History SoYouWantTo / WriteAWesternRPG

* The [[ThemeTune main theme]] of the game that must play either in the main menu ''or'' in the ending credits. Plus variations that play at the key points of the plot, e.g. the [[SimpleScoreOfSadness slow, sad version]] during the Escape-from-DoomedHometown section, the extra epic version during the FinalBattle, etc.

* Battle themes (can be variations of the same theme) that play during regular battles. Duh.

Since the player ultimately controls their party in a WesternRPG, most of the party members are going to be {{optional|PartyMember}}. Some story-relevant [=NPCs=], however, will be {{Required Party Member}}s and it is a good idea to mix them up class-wise so that the minimal "required party" represents every class. Try to include one recruitable party member for each class/specialization/alignment combination there is in the game (e.g. good warrior tank, evil warrior archer, good rogue scout, etc.) and let the players decide which ones they want in their party. If that makes for too many combinations due to the complexity of your GameSystem, reduce the combo to class/alignment and let the players [[SkillPointReset re-spec]] their preferred party to their liking. If you add MutuallyExclusivePartyMembers and want to be nice to the player, make them identical gameplay-wise.

* Is there an ArbitraryHeadcountLimit and if so, how high is it? While originally introduced due to technical limitations of early computers, it still has its justification in the tactical aspect: combat must be challenging and it's easier to balance encounters if you know how many fighters the player is likely to field. The downsides include FridgeLogic of the LazyBackup and LeakedExperience (though both can be remedied) and players missing out on content (e.g. character arcs) specific to characters who are not included in the default standing party due for purely tactical reasons.

* Discrete levels are connected via a HubLevel or some sort of "overworld level", be it a navigable WorldMap or a PointAndClickMap. This is where the FantasyWorldMap you have drawn durin WorldBuilding comes in handy. Battles take place within the levels themselves.

* {{Boss|Battle}}es are the rare unique enemies designed to pose a serious challenge to the player. They are usually encountered at the end of a dungeon or a quest, possess numerous special moves, and are far beyond the player characters's current level.

One last thing about the actual ''casting'': Voice acting [[http://www.joystiq.com/2012/07/06/voice-acting-in-rpgs-may-be-more-trouble-than-its-worth/ carries inherent risks to any game but especially to an RPG]]. The primary issue is that it hinders the writing and editing process, since each new line has to be recorded, re-recorded, encoded, and lip-synced, as opposed to just replacing a text file. Therefore, unless you have access to a large and efficient voice recording infrastructure (which you probably don't unless you work for Creator/BioWare), you are better off without fully-voiced dialogues. That is not to say, of course, that you cannot have the essential moments of the main quest voiced; just don't extend it to every little side quest, as well.

The evil path also tends to be done rather poorly in the majority of [=RPGs=]. Since traditional fantasy plots are rooted in the classic GoodVsEvil dichotomy, the writers expect most players to take the good path by default, and don't bother writing [[NoCanonForTheWicked separate plotlines for truly evil characters]]. Instead, the "evil" characters tend to behave [[ButNotTooEvil like the good ones, except they are rude and mean to everyone]]. If you find yourself hard-pressed to integrate a truly evil path into your game (which is by definition considerably different from the good one), then ask yourself: do I really need a morality aspect in it?

Crafting is an essential mechanic in an RPG with EquipmentBasedProgression, though any form of it runs a high risk of being either completely useless or [[GameBreaker completely broken]].

In a party-based RPG, the party members are a major appeal. When designing the party, two aspects should be considered: [[CharactersAsDevice tactical gameplay]] and {{characterization|Tropes}}. On one hand, the party members are characters in a story with their own flaws and CharacterDevelopment; on the other, they are [[WarGaming painted miniatures on the map]] meant to kill other painted miniatures. Therefore, the potential party selection should offer both a sufficient variety of classes to put together an optimal supporting team for the PlayerCharacter, and simultaneously be a [[RagtagBunchOfMisfits interesting bunch to travel with]]. Which aspect is more important in your game is entirely up to you, though there is a general correlation here with whether the game is combat-oriented or story-driven.

The Western RPG genre tends towards non-linearity in both aspects. However, non-linearity has its dangers: a WideOpenSandbox becomes a QuicksandBox if the players cannot find their bearings before the [[OpeningTheSandbox opening of the sandbox]]. Meanwhile, allegedly non-linear plots often end up with purely cosmetic branching (e.g. fighting essentially the same battles, only in different uniforms) because designing extra levels for the sake of a plot branch half the players won't even play through is deemed too costly at the production stage.

