can play within a story, and those same characters may take on one or more of these roles at different times. These are not hard-and-fast archetypes, but simply functional parts of a story as exemplified often by characters, but also by events and even subtler means.
Vogler identifies six functional archetypes: Mentor, Herald, Threshold Guardian, Shapeshifter, Shadow, and Trickster. Although I highly recommend reading both The Hero with a Thousand Faces and The Writer’s Journey, following are my brief summaries of these six functional roles, particularly as they might appear in games.
The Mentor, which Joseph Campbell called the Wise Old Man or the Wise Old Woman, is the guide, often the one who sets the hero on his path of adventure and who protects and helps him learn what he needs—up to a point. At some point, however, the hero must go it alone. This is seen in many stories, such as Gandalf in The Lord of the Rings, Obi Wan and Yoda in Star Wars, Morpheus in The Matrix, and other equally obvious examples. But Mentors need not always be so clearly drawn, nor do they need to be old. Young children (“out of the mouths of babes...”) and even the village idiot can be Mentors. Mentors can also be any character who comes with a bit of guidance for the hero in need, and they can appear at any point in the story. Characters can fulfill the function of Mentor even when they have other roles in the story. In fact, even a villain can be a Mentor at some stage of the story, offering some tidbit of advice to the hero in a confrontation that might turn out to be useful. In games—particularly in Role-Playing Games—the Mentor character is almost essential. In other games, such as a Real-Time Strategy game or a First-Person Shooter, the Mentor may be absent all together. Whether there is a Mentor character depends to some degree on how story-based the game is. Games with minimal story are less likely to include a Mentor role. Note that the Mentor character can often shift roles, becoming at different times a Threshold Guardian, a Herald, a Shapeshifter, or even the Shadow.
The Herald role calls the hero to action. The Herald is not necessarily a character in the story, though it can be. It can also be a force of nature, such as the looming storm in The Day After Tomorrow or the holographic message from Princess Leia that propels Luke Skywalker into the story. Something has to signal a change to take the hero out of the ordinary world and into the world of adventure, be it a character, an event, or possibly a revelation or truth previously untold. In essence, the Herald provides motivation for the hero, and as such it can be anything that fulfills that function. In some stories, the Mentor is also the Herald, as in The Lord of the Rings where it is Gandalf who impels Frodo into the adventure (and who previously had done the same with Bilbo in The Hobbit). Although some games more or less drop the player into the unfamiliar world of adventure without any “ordinary world” experience, many games do, in fact, begin with the player’s character in a familiar world, only to propel him into adventure by means of some event—for example, the princess has been kidnapped—or some new information, such as “you are the Chosen One, and if you don’t take up this magic sword and defeat the great evil, the world as we know it will come to a fiery end.”
Every gamer is familiar with the role of the Threshold Guardian, which occurs in many forms in games. Level bosses are among the most obvious examples, but NPCs who hold some necessary item or information often appear as Threshold Guardians as well. In some ways, any barrier to the hero’s advancement is a Threshold Guardian, even a river or mountain range. Even a character who is otherwise an ally could, under the right circumstances, become a Threshold Guardian. Remember, these archetypes are roles and functions within a game, not fixed and inflexible character descriptions. They act in fluid ways within the story.
In games, the response to a Threshold Guardian is dependent on circumstances, but likely as not, if it can be shot or otherwise destroyed, that’s the answer. But in stories, the Threshold Guardian functions to test the hero and to facilitate his growth as a character. And getting past the Threshold Guardian is often a matter not only of brawn, but also of brains. In some cases, it might even be possible to convert a Guardian character into an ally or fool him into doing what you want him to do. So when you recognize the functional relationship of a character in a game as that of a Threshold Guardian, consider options beyond the simplistic approach of always fighting and destroying and consider alternative approaches that test the player’s character in other ways.
The Shapeshifter role is often (though not always) someone of the opposite sex to the hero who may shift in various ways—in allegiance, in attraction, in appearance, and so on. The Shapeshifter may literally change forms, something that happens reasonably often in games. But that is only one aspect of the Shapeshifter role. A more interesting aspect is the role of a character who is difficult to define and whose motivations are confusing or suspect or whose future actions cannot be predicted. Characters in Alfred Hitchcock’s movies are often Shapeshifters. And, of course, the player’s character (the hero) can also take on the role of Shapeshifter as required. Functionally, the Shapeshifter creates suspense, intrigue, and uncertainty in the story. For instance, Aragorn in The Lord of the Rings begins the story as a shadowy and mysterious, even somewhat frightening figure the Hobbits call Strider. But in the course of the story he becomes the noble Aragorn, heir to the throne of Gondor, and by the end of the story he is the King returned. This is an example of a Shapeshifter who goes from foul to fair, so to speak. But then there are characters who seem fair but are truly evil—such as Saruman in The Lord of the Rings, who appears to be a great and good wizard, but who is corrupted and ultimately evil. The infamous femme fatale of many stories is a Shapeshifter who appears desirable and accessible to the hero, but is devious, dangerous, or even psychotic. Nor do Shapeshifters have to be on the poles of good and evil. They can also exist in the gray areas where they may be neither all good nor all evil, but shifting around the light and shadows of the hero’s journey.
In its simplest form, the Shadow is the function of the villains of the story, but that’s overly simplistic. The Shadow is every element of the darker side of the story, including the hero’s own dark side. Every character—every person—has a dark side to his nature, just as every person also has something of the good in him. Villains can have redeeming qualities and even admirable traits. Heroes can carry storms within them. In a good story, the outer Shadows, as represented by the villains and antagonists of the story, may often have their counterparts within the psyche of the hero himself and/or some of his closest and most trusted allies. Exploring the inner darkness is a good way to deepen a story and can add complexity and interesting game design opportunities. Especially interesting is the repressed Shadow that lurks within every character. How could you unleash the Shadow in an otherwise upstanding, moral, and ethical hero? How then would the hero react? Or, what if you unleash the repressed darkness within one of the hero’s allies? How might that change the game? How might that aid or hinder the efforts of the hero?
The Trickster is often the comic relief in a story, but it can be much more. Depending on circumstances, the Trickster can also be a mentor or a dangerous enemy. There are several mythological Tricksters, such as the Native American Coyote and the Norse Loki, who were far more than simple jokers. In Christopher Moore’s humorous novel, Coyote Blue (Simon & Schuster, 2008), the Trickster Coyote wreaks havoc on the life of the main character, but in the end functions as a mentor by forcing him to face the truth of his life and the lies he has been telling himself. Of course, Batman’s Joker was also a trickster...and an archenemy. One of the primary roles of the Trickster character is to shake things up. At times you could see Han Solo as a Trickster, though that wasn’t his only role in Star Wars. But he did provide some humor and an unpredictability that tended to shake things up. Some game heroes, particularly those who are derived from cartoonlike characters, have a lot in common with the Trickster type of character, being funny and mischievous in nature. In other games, the Trickster would have to be someone other than the hero. Many games seem to have no Trickster character at all, which leaves me wondering if this archetype couldn’t be more widely incorporated into game stories with good results.
The application of these six functional character roles is a matter of story structure more than personality development. And these six functional roles are only basic archetypes. As there can be many types of hero and villain, there can be many functional roles within stories and games. For instance, in games there are often allies who serve functional roles within a group—such as mages, archers, tanks/fighters, healers, and so on. These are less story-oriented roles than roles of functional action, but they are common game-related roles, nonetheless. And of course, this list doesn’t include the victim role. There are often victims in games who, similar to Heralds, serve to motivate the hero to rescue or avenge them or as proof of the necessity of taking action against the persecutors. Seeing characters in terms of the functions they fulfill within the story context and seeing those functions as fluid and flexible roles the characters may play can further clarify the way you might use characters within a game, particularly one where story is used significantly.
People are always studying people, which results in lots of theories about people, their behaviors, and their personality types. As a consequence, people have come up with many personality typing systems to try to describe and categorize people in some meaningful and predictable way. There are clearly too many such systems to examine them all here. Some are old and some are new. Some are well-established, such as the Myers-Briggs Type Indicator (MBTI) tests, and some have become increasingly popular, such as the Enneagram.
I hope you’ll recognize that this section is nothing more than a reference of qualities that some people believe describe whole personalities. You can use it to help you round out your characters. For instance, if you have someone you want to create who is a deep thinker, introspective, and perhaps a bit antisocial, you might find some additional traits that go well with that type of character by looking at both the Myers-Briggs and the Enneagram systems. Or you might simply find some interesting types of character traits by browsing this section.
Be aware that these lists of qualities often deal with both the positive and the negative, with the abnormal and the stressed, the healthy and the unhealthy versions of these personalities. No one person would necessarily exhibit all the traits attributed to one of these personality designations. However, under stress, people are more likely to reveal their more negative traits. At the same time, stressful situations may incline healthy characters to respond with their most admirable and positive qualities. Villains may be seen as characters who have turned the traits of their characters toward antisocial activities, perhaps because they have accentuated the negative qualities of their personalities or perhaps because they have misinterpreted events or misapplied their positive qualities.
Also, some of the personality types listed in this section may seem less interesting or less likely to produce interesting and dynamic character types, but those may be the very ones you can use to create characters who defy stereotypes and who are more original.
Finally, I don’t necessarily think any of this information is true. I just think you can learn from all kinds of sources—the more varied and off the beaten path, the better.
