Tuesday, April 2, 2019

Storium Theory: Optional Challenges

Most of the time, when we put down a challenge, it's definite - a note that the story will be focusing on a particular point. But is it possible to use challenges differently? To lay down a challenge for something the players might want to focus on, but are not required to focus on?

I believe it is a tool for the toolbox...but one I would show great caution in using. I've only pulled out an optional challenge once or twice in my own games, and I am wary of using them often, if at all, in my own narration generally. Storium's rules are set up more for completion of challenges and requiring of challenges, and I think there's a good reason for that.

In setup, an optional challenge wouldn't be so different from a regular challenge - you still want to establish the starting situation, the facts of the challenge, and the possible places the challenge can end up once it is complete. There's not much different in the overall technique of setting it up.

But should you decide to use this tool, I think there are some very important things you will need to be sure you address.

First: How will you know if players are or are not going to play on the challenge? You will need a good way of knowing if players have not played on a challenge yet because they haven't gotten to it yet, or because they do not intend to play on it at all. An optional challenge, being optional, could be ignored completely by players for reasons that have nothing to do with slow play or inactivity. It is important to have a way of determining that the players are not going to play on the challenge, and that it is time to move the scene on.

I suggest that you consider one of the following ideas:
  • Set a deadline based on the other challenges - if the optional challenge is not completed by the time the scene's other challenges are, you will consider it incomplete and move the scene on.
  • Set a deadline based on actual time - if the optional challenge is not completed within X days after the rest of the scene's challenges are (or just within X days if there are no other challenges) you will consider it incomplete and move the scene on.
  • Require an affirmative statement from a player that they intend to play on the optional challenge by a specific date. If you have no such statement by that date, you will remove the optional challenge.
These methods are probably not the only ones...or even likely the best...but they all allow you to know when you can regard the challenge as incomplete and move forward. Whatever choice you make, be sure you tell your players so they know what the requirements are.

Second: What happens when the optional challenge is incomplete?

This is a pretty important question, and one that, I think, gets at the reason I don't use optional challenges much. If something's critical enough to the story that you want to set up a challenge for it, it seems like it is something the group should have to interact with - even if their interaction is playing Weakness cards and having their characters utterly ignore it and let it go wrong. In other words, the characters might not care about something, but if it is important enough to the story to rate a challenge, the players should have to do something about it...even if that something is having their characters do nothing. The story of the challenge, once laid out, should probably progress.

If it goes well, then, it ends Strong. If it goes poorly, it ends Weak. If it is less clear, it ends Uncertain. But that's all determined by the cards.

So...what do you do with a challenge that seemed interesting enough to put out there as an option, but that seems like something the character's don't have to address?

My best bet is that you do nothing. An optional challenge is something that is interesting, but not critical. The players don't gain or lose anything by not going after it. It's only if they actually engage it that it matters to the story in any way.

Thus, if the players don't seem interested in it and leave it alone, it just drops off for the moment. Nothing bad happens, nothing good happens. It just fades away into the background again.

That's not to say you can't bring it back again later, or bring it back again later as a normal, required challenge. It's just that for the moment, it wasn't critical enough to be made required, so nothing's reaching any kind of story-altering point with it. It just fades away for now.

If on the other hand players play some of the cards on the challenge, but don't finish it, I'd probably go by my usual rule for ending a challenge early when it becomes absolutely necessary: Most likely, end it by whatever the current result would be (i.e. if it is going Strong, it ends Strong, if it is going Weak, it ends Weak, if it is going Uncertain, it ends Uncertain) - this method makes the players' card plays so far clearly matter, so that's my preference. If you use a different rule for those cases in your own games, be consistent.

But that brings me to another consideration...

Third: How many points do you put on the thing, anyway?

I'm going to just say outright that I think the answer is one, possibly two at maximum. An optional challenge is not the focus of the scene - it is by definition something that can be entirely ignored. Thus, it isn't anywhere near as important as other challenges, and shouldn't get a lot of focus in the scene at hand.