As discussed earlier, most Western RPG protagonists (player characters) are [[FeaturelessProtagonist blank slates]] with tons of CharacterCustomization piled upon them, and very few games feature a predefined protagonist (in stark contrast to the EasternRPG genre). Since their characterization throughout the game is completely up to the player, their past is usually kept utterly generic. Too many games have featured an AmnesiacHero to justify the blank slate part, so try to avert it unless you can put an [[PlayingWithATrope interesting spin on it]]. Instead of amnesia or a generic past, give the protagonist a moderately heroic BackStory that justifies their adventurous tendencies, or better yet, write several ([[RuleOfThree three]] or more) different character origins for the player to select from at character creation in accordance to their race, class, alignment, etc. BonusPoints if you reference the chosen origin later in the game, offer exclusive side quests, or even make the origin stories playable as MultipleGameOpenings.

Refer to Analysis.VideoGameAchievements for common achievement/trophy templates. Most of them can be used in an RPG.

As discussed earlier, most Western RPG protagonists (player characters) are [[FeaturelessProtagonist blank slates]] with tons of CharacterCustomization piled upon them, and very few games feature a predefined protagonist (in stark contrast to the EasternRPG genre). Since their characterization throughout the game is completely up to the player, their past is usually kept utterly generic. Too many games have featured an AmnesiacHero to justify the blank slate part, so try to avert it unless you can put an [[PlayingWithATrope interesting spin on it]]. Instead of amnesia or a generic past, give the protagonist a moderately heroic BackStory that justifies their adventurous tendencies, or better yet, write several ([[RuleOfThree three]] or more) different character origins for the player to select from at character creation in accordance to their race, class, alignment, etc. Bonus points if you reference the chosen origin later in the game, offer exclusive side quests, or even make the origin stories playable as MultipleGameOpenings.

Since the player ultimately controls their party in a WesternRPG, most of the party members are going to be {{optional|PartyMember}}. Some story-relevant [=NPCs=], however, will be {{Required Party Member}}s and it is a good idea to mix them up class-wise so that the minimal "required party" represents every class. Try to include add one recruitable party member for each class/specialization/alignment combination there is in the game (e.g. good warrior tank, evil warrior archer, good rogue scout, etc.) and let the players decide which ones they want in their party. If that makes for too many combinations due to the complexity of your GameSystem, reduce the combo to class/alignment and let the players [[SkillPointReset re-spec]] their preferred party to their liking. If you add MutuallyExclusivePartyMembers and want to be nice to the player, make them identical gameplay-wise.

The characterization of the party members can be derived from their function: for instance, the good warrior tank is probably a KnightInShiningArmor of some sort; the evil warrior archer may be a ColdSniper with DarkAndTroubledPast; the good scout is a LovableRogue, etc. Party members are also a perfect [[MrExposition source of exposition]] for whatever part of the setting they come from, as they give the player a face to associate country names and historical events with. Bonus points if the party represents the entire geographic and social scope of your setting. For a finishing touch, make it that EveryoneHasASpecialMove that reflects their personality and background.

One last thing about the actual ''casting'': Voice acting [[http://www.joystiq.com/2012/07/06/voice-acting-in-rpgs-may-be-more-trouble-than-its-worth/ carries inherent risks to any game but especially to an RPG]]. The primary issue is that it hinders the writing and editing process, since every new line has to be recorded, re-recorded, encoded, and lip-synced, as opposed to just replacing a text file. Therefore, unless you have access to a large and efficient voice recording infrastructure (which you probably don't unless you work for Creator/BioWare), you are better off without fully-voiced dialogues. That is not to say, of course, that you cannot have the essential moments of the main quest voiced; just don't extend it to every last side quest, as well.

!Set Designer / Location Scout
On the most basic level, all RPG levels can be categorized into towns and dungeons. Towns are self-contained levels (except the CapitalCity, which may span several levels) whose defining traits are safety from harm and shops (and the player is usually forbidden to attack anyone). Dungeons, contrary to the term, don't have to be underground: any location with enemies and traps in it is one, regardless whether it's underground, indoors, or outdoors. In the recent [=RPGs=], the boundary between the two types has been progressively erased, with things like DungeonTown and DungeonShop becoming more and more common.

* Are there [[CriticalHit critical hits/misses]]? How are they calculated? What happens when one happens?