The Myers-Briggs tests are based originally on work by Carl Jung, which divides people into sets of paired opposite qualities. These are organized by function as follows:
Relating | Information | Decisions | Ordering |
|---|---|---|---|
Extravert | Sensing | Thinking | Judging |
Introvert | Intuitive | Feeling | Perceiving |
The following tables show the basic characteristics and qualities for each function.
Relating Extraverted (E) | Introverted (I) |
|---|---|
Outwardly focused | Inwardly focused |
Interaction with others | Reflective thinkers |
Easily shares thoughts | May appear reserved, quiet, thoughtful |
Likes company | Needs solitude |
Many friends, makes friends easily | Few friends, cautious about new relationships |
Uninhibited | Inhibited |
Action, people, things | Ideas, feelings, impressions |
Manager, salesperson | Librarian, legal secretary |
Information Gathering Sensing (S) | Intuitive (N) |
|---|---|
Factual, data from environment | Perceives patterns and relationships, hunches |
Joe Friday (Dragnet) | Albert Einstein |
Here and now | Past and future |
Practical | Imaginative |
Realist | Idealist |
Literal | Figurative, metaphorical |
Simple | Complex |
Traditional | Innovative |
Banker, surgeon, pilot, police | Artist, scientist, poet, reformer, philosopher |
Decision Making Thinking (T) | Feeling (F) |
|---|---|
Objectivity and logic | Harmony, relationships |
Can be close-minded | Persuasive |
Serious | Loose |
Requires order | Can thrive in disorder |
Hardworking | Flexible about work |
Very responsible | Can be irresponsible |
Perceiving (P) | |
|---|---|
Quick to action | Takes time |
Decisive | Adaptable |
Task-oriented | Flexible, curious |
Completion of tasks | May start many, but not finish all |
By creating a dominant and secondary characteristic for each personality, the system comes up with 16 different personality types, each with a specific four-letter abbreviation, as follows:
Dominant and Secondary | Abbreviated As... |
|---|---|
Extraverted Sensing and Introverted Thinking | ESTP |
Extraverted Sensing and Introverted Feeling | ESFP |
Introverted Sensing and Extraverted Thinking | ISTJ |
Introverted Sensing and Extraverted Feeling | ISFJ |
Extraverted Intuitive and Introverted Thinking | ENTP |
Extraverted Intuitive and Introverted Feeling | ENFP |
Introverted Intuitive and Extraverted Thinking | INTJ |
Introverted Intuitive with Extraverted Feeling | INFJ |
Extraverted Thinking with Introverted Sensing | ESTJ |
Extraverted Thinking with Introverted Intuitive | ENTJ |
Introverted Thinking with Extraverted Sensing | ISTP |
Introverted Thinking with Extraverted Intuitive | INTP |
Extraverted Feeling with Introverted Sensing | ESFJ |
Extraverted Feeling with Introverted Intuitive | ENFJ |
Introverted Feeling with Extraverted Sensing | ISFP |
Introverted Feeling with Extraverted Intuitive | INFP |
The interpretation of these 16 personality types covers some range, and not all sources have the exact same interpretations, but here’s a brief overview:
ESTP (Extraverted Sensing Thinking Perceiving): Adventurer, artisan, idealist, guardian, thrill, risk
Downside:
May avoid planning ahead, can be disorganized and frantic
Can rely too much on humor and seem insincere in doing so
May neglect commitments
Fail to understand how their behaviors may affect others
Feel dead inside if there’s not enough excitement
Under stress, they can create scenes and trouble with others
May be very competitive
Speaking before thinking
Not looking at a situation deeply enough
Flitting from one project to another without coming to completion
ESFP (Extraverted Sensing Feeling Perceiving): Performer, the joker, life of the party, storyteller, fun, generous, independent, fesourceful
Downside:
Failure to plan ahead
Can be distracted by social interests
Can feel hurt if their warmth isn’t reciprocated
Can become overcommitted
Often lack the ability to see logical consequences
Often lack objectivity and see life in personal and subjective terms
Can disrupt others by socializing too much
Resistant to rules and restrictions
Can become bored, restless
Can become self-destructive
Can be highly judgmental against others
Value immediate gratification over long-term results
Avoid conflict or direct confrontation
Avoid working alone
Doesn’t always take care of self
Takes things at face value
ISTJ (Introverted Sensing Thinking Judging): Duty, punctuality, loyalty, honesty/integrity, the inspector, simple, dependable
Downside:
Keep things to themselves
Can seem cold
Can be self-absorbed when solving problems, to the exclusion of those around them
ISFJ (Introverted Sensing Feeling Judging): Nurturer, service to others, conventional, personal loyalty, hardworking, conscientious, shy about self-aggrandizement, reluctant to express anything that would disturb someone else
Downside:
Can be overwhelmed while caring for others
Not always capable of making their needs known or putting them at the forefront
Can become resentful or hypercritical
Can be pessimistic
ENTP (Extraverted Intuitive Thinking Perceiving): Energetic, interested in anything new, see patterns, problem solvers, great talkers, imaginative, sees possibilities, improvisers, sometimes artists and performers
Downside:
Can overwhelm quieter people
Can get involved with too many projects
Can move too fast from one thing to another
Can be defensive
Can use natural expressiveness and energy against others when stressed
Doesn’t do well with routine tasks
ENFP (Extraverted Intuitive Feeling Perceiving): Love of anything new, people-oriented, energetic, enthusiastic, spontaneous, flexible, adaptable, good with words, innovative metaphorical, see patterns, may be artists/performers, the strategist, “Variety is the spice of life”
Downside:
More interested in what’s new than in completion
Needs a lot of freedom
Can become overcommitted
Sometimes lacks organization—seat of the pants
Can become critical
Can become a bully in stressful situations
INTJ (Introverted Intuitive Thinking Judging): Insightful and logical, visionary, systematic, task-oriented, creative, future-oriented, perseverant, sees patterns, original, works hard to realize dreams, highly independent, ignores rules that don’t agree, loner
Downside:
Can be overly critical of others
Can be too truthful
Not good at delegating
Not good at reinforcing others
Can be highly rejecting
Can be stubborn in defense of his ideas
May not listen to criticism
INFJ (Introverted Intuitive Feeling Judging): People-oriented, intuitive (inner world of ideas and possibilities), creative, compassionate, visionary, loyal, idealistic, seeks harmony, persuasive, open-minded, independent, leaders
Downside:
Can be too independent
Can present ideas as if they were complete and not open to discussion
Hypersensitive to criticism
Perfectionist
May not criticize others, even when justified
Can turn others off with their idealism
Can become hypercritical when stressed
Can fail to understand that others may have differing opinions or beliefs
ESTJ (Extraverted Sensing Thinking Judging): Pragmatic, ordered, logical, systematic, responsible, serious, takes charge, analytical, direct, fair, hardworking, impersonal (on tasks), rule-driven
Downside:
Narrow focus (not interested in anything that doesn’t seem relevant to the task at hand)
Can expect others to conform to the rules
Can be inflexible and close-minded
Can be withdrawn under stress—or the opposite
Must make decisions, even when lacking data or the timing isn’t right
Not interested in the conceptual side of things
Sees things often in terms of black and white values
ENTJ (Extraverted Intuitive Thinking Judging): Analytical, logical, future-oriented, abstract, leader, prefer structure and organization, hardworking, persistent, good executive
Downside:
Can be blunt
Can be insensitive
Can be impatient
Can bottle up feelings until they explode
May seem detached from close personal relationships
Can withdraw if hurt
Can forge ahead too quickly under stress
Can show intolerance for those who don’t share their high standards
ISTP (Introverted Sensing Thinking Perceiving): The thinker, logical, analytical, critical, realistic, troubleshooter, observant, pragmatic, cautious, independent, curious, precise, principled, adaptable, impulsive, adventurous
Downside:
Can appear aloof
Cautious around people
Can be too oriented to current situations, ignoring the long term
Can go overboard with efficiency
Can have difficulty communicating what’s important to them
Can be hypersensitive
Can become reckless
Can be pessimistic
Can be resentful of others and can become blaming
INTP (Introverted Intuitive Thinking Perceiving): Creative, original, conceptual, logical, analytical, theoretical, detached, curious, flexible and adaptable lifestyle, objective, involved, good explainer, reflective
Downside:
Does not communicate thoughts or feelings well
Does not always express justifiable criticism
Does better with impersonal situations
Self-absorbed
Complex ideas sometimes defy explanation
Stubborn about being right and about doing things the “right” way
Intolerant of others’ failures or lack of high standards (from the INTP’s point of view)
Can become hypersensitive and blaming
Can turn blame on self
Not good with anything ordinary or routine
ESFJ (Extraverted Sensing Feeling Judging): Harmony, caring, service to others, expressive, empathetic, humanitarian, guided by values, duty, loyalty, conscientious, relationship-oriented, helper, good communicators, gracious, adaptive to environment, cheerleader
Downside:
Can over-idealize others they admire
Needy for approval
Takes on the values of those around them, not necessarily creating an individual approach
Can try too hard to please
Can subvert own feelings and needs in order to accommodate those of others
Can become bossy
Can become demanding
Can be depressed
Can make snap decisions when too stressed
Can become rigid and stubborn
ENFJ (Extraverted Intuitive Feeling Judging): Caring, harmony, empathetic, humanitarian, social, active, gets things done, team player, good communicator, takes on values of those around them, natural leader (in media and politics, for example), deals with possibilities, promotes wellbeing of others
Downside:
Can be pushy
Can ignore reality in favor of goals based on personal values
Can be hypercritical
Can shy away from conflict
Doesn’t like criticism
Can ignore the feelings of others
ISFP (Introverted Sensing Feeling Perceiving): Caring, adventurous, playful, adaptable, insightful, patient, here and now, free spirit, good listener, realistic, idealistic, empathetic, individualistic, not rule-oriented, high standards, can be activist, can be artistic, demands integrity, tolerant, open-minded, likes to read, aesthetic, good in groups (good followers)
Downside:
Sometimes fail to express appreciation for others (though they may feel it)
Can work too hard for the benefit of others, to their own detriment
Can be overly trusting of others
Can fail to communicate their thoughts and feelings
Can become overly critical
Can be pessimistic
Can be bossy
Can become paranoid
INFP (Introverted Intuitive Feeling Perceiving): Caring, idealistic, good communicator, adaptable, visionary, sensitive, discreet, personal and individual values, moral, demand integrity, good listener, likes to read, tolerant, open-minded, can be activist, seeks unity, good listener, mediator, can work well alone
Downside:
Can seem aloof; sometimes fails to demonstrate warmth that is felt
Can be overly perfectionistic
Can spend too much time preparing before actually acting
Can become too emotionally involved, vulnerable
Can seem out of touch with reality
Can be hypercritical
Can become picky (about unimportant issues)
Another personality type method is called the Enneagram, a modern system that claims to be based on a synthesis of ancient traditions. Whereas the Myers-Briggs system is primarily about how people function in the world, the Enneagram is more focused on people’s motivations in their lives, and for that reason, there aren’t any easy and surefire one-to-one equivalents from one system to another.