Furthermore, if you put more points on an optional challenge, it makes it harder to judge when players no longer care about it - once it has become active, how do you judge that it isn't going to be active any further? You can always rule that an optional challenge becomes required if at least one player plays a card on it, of course, but that could get messy in terms of game morale and community if players disagree about whether they want to play on it.

So...I suggest making your life as easy as possible by using only one or two points, tops, and making clear to your players that whatever "deadline" you set for the optional challenge is a completion deadline, not a play deadline - the challenge needs to be complete by then or you will move things on. That will prevent an optional challenge from causing delays.

Finally, though: Consider whether the challenge should even be optional in the first place.

Most of the things I've considered as, well, optionally "optional" challenges were ideas that I ended up deciding would either fit perfectly well as required challenges right then, or would fit perfectly well as required challenges later. I've rarely come across something that I considered important to note in challenge form, but not critical enough to be something the players had to address.

If you're considering an optional challenge, think about it a bit more for a while...is it really something that should be optional, or is it just something that hasn't come to a head yet? Maybe it's something you can get some actual drama out of later, and make it a normal challenge in a later scene. Or maybe it's something you can hint at with a minor required challenge now - perhaps to see if someone notices something - and bring in more fully down the line.

Or perhaps it is something that actually is pretty vitally important right now, in which case it should be a required challenge...right now.

So, when can an optional challenge be helpful?

I could see them being useful if you want to allow the group to choose a direction, but neither direction is necessarily better or worse for the story (if one direction is better and the other is worse, you'd instead do a regular challenge and set the first up as the Strong outcome and the second as the Weak). Then, you could set up two different one-point challenges, and tell the players they can only do one of them - that sets them off on that path and determines how it starts out for them.

It isn't my chosen way to find where the players want to go in the story, but I could see it working.

Another method might be something that is solidly an opportunity for the players - again, if they don't do anything, it doesn't go wrong or anything like that, but perhaps it is something they can use to "shortcut" the plot in some way. You'd have to be careful with this one - it's easy to run into the "why don't you just do this as a regular challenge" internal question - but there are ways I could see it working. If you do this, then, the Strong result is very good for the characters, and the Weak result is perhaps less so, but still generally quite good.

The problem I run into myself with that is that if you use that method, it becomes hard to argue that things aren't worse if the player decide not to play the challenge...in which case, again, I feel like it probably shouldn't be optional because it impacts the story in a notable way. And that's exactly where I've ended up when I've reflected on the few times I've used optional challenges...I end up feeling like what I did was render a part of the story optional when it was actually going to have a definite impact. 

And that's the point I keep coming back to myself in considering this - I just generally can't justify putting a challenge down and treating it as "optional." When I put a challenge down, it means that a notable event has started in the story, and the players, through their card plays, need to see where it goes. It needs to get to some conclusion or another, so that we know where the story goes after it. When I find myself thinking of perhaps telling my players a challenge is optional, I start instead thinking of whether it should be there yet at all.

But: I know that this is a technique some other narrators have used in the past, and I'd very much be interested to hear others' thoughts on it. Have you used optional challenges? What did they represent in your game? And how did you ensure that you knew it was fine to move the game forward? Write in, and let me know!

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Monday, April 1, 2019

Rex Nebular - It's A Man's World

Written by TBD

Rex Nebular's Log: Stardate - 27th of Last Seed.7: I've explored the abandoned underground land of men. I have a few more items, but none of them are getting me closer to getting the vase that I'd almost forgotten about or escaping the planet. I've found some locked doors so I know I'll at least need a few more keys. And I've just had a crazy idea that I'll try soon...

When we'd last left our hero, he'd just come out of the gender bender with his original gender back in order to explore the subterranean land of men by way of gender-locked vehicle.

The vehicle gives us nine possible locations. So let's explore them in the order of... well, in the order I explored them. At each location I'll finish with a short list of what I think needs to be done there. I have no illusions that all of my suppositions will be correct, but it's what I was thinking when I left the location.

The driving requires no input from me beyond selecting my destination. On choosing the location, the car drives there for a few seconds while Rex casually taps his fingers on the console.

