Tanma, on 08 June 2012 - 02:39 PM, said:
Well, I haven't had a chance to really watch William as he is in a different Dastan Quest, so I probably can't help with specifics. I do think demonic possession and dark sides are overused, but I am not sure if that is what you are referring too. Roleplaying need not be so dramatic anyway, you could just be a farmer from a small isolated village who never left his small town. The culture shock of dealing with all the strange heroes and weird situations Heroica has would give great Roleplaying, even though the character themselves is rather plain. I am not sure if I am making sense here, I am kind of babbling.
Now again, I am probably "speaking the crazy," but if you are stuck on demons and chaos, why not twist that common theme? Chaos for instance is not inherently evil, it is just the lack of order. I for one associate free will with chaos, because what is more chaotic than people thinking for themselves, rather than obeying a single unifying thought? Sure chaos is bad if taken to the final extreme, but is order any better when taken to the farthest point? It might be interesting to see a demon or a follower of chaos who is more benevolent, wanting to free people from tyranny instead of just causing destruction. Does any of this make remote sense?
Also, can I get some feedback now? I don't mean to be rude, but I worried about how De'kra cones off right now, and the la k of comments is only fueling that concern.
I have the same problem with you that you have with Vol; I'm keeping myself in the dark about Dastan.
From what I've seen, you have a pretty good idea about who De'kra is and where he's going, and you usually do an excellent job of playing him.
Dannylonglegs, on 08 June 2012 - 04:03 AM, said:
First of all, I think this thread for the discussion of roleplay is an excellent idea! I've read a bit of what's been said and it's really informative.
So, I'm not sure if I have been roleplaying for my character enough or properly.
I like roleplaying, though I'm not fantastic at it, but my character doesn't really promote the kind of roleplaying that others seem to be able to spout out. The problem I think, is how secretive my character is. Not only is his race and gender unknown to the other heroes, but so most of his history. He knows fully well what he is and what his plans are, but he sees no reason to divulge his information to anyone. All anyone can tell about him, from how I've played him is that he's smart, and a bit cruel but occasionally polite, and overly careful. Also, what people do see of him is mostly a facade. Sylph feels it easiest to merely act polite to those he meets because he sees everyone as a potential ally or tool. He's a real psychopath, but I can't get that point across and stay in character. I also feel that his true identity may be too evil for Heroica.
I'm so used to being the DM of my old DnD games that I prefer playing villains to heroes, but I know that villains and Heroes don't mix well.
Does anyone have any ideas as to how I can make him more entertaining if you don't think he's entertaining enough?
You seem to be doing a pretty good job as well; you have a very Docken-esque "silent badass" thing going on, with a bit of "mysterious stranger" on the side. Playing a character with secrets is a rather hard thing; one of my problems with Arthur is that he's keeping secrets about his past, and that there are secrets about him that he himself does not know. When you have a secret, it's only going to be revealed if someone else brings it up; usually this means getting the QM to throw you a bone (that is, explaining privately the secret(s) you want revealed and asking for an opportunity to reveal them if possible) or else privately asking another player to take action that will lead to the secret's unveiling. One lesson I'm learning the hard way is this: a secret only develops character if the audience knows it's there.
Using Arthur as an example, I was motivating a lot of Arthur's actions based on Caroline and other things in his past (BTW, did ANYONE notice the Portal reference?
), but...no one knew about them. And so, even though, internally, his actions had a semblence of reason attached to them (Step 1), there was no frame of reference for anyone to understand why
they were reasonable for him (Step 2). Now, I obviously don't want to reveal everything
, but the reveal to the audience about Caroline in the flashback felt like a good move. Do keep in mind, it is possible to reveal things to the audience without revealing them to other characters; you don't want to do it all the time (it's internal conflict, after all, and shouldn't be OVERused), but it is a good technique for establishing things about your character that wouldn't otherwise come out.
And of course, I'm still finding my way with Arthur on the very same issue, so whenever you see me fail epically...don't do that.
LEGOman273, on 08 June 2012 - 03:13 AM, said:
Do you have any tips for helping me role-play Daxus?
I don't really have a frame of reference for Daxus; not that I haven't paid attention, but that he's not really differentiated himself from a basic Rogue yet. Define him a bit more clearly in your mind, and get to know his traits, including those that would be slightly odd or unusual. As an example, Mizuki is in most respects a "basic" Rogue, but she loves hot chocolate. It's a small quirk, but it adds a LOT to the character. What's unusual about Daxus? Does he brush his hair with a fork? Does he only eat beef that's been dipped in honey? Was he secretly forced to take ballroom dancing lessons as a child, a skill that (to his chagrin) he has retained to this day? Flesh him out a bit that way and he'll take on a life of his own. When your character seems to be choosing their own actions, you're on the right track.
VolcanicPanik, on 08 June 2012 - 12:19 PM, said:
Alright, I suck at RP. All I end up with is demons or chaos stuff. Any advice?
Some of my advice for Daxus also applies here. Some notes specifically for Harkenshire, though: he seems to take delight in destroying things; it's an unusual choice for the normally nature-loving Rangers, why is he like that? He also doesn't usually think to use Nature Talk unless prompted to do so by the rest of the party; why? This is the next step; once you determined a few things that make your character a more believable person, you need to figure out why
they have those traits. This is getting a bit into the Backstory
topic I haven't discussed yet, but to put it simply: if Real Life, our Backstory determines our traits. When making a character, we go the other way around; their traits determine what their backstory needs to be. A fair amount of Arthur's backstory sets him up to be a Sorcerer, because that was my intention for him when I wrote it; while "turning" from darkness seemed a reasonable choice for him, in truth it defied his backstory and his ultimate end, and so it must be undone. With William, you have an opportunity for a loose but detailed backstory, defining specific events in his life but not "aiming" for a specific outcome. This will allow him to develop organically, not "locking" yourself into one path, while at the same time having that specific base of backdrop that is essential to character development.
To reiterate: there are two kinds of backstory: "locked," completely defined stories that lay out a specific path for the character to follow, and "loose" stories in which specific influences are known and defined, but that are open enough to allow spontaneous development. Both are useful in their own way; it's a matter of preference which one you'll choose. A word of caution, though: "locked" backstories ARE more difficult, because you have to wait for the next event that will "trigger" development, and you never know when that will be, which means you may have to pass up options that don't fit your character; "loose" backstories allow more freedom in development, and allow for more opportunities for the character to surprise you.
Also note: backstory
does not necessarily have to be explained in-character; passing references to it, a casual thought or remark, can be enough to justify it to the audience; see Noodle Incident
for examples of this.
I leave you with one last word about ALL
incidences of character development; generally speaking, you want to show, don't tell.
us how your sister's boyfriend beating you up when you were little made you fearful of black-haired men, show
us your fear. Even if someone asks you to explain, only talk about the cause
("My sister's black-haired boyfriend beat me up when I was little"), not the effect ("[s]so I'm afraid of men with black hair").