The Enneagram divides people into nine types:
Perfectionist/Reformer
The Giver/The Helper
The Performer/The Motivator/The Achiever
The Romantic
The Observer/The Thinker
The Skeptic (a.k.a. The Loyal Skeptic)
The Epicure/The Enthusiast
The Boss/The Leader
The Mediator/The Peacemaker
The naming of these nine types varies from one source to another, but often they are referred to by number. For instance, the first type, which is sometimes called the Reformer or the Perfectionist, is always referred to as Type 1 or a One. (And no, this isn’t The Matrix, and we’re not necessarily talking about “The One,” though an Enneagram One might like to be “The One.”) The second type is generally referred to as Type 2 or a Two, and so forth.
Some people further subdivide these nine types into three categories:
Heart/emotional types: 2, 3, 4
Head/thinking types: 5, 6, 7
Gut/instinctual types: 1, 8, 9
You might be able to use these nine personality types to further refine a character you are creating or to give him qualities that are consistent with this system. For instance, it is easy to see the Eight (The Leader) in the role of hero or villain. In fact, many of the traits attributed to the Eight are recognizable as common traits in megalomaniacal villains. However, it is a more interesting challenge to take some of the other Enneagram types and consider how they might fill the roles of characters in your games. Think, particularly, in terms of their extreme responses to conditions and changes in life. Are they protective? Are they self-absorbed? What can make their actions change in extreme ways? How might they act?
Here are a few characteristics often associated with each of the nine Enneagram types:
The Perfectionist/Reformer
Is action-oriented
Is a perfectionist
Is a reformer
Judges
Is a crusader
Is a critic
Seeks perfection and tries to fix what’s wrong
Feels disappointment when his high standards are not met (by self or others)
Works very hard and expects others to work as hard
Takes things too seriously
Compares self to others
Avoids making mistakes
Has integrity
Can become obsessed with the pursuit of self-worth through accomplishments and being right
Can be driven and ambitious
Can be tense
Can have a hard time relaxing
Avoids emotional responses, can be emotionally repressed
Is intelligent
Is independent
The Helper/Giver
Wants to be needed
Avoids disappointing people
Makes friends easily
Is generous and caring
Is selfless, but proud of it
Is afraid to seem selfish
Thinks love is the highest ideal
Is perceptive about others and their needs
Can have a good sense of humor and enthusiasm
Fears rejection and obtains self-worth by helping and being acknowledged
Does not always take care of self
Finds it hard to say no
Believes you must give to receive and you must be needed to be loved
Is practical
Is emotional
Can think something is owed to them for what they give
Can become dark, hysterical, irrational, or abusive under extreme cases of disappointment or despair
Can fail to take care of themselves while overly caring for others
Requires external validation
Is optimistic
Is a good provider
Adjusts well to misfortune—forges ahead
Is competitive
Is hardworking
Can be charismatic
Knows what’s up
Gets things done
Is a good motivator
Is impatient with incompetence
Fears failure
Thinks second best isn’t good enough
Is image-conscious—it’s important what others think of him/her
Must be “on” all the time
Ignores feelings
Can have problems with intimacy
Can be narcissistic
Can become ruthless
Can confuse appearances of success with real happiness
The Romantic/The Individualist
Identifies with self as different or unique
Deeply feels emotions
Easily communicates emotions
Finds meaning through connections with people
Often feels disconnected when alone
Aspires to nobility, truth, and beauty
Is creative
Is passionate
Is intuitive
Has a good sense of humor
Creates a personal and unique approach to life
Needs self-expression
Is often artistic and creative
Can feel superior to others because they perceive themselves as unique
Can feel personally flawed because they perceive themselves as unique
Is aware of the feelings of others
Is susceptible to depression, despair, and emptiness
Has low self-esteem
Is generally self-absorbed
Can become highly self-indulgent
Often thinks a solution to their problems will come from outside, not inside
Capable of feeling guilty if he/she disappoints someone
Tends to feel hurt in conflict with others
Can be moody and temperamental
Has high expectations overall
Fears abandonment
Seeks some ideal of love or life situation
Fears being ordinary or unlovable
The Thinker/The Investigator
Is sage
Is objective
Is voyeuristic
Has high integrity
Often lacks social skills
Can act defensively
Can seem like a know-it-all
Becomes distant when uncomfortable
Fears they can’t be competent enough
Most comfortable in their own world of thoughts
Can be artistic
Is individualistic
Is sometimes eccentric
Is shy
Is not comfortable in the world of emotions
Is reluctant to seek help
Due to feelings of inadequacy, can adopt compensating attitudes (unrealistic nonchalance or intellectual arrogance) that drive people away
Can become irritated when forced to repeat things
Likes seclusion and privacy
Doesn’t like big, loud groups
Can be devoted to long-term friends, if intimacy is achieved
Is perceptive
Feels “different”
Sees cause and effect
The Skeptic/The Loyalist
Is motivated by deep-rooted fear
Is rebellious
Is cooperative
Is loyal to family and friends
Is responsible
Works hard
Is a good troubleshooter
Is compassionate
Is intellectual
Is a nonconformist
Is witty
Is direct
Is assertive
Has difficulty with decisions
Procrastinates
Has a fear of failure
Has anxiety
Has low self-esteem
Worries
Is on the lookout for danger (hypervigilant)
Seeks something or someone to believe in
Is slow to trust
Once trust is given, is hyper-loyal, even when inappropriate
Has fear of fear itself
Is self-critical
Seeks security and faith
Avoids uncertainty
Lacks spontaneity
Can be highly phobic or equally counter-phobic, depending on the strategies that they adopt to deal with fear
The Enthusiast/Adventurer
Is energetic
Is optimistic
Likes companionship
Is individualistic
Is spontaneous
Is a free spirit
Is outspoken
Is skilled in multiple areas
Is generous
Is altruistic
Seeks a path
Is playful
Is self-promoting
Is self-centered
Is a risk-taker
Is future-oriented
Keeps options open
Is a quick thinker
Is extraverted
Is creative
Is open-minded
Has a sometimes obsessive pursuit of pleasure
Is prone to addictive behaviors
Has a high self-image
Suffers from feelings of entitlement
Avoids difficult emotional states
Dislikes boredom
Fears incompleteness
Wants to do everything
Can be unreliable
Doesn’t always finish things
Has trouble with commitment
Feels trapped in relationships that are too close
Can suffer from anxiety disorders
Can suffer from depression
Is independent
Is the master of his/her own fate
Is highly focused
Has courage
Is honest
Is defiant
Is a maverick
Is a protector
Is a boss
Is self-reliant
Is strong-willed
Is decisive
Feels invincible
Has strength
Is practical
Has powerful physical appetites
Is self-indulgent without shame or guilt
Is supportive of others
Prefers financial independence
Protects others
Works for causes
Seeks a higher truth
Pressures self
Can be overly blunt
Fears humiliation
Fears vulnerability and weakness
Has difficulty with intimacy
Has significant trust issues
Can inspire close allies
Is highly reactive to betrayal
Disdains the mediocre
Focuses on power and influence
Gets impatient with incompetence
Is inclined toward anger, which can become rage under extreme conditions
Can find enjoyment from intimidating others
Will bulldoze weaker people who stand in their way
Can be brutal
Can be dangerous
Wants appreciation from others
Tends to remember slights, injuries, and injustice
Expects people to live up to high standards
Can be histrionic
Demands loyalty
Can be “bigger than life”
May have a sentimental side, but rarely lets it show
The Peacemaker
Needs peace and harmony
Avoids or fixes conflict
Is conciliatory
Is introverted
Tends to withdraw somewhat
Tends to be accepting of others
Likes to be cared for
Hates to be overlooked or unappreciated, but suppresses feelings
When feelings overflow, may explode in quick bursts of temper or become temporarily uncooperative
Can feel great but unexpressed sadness
Shows concern for others
Is relaxed
Is easy to be around
Is reliable
Is self-effacing
Can tend to blend in with the people around them, diffusing their own personalities
Is likeable
Is optimistic
Seeks unconditional love
Seeks union with others
Can see many sides of an issue
Is very aware of what’s going on
Is adaptable
Loves nature
Has a sense of belonging
Can seem indecisive or too laidback
Sometimes resists change, but ultimately is adaptable
Is unassuming
Can be self-critical, especially around issues of self-discipline and taking initiative
Sometimes doesn’t know own needs/desires
Thinks image is important—what do others think of them?