Driving in Rex Nebular – much less tedious than Mean Streets or Police Quest


818 WIDEPIPE LANE: ABDUL'S SERVICE STATION

Our first trip will be to Abdul's Service Station, where we find a small barking dog.

Is that a shattered window on the left, or is Wile E Coyote hiding in the darkness behind it?

I of course start by trying to befriend the dog by giving him some bones I found on the surface.

The neon sign behind me is lying - this dog is NOT my friend!

After the dog systematically turns me into a small pile of blue goo like a hungry land piranha, the death screen tells me I shouldn't have gotten so close to him. In response to that hint, I use THROW instead of GIVE.

This doesn't solve my dilemma though. The dog devours the bone as easily as it did me and continues waiting to kill me if I get close. He won't take my twinkifruit or my chicken so I ignore the side door behind the dog and look at the rest of the area.

There is an air hose here. It seems the garage was for old-fashioned cars with tyres rather than modern flying cars (MLV's). And there's a sign that points down – I don't know if that means anything or not at this point. There's also a manhole I can't open.

Things to do later:
  1. Find something to distract the dog - more food perhaps?
  2. Come back to inflate something deflated.

CITY PERIPHERY: NORTH SEA WINDOW

The next location I visit contains a viewport with a curious sea monster behind it.

I try to talk to the monster.

I will name him 'viewport' and I will love him and pet him and squeeze him!

I look around to see if there's anything else useful in here.

What the hell is a specimen epithet?
Dictionary result for epithet
/ˈɛpɪθɛt/
noun: epithet; plural noun: epithets
an adjective or phrase expressing a quality or attribute regarded as characteristic of the person or thing mentioned.

Well that clears that up perfectly!?!

Sometimes the creature sticks its tongue out frog-like and hits the window with it.

There isn't anything else here obvious enough to interact with, so after trying a few things I move on.

Things to do later:
  1. Find something to do in this room... anything at all would be useful...

14 DRESSET CROSSING: RESIDENTIAL

In this area, the car stops outside a place called "Bruce's". I enter and explore what seems to be Bruce's interestingly designed house. Apart from the unusual colour scheme and decorations, Bruce has a wall safe.


Well, of course it is.

Looking at things in the two rooms of Bruce's house, it's obvious he's a cross dressing entertainer, and a very popular one at that. I hadn't thought of it before, but this makes a lot of sense in an all-male society. They may not trust women, but they still want to see people who look like women so cross dressing entertainers would be very popular.

I take the only takeable item I find in the house, a compact case, which seeing as it comes with the verb "REFLECT" I suspect will be used as a mirror at some point.



Things to do later:
  1. Find a way to get into Bruce's locked wall safe

34 ½ LONELY WAY: THE SLEDGE MALL – SOUTH MAINTENANCE ELEVATOR

I can't find anything to do here yet. There's a card slot outside an elevator but the only security card I have is from the women-controlled section and likely won't work here. I save my game and try anyway, expecting a gruesome death.


I've never been more disappointed not to die.
Things to do later:
  1. Come back when I have a male security card

14 POWERTOOL AVE: SANDBAR RESTAURANT – POLLY'S PLEASURE DOME

I think I've found Bruce's workplace.

Noting the precariously suspended boat above the entrance, I enter the Sand Bar first and take a fishing rod from the wall.


I also take a padlock key out of the cash register.

Back outside I get a hint that I'm never going to be able to enter the Pleasure Dome.


Hint taken.

Things to do later:
  1. Come back in about 10 paragraphs when I've explored the rest of the city.

226 BICEPS WAY: KANE LABORATORY – MACHO PROSE SOFTWARE – BARNETT MOTEL – SID'S CYCLES

This screen has lots of buildings to interact with. Or so it appears at first. The air bike is disappointingly too rusted to use and I can't enter the hotel or restaurant.

I'd be more concerned that the restaurant that's shaped like a toilet has the seat down – IT WAS CLEARLY DESIGNED BY THE ENEMY!

