This past year, at least in the New England LARP community, has seen the end of some long-running and/or much beloved games. As one of the games I staff is coming to an end, I keep returning to questions about narrative arcs, and how to best complete them. (To be clear, narrative arcs are not the same as the game narrative: they are "sub-plots," of varying magnitude, that exist within the larger game framework.) Arguably, for many LARPers, continuous, interconnected narratives are what keep them coming back to game: over time, they become invested in a given narrative, and committed to, in some way, seeing in through. However, when a narrative arc comes to a close, players can sometimes feel sad, unsatisfied, and/or without purpose. I have known a few people that, following the end of their favorite IG narrative, felt almost entirely disconnected from the game. With this in mind, I have a few questions...
- As a player or as a staffer, what are some successful ways you've seen story arcs ended? What hasn't worked as well?
- How do you make the ending of a narrative meaningful for invested players? Do you give them anything (such as in-game skills, objects, titles etc.)?
- How do you create an ending that is satisfying for players? For players, what sorts of things are you looking for in narrative completion?
- How do you deal with transitions between narratives? What are good ways to get players re-invested in new storylines?
- As a player or as a staffer, what are some successful ways you've seen story arcs ended? What hasn't worked as well?
- How do you make the ending of a narrative meaningful for invested players? Do you give them anything (such as in-game skills, objects, titles etc.)?
- How do you create an ending that is satisfying for players? For players, what sorts of things are you looking for in narrative completion?
- How do you deal with transitions between narratives? What are good ways to get players re-invested in new storylines?
This topic is near and dear to my heart for various reasons, so I'm really looking forward to reading responses.
ReplyDeleteI think one of the major things that many PCs are looking for in a big overarching narrative arc or plot is a chance to effect a 'permanent' change according to their design. The stakes here have to be scaled to the game, obviously.
But let's take a couple of examples:
a) A Bad Thing shows up, kills people, bad stuff happens. PCs Kill/Banish/Imprison it.
b) A Bad Thing that has been part of the world background stirs itself to new activity. The PCs banish it, create appropriate artifacts, and found an Order that will stay vigilant against Bad Thing's return.
a) PCs uncover Ancient Lore, master it through a series of trials, gain boons.
b) PCs uncover Ancient Lore and the Terrible Reason that Ancient Lore was lost in the first place. Master Ancient Lore through a series of trials, gain boons. Address the Terrible Thing About Ancient Lore, such that it is now possible to share it with the world.
a) PCs recover Damsel in Distress (tm), s/he returns to the kingdom of his/her Parent, PCs are rewarded with noble titles.
b) PCs recover Gentleperson in Distress, return them to appropriate station, which means that the arranged marriage can go forward, uniting two feuding kingdoms. PCs are rewarded with the noble title of the dastardly person or persons responsible for the Distress in the first place.
In each case, I'd argue that b) is more interesting than a) because it makes a change in the world (although of course, my own writing of them displays a bias in the amount of detail if nothing else). But even if it 'happens offscreen', even if it won't change the world for another generation or so, it's more interesting, and enmeshes the PCs into the fabric of the world's history. Not because they got cool boons, but because they materially changed something.
Great post!
ReplyDeleteQ - As a player or as a staffer, what are some successful ways you've seen story arcs ended? What hasn't worked as well?
A - Impact is paramount; I like to know my actions had an impact. The more you can articulate the impact a player has had, the better! This goes above & beyond "NPC X dying, etc.". As mentioned above (and articulated quite well), seeing the "world" impact, and tying it back to PC actions. Personal, as personal as you can make it, within the parameters of what a given player enjoys. This one can be difficult, and is heavily reliant on how well you know the player(s). The Marston's are damned good at tugging on heartstrings, and evoking emotions from players, and that's because they make it personal. Ok, I'm getting off-track, talking more about what makes a successful plotline... but I think those points are what drives to a successful conclusion. Knowing the player(s) involved. Knowing what their desired outcomes were/are in the plotline and addressing them (win or lose), I think that's what's made successful conclusions. A climactic finish, with props, costumes, etc. (again, this goes for everything, but is that much more important for completion). What hasn't worked well? Missing the mark, or not having a good enough understanding of what the player really wanted or what their underlying goals were. It may be more than just killing the big-bad-guy, it may have been proving themself to a key NPC/PC, or making right on a past wrong.
Q - How do you make the ending of a narrative meaningful for invested players? Do you give them anything (such as in-game skills, objects, titles etc.)?
A - Every player's different, so really understanding what their goals are is important. For some players, loots is what makes them happiest, while others it's public recognition. The spectrum is huge on this one, so knowing what drives a particular player/character, and delivering on that. Sorry, that sounds too obvious, but I think staffers often assume they know, and are mistaken. PELs are a great way for players to passively share their character goals, etc., but sometimes as a staffer you need to poke a player to get a more complete answer, above & beyond what might be provided in a PEL or character history.
Speaking more personally, having an emotional tie-in & impact on a plotline is probably what I value most. Saving the Princess, ending a plague, etc. Developing relationships with NPCs along the way, seeing them evolve (based on interactions), and having an impact. Some of my most frustrating PC moments have been doing things that I felt should have a direct impact, but having a staffer disregard it. NPC characters being dismissive is also one of my pet-peeves (how heroic do you feel when an NPC can always do it better, etc.) Some characters value noble titles, while others scoff at the thought of it, talking to the player &/or character earlier on in a plot can help you set up for a great finale.
Q - How do you deal with transitions between narratives? What are good ways to get players re-invested in new storylines?