Can be ignored or not taken seriously
Dislikes outside pressure
Seeks harmony, avoids discord
Prefers simplicity
Note
The information in this section is not intended to be complete. It could be useful, but it is by no means exhaustive. Consider this a summary of the (primarily nonverbal) emotional and mental signs that can be observed and that can, in theory, be applied to digital actors in games.
Years of study have shown that only 7 percent of all communication is verbal. Thirty-eight percent is conveyed through tonal qualities of voice, such as how loud or soft, how fast, and other subtleties. Fifty-five percent is from body position, posture, gestures, and facial expression. For that reason, the development of artificial characters can be substantially improved by paying attention to the 93 percent of the information we receive that is nonverbal.
The information in this section is not necessarily true in all individual instances. These are generalities based on observation and drawing from techniques such as NLP (neuro-linguistic programming). Even though something on this list can often turn out to be true, specific individuals may behave quite differently, and these guidelines may be completely unreliable in those specific cases. This information can be useful in creating more realistic characters, however—particularly contrasting characters under duress—and giving them realistic nonverbal behaviors, but in no way would this be applicable to real-world use without training.
One phenomenon that can occur when people interact is called rapport. Rapport is an indication that people are in some kind of conscious or unconscious harmony with each other. Rapport can manifest when people are positively connecting, leading to more effective communications, or when people are in conflict. For instance, people can be in rapport when angry with each other, which doesn’t lead to more effective outcomes, but does mean that they are connecting in unconscious disharmony. In games, the signs of rapport—or the lack of those signs—can be used to more realistically depict the interactions between NPCs or even between the player’s character and other NPCs. It would be more difficult to implement these indications in player-to-player interactions in multiplayer games, though probably not impossible.
The following list includes some of the more obvious and observable manifestations of rapport:
Breathing in synch
Head/shoulder tilt matching
Overall body posture matching (such as leaning toward or away from each other, crossed limbs, and so forth)
Gestures matching
Rates of movement matching
Rates of speech matching
Paraverbal patterns—non-word sounds, such as “um” or “uh”; also overall tone, timbre, intensity, volume
Shared word or phrase uses—same language patterns
People receive information from the sensory systems, such as sight, sound, touch, taste, and smell. The ways that the brain sorts and codes this information are known as modalities or representational systems, which means our five senses. The modalities most commonly observed with regard to people’s behavior are visual, auditory, and kinesthetic. Within each of these modalities, there can be many submodalities; for example, in the visual modality some submodality examples are distance, size, shape, color, light, foreground/background. In auditory modalities, some submodalities include volume, rate of speech, timbre, pitch, tempo, and so on. In the kinesthetic modality, submodalities include pressure, duration, temperature, density, and so on.
We are using all five senses all the time, but we are only conscious of one or two in any given circumstance. And even then, people will almost always have one that is favored—one that is more dominant in their experience, in their awareness, and in their processing. This is normal and natural, and it is also a good news/bad news situation. As an example, it’s good news that visual artists have great sensibilities for light when they work, but it’s bad news when they are in a situation where they need to hear clearly. They may be looking when it might be more effective to listen. People are creatures of habit, and they default to one modality over another. Nevertheless, all the data is there all of the time.
The methods described in NLP are:
Visual. Using the visual senses to gather and process information.
Auditory. Using sound at any and all levels to process information.
Kinesthetic. Gathering information through the physical—the body—and through feelings.
Auditory Digital. This is a specific type of auditory processing that is characterized by a very flat, emotionless attention to detail—in this sense, something like Mr. Spock from Star Trek. But Spock is not a complete example because, in addition, there is an extremely specific connection of meaning to words, such that a person processing in this modality simply does not relate to any other word. They literally do not experience a situation without the specific word or words to describe it. If you ask them, “Are you angry?” and the word they think describes their experience is “frustrated,” they will simply say they are not angry. They are not attempting to lie or misrepresent. It is simply that only the word “frustrated” will do. So if you ask them, “Are you feeling frustrated?” they will say, “That’s it!” Literally, in the absence of the correct word, their experience is on hold.
Barring physical impairment, people use all of the representational systems simultaneously. What is most useful and significant in terms of character design in games is that the predominant modality a person is using is observable through their unconscious body language and through the specific speech patterns (words, expressions, and paraverbals) they are using at the time.
It bears repeating that these are not exclusive methods. Someone can obviously be watching (using visual) while listening (using auditory) and sensing/feeling (using kinesthetic) simultaneously. However, it is often true that someone is using one of these predominantly, and it is this fact that can be used in character design to further distinguish one character from another.
For the purpose of character design, these modality habits, or preferences, can be used to further distinguish one character from another—creating more variety and individuality among the characters you create. Here are some very general aspects of someone who is using visual, auditory, or kinesthetic.
Visual
Expressions. “We saw eye to eye.” “She has a sunny disposition.” “I’m feeling a little blue today.”
Voice Tone/Speed/Volume. High and clear, rapid and loud, sometimes staccato.
Tempo changes. Quick bursts of words.
Breathing Level and Rate. High in chest; rapid, with cessation between breaths.
Postures. Neck extended, straight, erect; head and shoulders up; hands behind head, very still; watching with little or no movement.
Movements. Tight, jerky.
Gestures. Points while talking, gestures tend to be upward in direction, arms extend, often observes with chin down and eyes high in sockets.
Eye Accessing Cues. Eyes up left, eyes up, eyes straight ahead (defocused).
Eye Elevation. Above others’ eyes.
Looking While Listening? Has to look in order to listen.
Lower Lip Size. Thin, tight.
Muscle Tension. Tight shoulders and abdomen.
Facial Color. Pale or waning.
Memory. Quick, fast forward/fast reverse/freeze frame in slide or movie form.
Auditory
Expressions. “That rings a bell.” “I hear you.” “That rings true.”
Voice Tone/Speed/Volume. Clear, melodic, expressive, resonant.
Tempo Changes. Even, rhythmic.
Breathing Level and Rate. Even breathing over whole chest area; cessation and long exhale.
Postures. Body slightly leaning forward (external orientation) or back (internal orientation); head well balanced or slightly at an angle; hands in pockets, head tilted down.
Movements. Rhythmic; some part of the body moving like a metronome.
Gestures. Touches face, hands toward mouth, cups ear.
Eye Accessing Cues. Laterally left or right.
Eye Elevation. Often diverted, down to listen.
Looking While Listening? Often looks away, avoiding visual stimulus—does not have to look to listen.
Lower Lip Size. Variable.
Muscle Tension. Even, with rhythmic movement.
Facial Color. Varies between visual and kinesthetic.
Memory. Sequential/whole chunks—rhythmic access.
Kinesthetic
Expressions. “I’m finally on an even keel.” “He just can’t seem to get a handle on it.” “This just feels perfect.”
Voice Tone/Speed/Volume. Low, airy, slow, soft, deep.
Tempo Changes. Slow, long pauses.
Breathing Level and Rate. Low in stomach, slow.
Postures. Neck extended, curved, centered, and bowed head; shoulders down, slouching, blocky.
Movements. Loose, flowing, a lot of movement, wants to stand or sit close to others.
Gestures. Behavioral representation of what is being said, or palms turned up, arms bent; touches others while talking or listening (within cultural norms).
Eye Accessing Cues. Eyes down to non-dominant side.
Eye Elevation. Below others’ eyes.
Looking While Listening? Rather touch than look.
Lower Lip Size. Full, soft.
Muscle Tension. Not too much tension.
Facial Color. Increased, fuller color.
Memory. Slower; muscle memory; knows answer immediately, but takes time to articulate it.
Auditory Digital. (This is a specific case of the auditory processing submodality, but when people are using this as a representational system, they exhibit unique and observable characteristics.)
Expressions. “That doesn’t add up.” “I understand.” “Yes, we complemented each other well.”
Voice Tone/Speed/Volume. Consistently clipped, monotones.
Tempo Changes. Generally none.
Breathing Level and Rate. High in chest, barely breathing.
Postures. Arms crossed, hands together; erect/rigid body, controlled, head up; often leaning to one side; resting head on hands or hands near mouth/chin.
Movements. Rigid, stiff.
Gestures. Controlled, minimal, counts off fingers.
Eye Accessing Cues. Laterally right or left, or down on the non-dominant side.
Eye Elevation. Gazes over others’ heads.
Looking While Listening? Rarely makes eye contact.
Lower Lip Size. Thin, tight.
Muscle Tension. Tense.
Facial Color. Minimal, gray.
Memory. Sequential, whole chunks.