I can enter the software store, so I do.

Obvious references to the game's own company of Microprose, and Sierra On-Line in here.

I'm not sure if the fourth wall is broken, but it's at least being bent here.

I take a penlight from the counter, which I can disassemble to get batteries.

The other enterable shop in the area is the laboratory. It contains a large laser and one of the more lazy attempts at referencing current-world items, a 'spinach patch doll'

I can turn on the laser, which much to Rex's delight obliterates the doll, but I can't turn the laser off. I try to throw my explosives at them, but I'm not allowed - I'm sure there's something I'll need to use the laser for, and I'll find out what soon.

Things to do later:
  1. Destroy something with the laser

CITY PERIPHERY: CITY SECURITY - EAST MAINTENANCE ELEVATOR

Well, this is just the area I started at where I first found the car, so let's move right along

Things to do later:
  1. Use the teleporter whenever I want to go back to the surface (or other teleporter)

MAINTENANCE ACCESS: WILLIAMS BYPASS

This is not the first time the game's made it clear there used to be wheeled cars in this city - does this become relevant at some point? Guess I'll find out soon enough.

Based on the hanging boat and the woman's torso, I'm clearly above the Sand Bar and Pleasure Palace from earlier. The boat that hung above the Sand Bar is held in place by a winch up here.

The winch controls are behind a padlocked panel. I have a padlock key in my inventory. I wonder if those two items could be used together...

Now I'll have a boat I can use!

Things to do later:
  1. I suspect by dropping the boat I may already have done everything in this area!

4 MONUMENT STREET: EDUARDO'S NEWSTAND - BUCKLUSTER VIDEO

The newsstand just contains old newspapers talking about the women working on biological weapons. I try to enter the video store.

How many of these puzzles solutions are going to be simple 'come back when I have a key' solutions.

Things to do later:
  1. Find a key to the video store.

REVISITING LOCATIONS

Now that I've visited all areas at least once, I go back to the sand bar to see what I can get out of the boat that I'd dropped.

Well that was anticlimactic.

I couldn't find anything to do with the boat or anything useful in the boat. But while looking through my inventory I had another thought and went back to the laboratory.

Remembering the compact mirror I took from Bruce's house, I used it to reflect the laser beam.


I was actually attempting to make the laser shoot itself in the hopes of getting some useful electronics from the wreckage, but this works too.

Getting back in the car and looking at the map, it seems the residential area is the closest to being directly above the lab. So let's go back there and see if we're right.

I doubt Bruce is up to date with his laser beam insurance premiums.

Well, it seems like if I could find a second mirror I could direct the beam to Bruce's safe in order to get what's inside. But trying to take, push or pull the vanity mirror from the next room doesn't work so I forget that idea for now.

Before doing more detailed exploring of this city I have the brilliant idea of using my fishing rod to get the piranhas out of the stream in the village above ground. I spend a bit of time and teleport back to the women's base, bend my gender again and try out my brilliant idea.

Thanks for making me think the last five minutes was a waste of my time, game!

So let's stop for now. I have a few things I can do next time I play. Apart from the short 'things to do' lists I have above, I've since thought of something to do in the NORTH SEA WINDOW section. I figure I can flood the place. As for how or why I'd do that, I have an idea...

Flood the place.
How - put/throw my explosives on the sea monster's viewscreen?
Why - I frankly have no reason to want to flood the city other the fact that I dropped a boat that seems to have no purpose without water.
Session time: 1 hour 20 minutes
Total time: 5 hours 5 minutes
Inventory:
  • Security card (for women's base)
  • Tape player
  • Binoculars
  • Timer module
  • Shield modulator
  • Bones (Animal, not Star Trek's doctor)
  • Log (Captain's, not wooden)
  • Chicken (Roasted, not fried)
  • Twinkifruit
  • Target module
  • Charge cases (containing explosives)
  • Repair list
  • Fishing rod
  • Penlight
  • Fishing line (taken from fishing rod)
  • Durafail cells (batteries which can be put back in penlight)