A - Overlap. As a staffer, you have an understanding of an arc, so go ahead and start foreshadowing or threading your plots before the end. Think of it like a Product Life Cycle (http://2.bp.blogspot.com/-tLLbS14cpRg/TWYnzRyY8pI/AAAAAAAAAGs/DV5bx_qqWOo/s320/product-life-cycle.gif); as a plotline approaches its conclusion (or Decline on this model), start introducing another plotline for its replacement. Get some of the characters out there, with introductions to what's going on. Getting them involved so they have something to easily move to once other plots complete is key. As for the how... it really depends on the player and what they're looking for in a game and with their particular character.
A bit verbose... I'll leave it at that for now!
- Mark
I have little to add from a plot writing perspective. Much of what I've written has been very episodic and short term. In the few instances where I have stretched and begun something larger with a longer time scale and greater player investment I've had the good fortune to have it still be ongoing or the bad fortune of the game ending abruptly before I could draw the plot arc to a close.
ReplyDeleteGeorge
As a player most of the mid to large scale plot arcs I've been involved with or seen have had a fairly decisive ending. Much of my experience is with NERO. Since that game is so open ended without any final conclusion in sight what I've often observed is that plotlines have a lifetime that is tied to the staff member running it. The plot begins and continues with ups and downs as long as the staff member is content to run it. At some point the staff member decides to leave staff and then all the plots run by that person end up drawing to a final close.
I've struggled a bit as well with the question of how I should end plot arcs in a way that leaves the participating players satisfied. I tend to be very conservative in terms of giving out boons, powers, titles, etc that have a big impact on the greater game. I tend to give rewards in my plot in the form of contacts, information, and greater access to the plot and its own resources. Those rewards of course tend to get devalued when the plot draws to a close.
In my personal experience as a player I haven't yet suffered any great letdown at the end of plots I've pursued. Part of this is likely due to me rarely having staff run plots as central goals with huge importance to my character. I tend to participate in plots as a group effort, and involve myself in several at once as oppose to throwing myself deeply into any one. When one of the plots I'm involved with ends there is generally several others still going on and that eases the transition.
One situation that I have experienced a few times is one where the plot runner and the player participants have widely different attachments to the plot. I've usually seen it in the form of a staff member who is far more devoted to the plot and invested in its story and eventual conclusion than the players. I've seen this end very badly a few times.
In one case the conclusion happened, and for a variety of reasons it was not particularly gratifying for either the plot runner or the participants. The participants however were more than done with the plot and were willing to let it go. The staff member however felt horrible that the players didn't get to experience a super dramatic and exciting end to the villain and plotline. This led to the plotline immediately starting over from the beginning and having to be played out entirely all over again.
George -
ReplyDeleteWhat's funny is, I actually had a section in my initial reply about staff-turnover and the impact on plotline conclusions, but I had to pull it because I exceeded my post character count. Said differently, I echo what you've said there (for all that's worth!).
And agreed on your comments about "investment in a plot", PC vs. Staff. I feel as though those that run plots want the players to enjoy it and be invested (I think that's a given), but that feeling isn't necessarily reciprocated. I attribute that to a few factors, some of which I mention above. Game-style is also a huge factor. I've seen some staffers run plots that had great depth & character, but their style of game/running was just so different from mine, I couldn't get into it.
- Mark
I firmly believe it's important for every arc to have an epilogue. I typically reframe the world in the context of what the PCs did- and then take those differences into IG reality. It not only breathes life into the world, but makes their actions (positive and negative) mean something.
ReplyDeleteIt's really game dependent on how this is expressed. A heroic game would have thankful people offering their gratitude. A darker game might highlight unintended consequences of murdering the evil king (i.e. anarchy reigns!).
If everyone on staff is willing to play ball, the end of an arc can have a ripple effect on other plots. This naturally draws those players to other plots and if frame correctly, they're insights/involvement would be appreciated.
I tend to be wary of the kind of plotlines that focus on one particular PC and their backstory, history, destiny, etc: the kind of plot that is often referred to as "personal" plot or backstory plot or what have you. Because you can't really sustain that for very long; eventually you have to end the plotline and move on, and I think that creates a strong sense of anticlimax for the PCs involved.
ReplyDeleteAs George said above, I think a far more satisfactory way to manage plot is to encourage each PCs to care about, and be invested in, multiple plotlines at once. I really think it is best for players not to have so much plot that is about their backstory per se, but plot in which their character's history, interests, preferences, etc are involved. So, for someone who is, e.g., an alchemist, priest, former military, with a sister who died tragically, you would want that person to be able to be involved in plot for priests, plot for alchemists, and then some kind of plot that matched those interests. Perhaps a plot involving veterans in trouble, or a plotline in which there is an NPC female who is in danger of dying tragically, where the PC's identity as a veteran and a brother might cause him to be more invested. So I think that really helps with the whole "one plotline" thing, as well as just generally being more likely to make a PC feel invested anyway.
And lastly, I agree with what people have said above about lasting impact. It can be so disheartening if a plotline occurs, wraps up, and then is never heard of again, and is never really relevant to anyone's life again. While you can't run all plots forever, having there be lasting change of some kind, especially a kind that might come up again in future, even in a peripheral way, is important. You want PCs to feel that the plotline mattered, and PCs want to feel that it had a lasting impact, so even if it's over, they can still think about it having ripple effects elsewhere, even if they don't see it happening. That way the plotline doesn't seem "dead" to them, but more "offstage."