In addition to rapport and the various representational systems, there are many ways to “read” people and therefore many ways to represent them in digital characters. Here are some additional elements you can consider when animating realistic characters. Some of this information is quite subtle, but to the extent that you can accurately incorporate these elements into a digital character, they will further the sense of realism in the game and the characters involved. Even untrained people recognize many of these observable behaviors, at least on an unconscious level, and they will respond to the same signs in a game—to some extent—that they respond to in real life. Keep in mind, however, that this response is necessarily limited because digital avatars are still not conveying all the information that real people are—such as smell, physical presence, and possibly some intangible qualities we may or may not have as human beings that digital actors can never have—an electrical field or some spiritual presence.
This refers to eye movements from the observer’s (or player’s) point of view. Note that this can be reversed for some people, including but not limited to, those who are left-handed.
Note
Disclaimer: Many people believe that a person’s eye movements can reveal whether they are lying. However, experts with decades of experience will tell you that this is not true. It is quite often possible to tell whether someone is lying, but this requires far more information than just the way their eyes move. You cannot tell whether someone is lying from eye accessing information alone. Just wanted to be sure that was clear.
Top Left. Visual construction. They are creating images that they have not seen before—remembering a context into which they insert your statement or question.
Top Right. Visual recall/remembering. This generally means they are remembering past events by visualizing them.
Straight Up or Straight Ahead Defocused. Simply looking at images. This can be either constructed or remembered, usually visual, but not always. There is always a visual image they are seeing, regardless of whether they are conscious of it.
Horizontal Left. Auditory construction. This could be creating new sounds, words, sentences, or sequencing of words. A character might use this accessing if he was making it all up or lying. He might also simply be remembering poorly and having to fill in by making up parts—for instance, he remembers a situation pretty well, but not the exact words that were spoken.
Horizontal Right. Auditory remembering. This probably means he is remembering auditory information, such as a song or melody, the sounds of a traumatic event or a conversation, or even tone of voice from some event.
Down Left. Kinesthetic—experiencing feelings in the body. Many people respond to events and people in their lives with a deeper physical response, as if their feelings were located somewhere in their bodies.
Down Right. Self-Talk. Most likely, the person is holding some kind of inner dialog—he may be somewhat “checked out.”
People often cock their head to one side or another. This can mean that they are thinking or engaging in an inner auditory process.
This refers to observable effects during interactions. Changes may occur immediately or very soon after a character has an internal response to some event or information.
Limbs Crossed or Open. Many people believe that when someone’s arms or legs are crossed, it means he is uncomfortable or even angry. This may be true, but from an NLP perspective, what is happening is that the person is engaged in an auditory process. It is what he is telling himself internally and how he is “saying” it to himself that is the key here. If he is uncomfortable, he is probably saying something like, “This is really boring,” or “My butt hurts in this uncomfortable seat.” If he is angry, he might be thinking, “He’s so full of it. I wish he would just shut up.” Or, he might not be uncomfortable or angry, but simply talking to himself about something unrelated to the current circumstances.
Whatever the character is experiencing, crossed limbs facilitate auditory process. So, when creating a character with this sort of behavior, you can go further than just to say he is uncomfortable, angry, or thinking about other matters. You can actually look at that character in terms of what he is saying to himself at that moment and how he is saying it.
Erect Body Position. Erect posture is most often associated with someone who is processing information visually.
Slouched Body Position. If hands are clasped behind the head, this is still a visual process, but disassociated from what is happening, as if just viewing it but not involved in it. If arms or hands are not above the head, this may indicate that the person is feeling the situation internally rather than processing it visually.
Stiff or Bent Knees. Some people think that beliefs are stored in the knees and that rigidity in the knees could indicate rigid belief systems. Often people who are primarily auditory will lean forward with slightly more rigidity in the knees; however, when more relaxed, they may stand more erect, and the knees may relax. Leaning forward may also have to do with balancing the person’s energy to the front instead of all around him.
Hands at Side. This is not necessarily a definitive sign of anything. It depends on the context.
Hands Clasped. There are different ways that someone’s hands can clasp together. For instance, if the hands are forced between the legs, it tends to help people with some internal awareness or process. In contrast, if their legs are crossed and their hands are on the arms of a chair, there is somewhat less facilitation of internal process, and they are probably less aware that it is going on.
Counting Off on Fingers. Hands can be moving for a variety of reasons. If a person is counting off on his fingers, it’s likely that he is using the auditory digital process (auditory with words, but without connected emotions).
Hand Movements. Hands below the waist tend to indicate more kinesthetic process. From waist to shoulders is auditory and some visual. Above the shoulders is all visual. Hand movement in the mid-body range is often associated with representing what the person is talking about—the hand gestures may be an analog of what they are saying. Wringing of hands, especially lower with respect to the body, could be an analog of what is going on inside the person.
Hand on Hip. One or both hands on the hips indicates an auditory process. This is often accompanied by some slight weight imbalance, which indicates a subtle disconnection from himself—in some way he is literally “beside himself.” This can be used to get a different perspective or because the person doesn’t like what it feels like inside, or to keep himself from feeling. He may be thinking about an experience more than actually being in the experience.
Hand in Pocket. This indicates auditory processing.
Hand Touching Face. This is always an indication of auditory processing—the telephone posture, hands around the mouth. This is a catalyst for auditory processing and often also indicates a certain degree of disassociation or internal thought process (also known as metacomment or self-talk).
Hands behind Head. Disassociated visual processing
Arms Clasped behind Body. Indicates visual processing.
Arms in Front of Body. Indicates auditory processing, particularly when hands are together.
Weight. Rhythmic rocking, shifting the weight, is generally an indication of auditory process. Non-rhythmic weight shifts are more likely a kinesthetic process.
Body Shifts. Sudden shifts in the body can also be unconscious responses to significant thoughts or reactions, such as an “aha” moment or sudden comprehension. These changes can be subtle or obvious, but they are noticeable to trained observers. In many cases, the changes are obvious enough to be observed by any interested party.
Tension in Muscles. Noticeable muscle tension can have many meanings. In people who are predominantly processing visually, there is a certain tension in keeping the body still—to keep the lens of vision still. There are different types of kinesthetic as well—those who are externally oriented and those who are more internal. External kinesthetics tend toward athleticism and may have more muscle tension. This can be healthy muscle tonus or tension related to steeling themselves against vulnerability, depending on their level of personal growth and self-integration. Internal kinesthetics tend to be more emotionally involved and tend to have softer bodies.
Body Matching Modality. What this refers to is how, on average, bodies tend to match the predominant modality (visual, auditory, kinesthetic) a person uses. For instance, visuals tend to have larger eyes and be somewhat slighter in the upper body. Auditory types may have larger chests. Kinesthetics may have bigger muscles if they tend to be tactile/external. These are not hard-and-fast rules, but they could be applied to character design if you have some idea of how the person would tend to process information (which in itself determines some of his behavior and expressions).
Rate of Eye Blinking. The rate of eye blinking can actually be meaningful in some cases. In particular, when someone is looking straight ahead and is unfocused—seeing images in their heads. Some people see movies in their heads, while others see still images. For those who see still images, their eye blinks actually correspond to a change in the image—like a slide projector changing slides. I don’t know how useful this would be in character design, but it’s interesting.
Color Changes. There are a lot of obvious color change clues. In general, people who are predominantly visual tend to have less color in the face and neck. Kinesthetics tend to have the most color naturally, and auditory processors are in between, with some variation.
More common are the color changes associated with anger, embarrassment, fear, and surprise. Interestingly, when someone is surprised, there is a good likelihood that he will respond according to his predominant modality. For instance, visuals may freeze, their eyes get very large, and they stop breathing. Auditory processors may make some kind of noise, while kinesthetics will move in some way—even if it is jumping up and down!
Lower Lip Size. Interestingly, lower lips can indicate a fair amount about a person under some circumstances. It is well known that lips engorge when a person is aroused—sexually or otherwise. This is a subtle cue, but one that people recognize. Why else would all the Hollywood actresses want their lips to be artificially fattened? It simulates sexual arousal and works subconsciously on people who see them.
Overall, in terms of modalities, visuals tend to have the thinnest lips, with auditorys’ lips thicker, and kinesthetics’ lips thicker still. All show some variation of lip size, but the visuals vary the least. Auditory processors may also move their lips as an analog of the sounds—not necessarily subvocalizing, but moving in association with internal sounds.
Chin Position. There is a lot of thought about what it means if someone has his chin raised or lowered. How much of it is true is debatable. In NLP, the chin may be raised or lowered by people who are predominantly visual in order to change the angle of the eyes in the sockets. For instance, with the chin lowered, the eyes are looking from high in the sockets, which can actually be an analog of how they are viewing the world. This may have a different and more emotional connotation to some people. The same holds true of the chin tilted up. Some people would interpret that as a sort of challenging, even arrogant body language. In NLP it is not necessarily meaningful. Moving the chin up and down is associated with an inner auditory process.
Sidelong Look (Head Turned Slightly Away from Direction of Gaze). This look can be seen, from an NLP perspective, as a way of positioning the eyes to a corner of the socket—which might stimulate some kind of remembering or creating of images. However, in common responses, people often see this as a coy look—a come-on—or a sidelong glance.
Facial Expressions. There is a lot of study of basic facial expressions. (See the upcoming “Facial Expressions” section.) From an NLP perspective, a person’s face tends to be more expressive when he is more “in” his body. When a person is disassociated, he tends to have a less responsive face. Some people, due to their past histories, have trained themselves to have a poker face—for instance, if they were punished for being expressive in some way. This is a habit that inhibits natural expression and can be seen on some people who are highly controlled emotionally.
