The reality of the hero in a RPG

In: Design | Opinion | Video games

On September 17, 2008


One of the problems that faces the designer - scriptwriter at the time of implementing the narrative is undoubtedly to define the characteristics of the principal personage, commonly called “the hero”. If we throw a glance to the oriental RPGs (and western some) for example, we think that the principal personage is the most idiotic person of the world, it has not the same knowledge that the others and constantly is lost, looking for indications. Such it seems that our personage is the weakest person inside the history.

It is true that the power game is something that we look unconsciously, nevertheless for the real sensation of being able it comes at the end of the game and we do not have time to enjoy the benefits that it transports to have fought for more than 20 hours with hundreds of enemies. Theoretically we believe that it is coherent that the principal personage spends for a process where he must acquire experience nevertheless in practice the player remains subordinated to fulfill the role of “errand boy“ in the first hours. Nobody likes that they order him, much less in a game.

How to solve it? We have to think about situations much more creative than one simple amnesia, previous traumas or problems of integration of our personage give to the player the sensation of being able, for smaller that it is. We have an example of a good narrative in Elder Scrolls IV: Oblivion, our personage is a person not known with power of decision. It is enough to take the first quest to turn into “the hero of Kvatch” and to be admitted in every city that he treads. The personage does not have to wait after 20 comes at level to be respected and the alternate missions to the history possess a good balance that adapts itself to the experience with which it is counted to the moment.

Inspiration source: The Ultimate Guide to Video Game Writing and Design

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