The face displays what kind of trance a person is in—is it a laughter trance, or sexual fantasy, fear, considering what to do or what not to do, surprise, curiosity, and so on? The face quickly reveals a person’s state or current trance state.
Eyes (Irises, Dilation, Etc.). The iris of the eye responds very quickly to a variety of stimuli, including, but not limited to, changes of light. Generally speaking, the more relaxed someone is, the greater the level of dilation. When someone has a significant realization or thought, the eyes dilate, as they also do when the person sees an internal problem image of some type. Strangely, in fearful situations, it’s possible that people tense up, the irises constrict, and they may see only one way out—tunnel vision. In contrast, someone trained in martial arts or other methods of staying calm in crisis may exhibit different behaviors and stay relaxed, seeing more options.
Breathing. Breathing tends to be rapid and shallow when someone is fearful or ill at ease. Visuals tend toward shallow, smooth breathing when they are watching something without really being connected. Breathing in the mid-chest, if ragged and heaving, is likely to be fear or something similar, while even mid-chest breathing is like normal conversational breathing. Deep abdominal breathing also ranges from ragged, heaving, big gasping breaths associated with sorrow, grief, and other deep emotional or physical pain, to deep, even breathing associated with a very relaxed state or even a meditative state.
Personal Space. In general, there is a cultural component to how close is comfortable—meaning that in different cultures the distance people can be to each other (in non-intimate settings) varies. However, there is also a phenomenon recognized in NLP in which people can be more comfortable if someone is on one side of them than another. This may have to do with how those people store imagery internally. If they tend to store the problematic images on their left, they may then be uncomfortable when someone is standing on that side of them.
Note
A little tidbit: In a study carried out by the Canadian Mounted Police, it was shown that when burglars exited a building in a hurry or a panic (afraid to be caught), they almost always turned to the right. By noticing this, the police were able to narrow the area of a search with good results. It is also for this reason that, for instance, if a 7-11 has double doors, the one to the right might remain locked.
The following are characteristics of voice that provide meaning to what someone says, above and beyond the words themselves.
Tonality
Tempo
Timbre
Volume
Rate of speaking
Rhythm
Pitch
Clarity (enunciation)
Accents (on syllables)
Non-words (such as uh, um, ah)
Sometimes when people are thinking deeply, it is revealed in something they do or how they behave, such as:
Resting head in hand(s)
Touching nose or mouth
Clasping hands (restricting natural movement)
Staring in a fixed manner, as if seeing something in the distance (or seeing nothing)
Sometimes you want to indicate a character’s emotional state without necessarily spelling it out to the player. In addition to the nonverbal cues from the previous section, there are ways to use scenes, settings, and other elements to let the player know what is going on with the character. As an example, if you want to show that someone is not doing too well, you might show him with messed-up hair, unshaven, and with stained and sloppy clothing. Or his house/apartment is clearly neglected, with stuff all over the place, dishes piled up in the sink, and so on. To show that someone is very sad, have him sitting in a slumped posture, surrounded by used tissues. To show that someone is nervous, have him fidgeting or being overly busy while you are observing him. And so forth. This section suggests a few other ways to show a character’s emotional state, focusing on a few of the main emotional states.
The obvious way to handle anger is to have someone act out dramatically—to yell, to hit things, to fight, to rage. But although these are appropriate responses in some cases, there are more interesting ways to show that someone is angry.
Easily becoming impatient or frustrated with minor things
Walking away
Becoming very quiet
Giving very short answers
Reddening of face, widening of eyes, tightening of lips
Slamming a door just a little too hard
Chopping food (or wood) with too much vehemence
Hands gripping or wringing
Suddenly being agreeable to everything or saying “you’re right” over and over again
Giving up easily in an argument or when doing something challenging
Eating too fast
Doing something physical with great intensity, such as running or shadow boxing
Classic responses to fear involve running away, cringing, shaking and stuttering, and so on. But fear can be more subtle, too.
Using bravado to mask fear.
Showing subtle hesitancy.
Showing a sudden interest in something else.
Raising objections or suggesting flaws in the plan—attempting to change the plan.
Volunteering someone else.
Volunteering to do something that’s not dangerous. (“I’ll wait here and guard the women and children.”)
Making an excuse to get angry and leave.
When you see someone who is sad, how do they look? How do they act? Here are some of the signs you might notice from someone who is feeling sad.
Lacking enthusiasm.
Having sluggish actions.
Body language (slumped posture, heavy eyes).
Having slow, monotonic speech.
Sitting surrounded by clippings, pictures, or some other nostalgic items.
Having a lot of used tissues and a nearly empty bottle of booze in their apartment.
Doing a bad job of dressing or grooming.
Wearing darker colors or more subdued clothing than usual.
Having red circles around their eyes, as if they might have been crying.
Masking sadness with anger, lashing out at things and people around them. This is a secondary emotion, and the sadness lies beneath it.
These also apply mostly to people in love.
Happy people exhibit certain behaviors. Here are a few ways you might depict someone who is happy.
Dancing around the room
Having an extra spring in the step
Putting flowers everywhere
Having a glow about the face and smiling a lot
Chuckling to oneself from time to time
Being especially friendly
Chattering about almost anything
Giving gifts to others or even to themselves
Being very enthusiastic
Having flowing movements and erect (but not stiff) posture
Singing, humming, or whistling happy tunes
Telling a lot of jokes and/or making good-natured wisecracks
When people are nervous or anxious, what do they do? Here are a few ways you might be able to show an anxious character.
Fidgeting
Getting obsessed over small details
Lacking concentration and focus and being easily distracted
Doing some mindless action, such as drumming fingers or tapping a foot, smoking incessantly, eating or pacing the floor
Buttoning a shirt wrong
Having movements that are more jerky and stiff than usual
Having problems with simple tasks, such as operating a can opener, threading a needle, or mixing a potion
Checking out occasionally, as if one’s mind is somewhere else
Having unsteady hands and poor eye/hand coordination
Looking around, darting eyes, as if expecting something that isn’t there—yet
When someone is hiding something, how can you tell? Here are a few ways you might depict a character who is keeping secrets.
Having shifty, intentional avoidance of eye contact during conversation
Being evasive
Attempting to divert attention from whatever one is hiding
Using uneven speech patterns, especially if you are close to what he is hiding
Displaying artificial friendliness or enthusiasm
Being abnormally watchful (as if one is afraid of being discovered at any moment)
Displaying signs of anxiety/nervousness
Being reactive to attempts to find the truth, displaying angry or self-righteous behaviors
Being highly defensive
Vehemently protesting if accused; over-explaining and/or attempting to rationalize
Changing story in mid-stream—lack of consistency
Trying especially hard to convince you of something that obscures the truth
Using gestures and head movements to seem convincing—the person will escalate the behavior the more suspicious you seem or the closer to the truth you get
Does the character change physically during the course of the story? If so, how? Here’s a list of basic ways a character might be physically altered during the course of a story.
Age (older, probably, but possibly younger)
Gender
Injury/mutilated
Amputated limb(s)
Healthier or less healthy
Pregnant
Diseased or cured
Scarred
Piercings and other cosmetic body mods
Morph into something else
Hair (style, length, or color)
Apparel (anything the character wears)
Skin color
Eye color
Breast size/shape
Facial reconstruction (new face or new facial features, such as nose, chin, ears, etc.)
Taller or shorter
Heavier or lighter
Larger or smaller
Stronger or weaker in appearance
More or less handsome/beautiful
Death (see Chapter 32, “Ways to Die”)
Reincarnation
Whole new body
Discorporate (no body)
Facial expressions tell us a lot about people—whether they are happy or sad, interested or bored, nervous or calm, and so on. In addition to the information offered in the previous section on NLP principles, this section looks at more ways we might use facial expression to depict our characters more effectively. This is one of many ways to communicate information to the player. In multiplayer games, someday we may use facial expressions the way we currently use emotes, but with even better results.
Some people have reduced basic human emotions to the following six. Certainly, these sum up much of our human interaction.
Anger
Fear
Happiness
Sadness
Surprise
Disgust
How do you greet someone? A lot can be implied by the way in which someone meets and greets others. Here’s a short list to get you started.
In fact, though Americans assume that nodding the head up and down indicates agreement and shaking the head from side to side indicates disagreement, this isn’t universally true in all cultures. However, since it is so common in the Western world, it’s probably best to accept that these conventions are the best ones to use for the Americas and Europe.
The following list is simply to give you some ideas for different situations, the responses to which might produce specific and interesting facial expressions:
Intensity. Eyes tightening, as if you are looking closer at something clearly important. You are serious, with a slight frown.
Spotting an Enemy. What sorts of reactions might you have?
You are focusing on them.
You recognize them but are not taking them too seriously.
You recognize them suddenly and are concerned, scared, or shocked.
You are not very impressed by them.
Taking a Painful Hit. Somewhere on the body. (Getting punched or kicked.) Pain can be low, moderate, or high, with appropriate facial expression.
Delivering a Blow. Punching or kicking someone—varying intensity based on effort.
Fright. A range from slightly nervous to outright panicked.
Laughter. Range from a chuckle to a long belly laugh.
Meaningful Smiles.
Cunning. You know the trap is set.
Happy. They fell into your trap.
Pleasantly Surprised. They have not noticed your trap.
Come-on. You and I are going to hook up tonight.
Sly. Nice to meet you; I know all about you, and you know nothing about me.
Big/Huge. I’m so happy/relieved/fulfilled to see you.
Forced Expressions. Trying to hide real emotions/responses.
Sadness. Ranges from moderately disappointed to tragically melancholy.
Shock. Ranges from dazed, dizzy, frozen, to shell-shocked, and so on. Varies with events and causes of the shock, such as the difference between seeing a major accident, seeing your family killed, or being in an accident yourself, and so on.
Amazement. Jaw dropped, eyes wide—the look of utter surprise at what you are witnessing. Imagine seeing a whale fall out of the sky and hit the ground 30 yards in front of you.
Ultimate Effort. Putting everything you have into it. The last-ditch, all-or-nothing look of grim determination, concentration, and physical exertion.
Nervous. Approaching a situation that makes the character nervous, such as meeting someone important for the first time, going to court, meeting a love interest, on the way to prison, and so on.
Aggression. Displaying aggressive or hostile emotions in the face—scowling, squinty eyes, clenched teeth, and jutting jaw.
Issuing a Challenge. Taunting or challenging an enemy. Faces may vary with the attitude of the character—could be disdainful, casual, bored, insulting, angry, and so on.
Ooops! The look you get when you goof up—ranging from a minor gaff to a really big blunder.
Repose. The look of the character at rest or in a peaceful moment.
Concentration. For instance, listening to someone tell you directions versus reading some complicated instructions on how to disarm a time bomb with less than a minute to go.
Flirtatious. Winks and smiles, tilts of head, and so on.
Asleep. Ranges from peaceful repose, to restless tossing and turning, to a range of potentially comical snoring behaviors.
Irritation. Eyes or nose irritated by noxious gasses or smells, ears irritated by painful or annoying sounds.
Dry Mouth. Expressions and actions of someone whose lips, tongue, and/or mouth are very dry. How might that person react when spotting a soda, a water fountain, or an oasis in the desert?
Sneezes. A range of ways that people build up to and consummate a sneeze.
Fixing Jaw. After being hit there.
Choking. From noxious fumes, from being in a chokehold or strangulation device, or from having been hit in the throat, and so on.
Huffing and Puffing. Out of breath from exertion.
Coughing. Various kinds of coughing, from a light clearing of the throat to horrifying, hacking-up-blood, emphysema wracking, gasping fits.
Curiosity. Ranges from mild to extreme to obsessive.
Chewing and Swallowing. Might be indicative of someone chewing gum, betel nuts, or whatever.
Whistling and Humming. Often a nervous habit. People who whistle or hum around others may be unaware of their effect on people or may not really care. They may use whistling or humming as a way to split their focus while working.
Confusion. Someone who looks around and is obviously uncomfortable or doesn’t understand what is going on.
Sick. They look drawn and pasty-faced, tired. They may or may not look sad. In fact, someone can look sickly but not unhappy.
Blank Stare. Just looks as if without seeing.
Urgency. Eyes wide, mouth open, an anticipatory look as if about to speak.
Getting Someone’s Attention. Staring fixedly at someone, maybe mouthing words. Presumably, they want to get that person’s attention but haven’t yet done anything about it.
Silent Words. Mouthing words to a song or play, or simply sub-vocal self-dialog.
Crying. Obvious expressions—puffy eyes, tears running down the face, red-faced, maybe runny nose.
Kissing. Pursed lips, soft or wide and expectant eyes.
Licking Lips. This could be anything from anticipating something yummy to Heath Ledger as the Joker. Take your pick or choose something else—perhaps they have a dry mouth, indicating that they are nervous or dehydrated, or the weather has chapped their lips.
Lovestruck. Soft doe eyes, pursed mouth or mouth slightly open, thickened lips—can look almost sad.
Overcome with Emotion. Fear, love, grief, pain, and so on.
These days, especially with games that allow players to create their own avatars, there are many ways to customize a character. So, this section deals with what options you might consider for physically determining the look of a digital character.
The first aspect of an avatar’s appearance is the body. In the old days, we only had two kinds of bodies—male and female. Now, with improved 3D technology, we can have variations on bodies for both sexes.
Height (ranging from miniscule to gigantic—and all points in between)
Body type
Heavy
Thin
Muscular
Athletic
Flabby
Rotund
Medium
Endomorphic, mesomorphic, ectomorphic
Erect
Bowed
Aged
Non-human (various)
Deformed (various)
Features
Android features
Tattoos
Appliances (such as sci-fi gadgets surgically added to the body)
Piercings
Unusual skin (scales?)
Glow or sparks, etc.
After the body, more modern avatar customization programs allow us to modify the features of the face, beginning with head shape.
Size (ranging from tiny to huge)
Shape
Round
Square
Thin
Wide
Distorted
Hair
Color (range)
Length (range and style)
Texture (range)
Beard
None
Full
Partial
Goatee
Full with no mustache
Neatly trimmed
Wild
Five o’clock shadow
Three-day beard
Scraggly partial
Mustache
Handlebar
Normal
Hitler
Shaggy
Trimmed
Forehead
Broad
Pronounced
Narrow
High
Low
Receded
Hairlines (widow’s peak, high, balding, low, straight, etc.)
Eyes
Color
Blue
Brown
Green
Yellow
Copper
Hazel
Aquamarine
Black
Purple
Orange
Red
Filmy (blind)
All black
Shape
Close-set
Wide-set
Color
Round
Oblong
Asian
Alien
Cat’s eyes
Pupil variations
Open wide
Sleepy
Crossed
Wall-eyed
Range: long to short lashes
Range: thick to sparse lashes
Patched
Missing (one or more)
One or more than two
Eyebrows
Full
Thin
Arched
Extend upward
Extend downward
Color
Unibrow
Wide-set
Narrow-set
Close over eyes
High over eyes
Bushy
Painted
Point down in middle
Slanted up and out
Slanted down and out
Nose
Long
Hooked
Pointed
Large nostrils
Short
Button
Ski nose
Straight
Curved
Broken
Thin/narrow
Thick/wide
Red/inflamed (drunk’s nose)
Crooked
Animal snouts (dog, pig, monkey, etc.)
Cheeks/cheekbones
High
Low
Pronounced
Subtle
Wide
Narrow
Dimples
Beard
Five o’clock shadow
Made up
Ears
High on head
Middle of head
Low on head
Large
Small
Range of large to small lobes
Pointy
Rounded
Range of rotation relative to skull (from sticking out to tight to head)
Animal styles (cat, dog, cow, reptile, etc.)
Full lips
Narrow lips
Wide mouth
Narrow mouth
Rosebud mouth (rounded)
Corner tilt range—down to up
Protruding/receding lower lip (range)
Protruding/receding upper lip (range)
Teeth
Not shown
Perfect, even, and white
Perfect, even, and not white
Color—range from white to yellow or various shades of brown, green, or black
Uneven
Broken
Missing
Fangs
Buck teeth
Overall size—range from tiny to large
Range—how much is shown when character smiles
Chin/jaw
Range: protruding to receding
Thick
Thin
Pointy
Round
Dimpled
Jutting
Wide
Narrow
Range: raised to lowered (head position overall)
Necks can vary to some degree. This list is simply a series of ranged qualities that necks might have.
Range: long to short
Range: thick to thin
Range of angle: forward to back
Range of age: smooth to wrinkled (see below)
In a more sophisticated avatar customization program, we might be able to determine the age of a character—at least an adult character. Most games so far only let us create young-looking characters, though sometimes we can add white hair to them—but that doesn’t really make them look old. Here are a few ways to indicate age in avatars.
See also the “Physical Changes” section earlier in this chapter.
Age lines at corners of eyes
Frown lines in forehead
Smile lines in cheeks and forehead
Hollow cheeks
Sagging eyes and lids
Sagging jowls
Wrinkles in neck
Adding makeup options can allow players to express more creativity in the way their characters (specifically female at this point) look. This list simply suggests some characteristic ranges. A full list of options would be huge!
Range from none to subtle to garish
For eyes, cheeks, face, lashes, eyebrows
Range of colors
Range of styles
Range of intensity
Jewelry can enhance someone’s look, but it can also be a clue to or indication of the person’s personality. In some cases, it can be an object of importance in the game as well.
Earrings
Nose rings
Finger rings
Toe rings
Other piercings
Bracelets
Necklaces
Pendants
Pins
Cufflinks
Tie tacks
Medals and awards
Badges of rank
Tattoos are common today; they are basically an art form that allows considerable self-expression on the ultimate canvas—our own body. Just as the range of real tattoos is almost without limit, so are the possibilities for using tattoos in games. However, just as tattoos often have specific cultural or personal meaning to those who wear them, so, too, can they be used as interesting plot points, clues, or personality indicators in games.
Range: anything goes
Location: anything goes
Glasses can alter the look of a character, and many games allow them as an option. Of course, glasses can be the prescription kind, but they can also be functional, ranging from goggles to high-tech eye gear. The possibilities are nearly endless, which is why we’ve only suggested the range of options.
Range of eyeglasses
Monocle
Pince-nez
Hats and head gear are common in games, and they are excellent ways to personalize a character. The choice of hat can provide color and style, depending on the game context. Head gear can also be functional, as protection (helmets) or even as high-tech futuristic apparatuses of various kinds. The choices are up to you.
Here’s a list that ranges from simple hats to helmets.
Bowler
Stetson
Ten-gallon
Baseball cap
Sombrero
Bucket hat
Slouch hat
Fedora
Top hat
Bandana
Panama
Tyrolean
Beret
Akubra
Straw hat
Veiled (old-style woman’s hat)
Captain’s hat
Tricorne
Deerstalker
Pith helmet
Turban
Birdcage hat
Beanie
Golf cap
Yarmulke
Aviator’s leather helmet
WWI German helmet
WWI Doughboy helmet
WWII helmets
Breathing helmet
Motorcycle helmet
Bicycle helmet
Football helmet
Goalie’s helmet
Deep-sea diving helmet
Miner’s helmet
Climber’s helmet
Chador
Wimple
Veil
Hood
Keffiyeh
Brimmed cap
Gas mask
Visor
Burqa
Balaclava
Noh mask
Wedding veil
Mitre
Stocking cap
Do-rag
Crown
Tiara
Wigs and toupees
Fez
Galero
Zucchetto
Hardhat
Fireman’s helmet
Judge’s wig (England and other countries)
Welding mask
Headdresses (various)
Rain hats (various)
Sun hats (various)
Diving hood
If the clothing makes the man or woman, it certainly helps your basic avatar differentiate from all others. The more clothing options, the better. People love to dress up dolls and things, and avatars are the ultimate walking, talking action figures. It’s a great opportunity to give players self-expression, and the more options, the better.
Hats/hoods/helmets (and other head apparel, such as bandanas, headbands, etc.)
Glasses/goggles
Shirts/blouses
Vests
Jacket/coat/sweater/sweatshirt
Gloves (various kinds)
Belts
Pants/skirts/dresses
Shoes (and socks)
Cloaks
Capes
Mufflers/scarves
Ties
Masks
Arm and wrist bands
Lingerie
Other leg apparel (greaves, ankle bands, etc.)
The things that your characters can carry, wear, or use can present opportunities for personalization and for gameplay. This very short list should help get you started. See also the “Individual Objects Carried by Specific NPCs” section in Chapter 19, “Objects and Locations.”
These vary, depending on game and character types.
Dressing up your avatar is fun, but what can it do? If it is your player character, it should be able to do a lot of things. Here are some of the common animation cycles that any well-made avatar should consider for its repertoire.
Walk
Run
Jump
Roll
Kneel
Sit
Squat
Crawl
Lie down
Idle state
Fight/wield weapons/cast spells, etc.
Die
Take damage
Converse/interact
Specific tasks (varied and situational)
Facial expressions
Actions
Laugh
Cry
Point at something
Beckon
Ready weapon or put weapon away
Dance
Celebrate
Signal no (wave hands dismissively, shake head, etc.)
Signal yes (nod and smile)
Pick something up or put something down
Push a button
Type
Talk on phone
This list contains some of the elements common to all human beings. When you are creating characters and scenes, you can assume that your characters (if human or more or less human) will share these common traits and behaviors. But in what ways do they share them? For instance, maybe all people have beliefs, including false beliefs, but what specific false beliefs does your character have? What supernatural beliefs, childhood fears, and so on? And if your character is not human, what then? Which of these universal traits does the alien character lack, and which ones does it share?
When I look at this list with a particular character in mind, I ask myself, “How does this character express this common trait?” For instance, if I’m looking at aesthetics—what is the character’s aesthetic? If I look at humor/joking, I ask how this character’s sense of humor is manifest.
So, although it is not necessary to go through this whole list for each character, you may find it informative in completing your understanding of some qualities that human beings share and how specifically these qualities take form to make your character unique. In other words, by looking at what all people share, you can also look at how they differ in the way they express those common qualities.
Note
The following list was adapted from Donald Brown’s Human Universals (McGraw-Hill, 1991) and is used with permission of the author.
Abstraction in speech and thought
Actions under self-control distinguished from those not under control
Adjusting to the environment
Admiring generosity
Aesthetics
Affection expressed and felt
Age grades
Age statuses
Age terms
Alternate naming of things and places (metonymy)
Ambivalence
Anthropomorphization
Anticipation
Antonyms
Attachment
Attempts to control weather
Baby talk
Banishment
Belief in supernatural/religion
Beliefs about death
Beliefs about disease
Beliefs about fortune and misfortune
Beliefs, false
Binary cognitive distinctions
Biological mother and social mother normally the same person
Black (color term)
Body adornment
Childbirth customs
Childcare
Childhood fear of loud noises
Childhood fear of strangers
Childhood fears
Choice making (choosing alternatives)
Classification
Classification of
Age
Behavioral propensities
Body parts
Colors
Fauna
Flora
Inner states
Kin
Sex
Space
Tools
Weather conditions
Coalitions
Collective identities
Concept of fairness or equity
Concept of individual person
Concept of precedence
Conflict
Handling through consultation
Methods of handling
Mediation of
Conjectural reasoning
Connection between sickness and death
Containers
Continua (ordering as cognitive pattern)
Contrasting marked and nonmarked sememes (meaningful elements in language)
Cooking
Cooperation
Cooperative labor
Copulation normally conducted in privacy
Corporate (perpetual) statuses
Coyness display
Critical learning periods
Crying
Cultural variability
Culture
Culture/nature distinction
Customary greetings
Daily routines
Dance
Death rituals
Decision making
Decision making, collective
Decorative art
Different personality manifestations based on gender and age
Differential valuations
Directions, giving of
Disapproval of stinginess
Discernment of truth and falsehood
Discrepancies between speech, thought, and action
Dispersed groups
Distinctions of normal versus abnormal
Distinguishing right and wrong
Distinguishing self from other
Diurnality
Divination
Division of labor
Division of labor by age
Division of labor by sex
Dominance/submission
Dream interpretation
Dreams
Economic inequalities
Economic inequalities, consciousness of
Emotions
Empathy
Envy
Ethnocentrism
Etiquette
Exchanges of labor, goods, services, and anything with value
Explanation
Facial communication
Facial expressions of anger, contempt, disgust, fear, happiness, surprise, agreement, disagreement
Facial masks (hiding behind)
Facial recognition
Family/household units
Favoritism toward “us” more than “them”
Fear of or wariness around snakes
Fears (including fear of death)
Feasting
Females do more direct childcare
Figurative speech
Fire
Folklore
Food preferences
Food sharing
Future predictions
Gender-differentiated terminology
Gestalt or unification of senses
Gift giving
Gossip
Government
Grammar
Group living
Habituation
Hairstyles
Healing the sick
Hope
Hospitality
Humor/joking
Hygienic care
Imagery
Individuality of personalities and roles
Inequalities based on prestige
Inheritance rules
Institutions
Insults
Interest in the living world
Interpolation
Interpreting behavior
Judging others
Kinships, closer ties to more distant based on blood connections
Language
Language for complex and abstract ideas
Language used as manipulation or to misinform
Language, prestige from proficient use of
Language, redundant words
Laws and rules
Leaders
Lever
Logical considerations such as and, equivalence, general versus specific, not, opposites, parts and wholes, and so on
Magic, especially for increasing or sustaining life and to win/gain love
Making comparisons
Male domination of public and political processes
Males, more violence based on coalitions, more aggressive, more prone to lethal violence and theft; more travel on average than females
Marriage
Materialism
Mealtimes
Meaningful gestures
Measuring
Medicine
Melody/music/rhythm
Memory
Men older than women in relationships
Mental maps
Metaphor
Mood- or consciousness-altering techniques and/or substances
Moral distinctions: good and bad
Moral sentiments
Mother generally with companion during child-rearing years
Mourning
Music (for children and adults), vocal and instrumental
Music as art
Music for dancing
Music for religious activity
Music, children’s
Mutually contradictory proverbs and sayings
Myths
Naming things
Narrative
Non-family groups
Nouns
Numbers and counting
Numbers one and two
Oedipus complex
Oligarchy (de facto)
One word can have more than one meaning (polysemy)
Onomatopoeia
Overestimating objectivity of thought
Pain
Past/present/future
Personal names
Personal preferences
Phonemes
Planning
Play (for fun and for perfection of skills)
Poetry/rhetoric (including some universal poetic and narrative structures)
Positions/roles distinguished from individuals (such as king or tax collector)
Possessiveness
Practice to improve skills
Preference for sweets
Pride
Private inner life
Prohibitions against certain kinds of violence
Prohibitions against murder
Prohibitions against rape
Promises
Pronouns
Proper names
Property
Proverbs and sayings
Psychological defense mechanisms
Rape
Redress of wrongs
Resistance to dominance or abuse
Responsibility
Revenge, retaliation
Right-handedness as population norm
Risk-taking
Rites of passage
Rituals
Sanctions
Self as subject and object
Self-control
Self-image, awareness of, manipulation of, need to see as positive
Semantics
Sexual attraction, attractiveness, jealousy, modesty, regulation or limitations, as a primary interest
Shame
Shelter
Social manipulation
Social structure
Socialization
Socialization expected from senior kin
Spears
Special cognition differences between genders
Special speech for special occasions
Status based on gender
Statuses and roles
Statuses from achievement or conveyed upon
Subjectivity of meaning
Succession
Symbolic speech
Symbolism
Synonyms
Taboos on foods, sex, killing, words/expressions, etc.
Taboos on incest
Taking turns
Taxonomy
Territoriality
Thumb sucking
Tickling
Time, concepts and cyclic nature, divided into units
Toilet training
Tools
Creating
Dependency on
Patterns of gender or cultural use
Used to cut or pound or make other tools
Toys
Trade/barter/exchange
Treating patterns and relationships as things
Triangular awareness (being able to distinguish relationships between self and two other people)
Tying
Us and them
Verbs
Visiting
Weaning
Weapons
Word for hand
Words for father and mother
World view