Unlike non-interactive media, which [[TheLawOfConservationOfDetail shun any detours from the central story]], Western [=RPGs=] [[NarrativeFiligree revel in them]]. Numerous and diverse side quests are one of the biggest appeals for RPG players, since they let the players delve into your ConstructedWorld and find their own adventures. Diversity of side quests is achieved by varying their length and complexity. StrictlyFormula approach is OK, as long as you have multiple formulas and the player doesn't know which one you'll give them next, or whether you'll subvert it half-way. For instance, not all quests have to be started by talking to an NPC with a glowing exclamation mark blinking over their head; found documents and items, party members, even EnemyChatter can also tip off an attentive player. Likewise, not all side quests must end with the same quest giver handing you the promised reward; the quest giver [[TreacherousQuestGiver turning on you]] or biting the dust before you can return is a nice shift of gears from the routine (in both cases, of course, the quest must [[SidequestSidestory have a follow-up]]).

* Don't overthink your combat system! Sure, it's possible to design one that simulates Renaissance rapier fencing in minuscule detail, but will it still be [[RuleOfFun fun to play]]?

Just as it is possible to improve characters via gaining levels and increasing stats and skills, it is also possible to equip them with more powerful and deadly items. Showering the player with random {{Plunder}} and selling predefined gear at the in-game shops is standard fare in Western [=RPGs=], but some additionally let the player create their own equipment via ItemCrafting, which comes in three variations:

Similarly to how classes are an attempt to demarcate the role a character plays in exploration and combat, CharacterAlignment was an attempt by early tabletop [=RPGs=] (primarily, ''TabletopGame/DungeonsAndDragons'') to define their role in dialogue and other non-violent interactions with {{Non Player Character}}s, primarily {{Quest Giver}}s and party members or followers. Since ''VideoGame/UltimaIV'' and ''VideoGame/{{Fallout}}'', digital [=RPGs=] have gained a more dynamic tool of assessing a character's moral standing in form of the KarmaMeter.

If social interactions are important to your game, including an alignment system or a karma meter can increase the diversity of dialogue, as [=NPCs=] would probably react differently to the player character's presence depending on their reputation. If you use a karma meter, try to avoid NoPointsForNeutrality unless the plot itself requires the player to reach either end of morality scale. If it doesn't, then there is no real reason why players who prefer the middle path should be put at a gameplay disadvantage.

The evil path also tends to be done rather poorly in a majority of [=RPGs=]. Since traditional fantasy plots are rooted in the classic GoodVsEvil dichotomy, the writers assume most players to take the good path by default, and don't bother writing [[NoCanonForTheWicked separate plotlines for truly evil characters]]. Instead, the "evil" characters tend to behave [[ButNotTooEvil like the good ones, except they are rude and mean to everyone]]. If you find yourself hard-pressed to integrate a truly evil path into your game (which is by definition considerably different from the good one), then ask yourself: do I really need a morality aspect in it?

* [[NonCombatXP Non-combat (often class-specific) activities.]] Characters not designed for combat may gain levels from other activities, such as a thief becoming better at thieving by picking locks and pockets or [[NoExperiencePointsForMedic the healer by healing wounds and curing decease]].

One of the defining traits of the RPG genre is that the player-controlled characters become increasingly more powerful as the game progresses. This is often but not necessarily represented by the CharacterLevel, which is a all-round handy tool, both for the ease of reference ("you should avoid that area until level 10+") and for the in-game DynamicDifficulty via LevelScaling. Character levels are usually gained by the following:

* Quests. The character gains levels for completing storyline missions and {{Side Quest}}s. It is implied that whatever hardships the character endured to complete their tasks made them stronger.
* Non-combat (often class-specific) activities. Characters not designed for combat may gain levels from other activities, such as a thief becoming better at thieving by picking locks and pockets and avoiding detection by guards.

While level progression is potentially infinite, many developers choose to put a {{Cap}} on it, if not to prevent the character from getting too powerful, then because there are simply no meaningful ways to improve a character past a certain point.

* [[FirstPersonShooter First Person]]. By seeing the world through the eyes of your character, you ''become'' that character, so most such games tend to star a HeroicMime or a FeaturelessProtagonist. Gameplay-wise, 1P view is optimal for aiming and shooting, while the melee combat is less spectacular. Tactical party control is often absent or limtied to SquadControls.

* [[ThirdPersonShooter Third Person]]. This can be seen as a middle-ground between first-person and isometric views. With less emphasis on tactical control, 3P puts you more immediately into the action, while still distinguishing between you and your character. One thing this view shows off best is the close-quarters combat in all its gory goodness.

A classic main quest goal in many, many [=RPGs=] is to save something--but what exactly depends on the genre. In HighFantasy, it's usually about saving the entire world; similarly, it's saving the galaxy in SpaceOpera. In HeroicFantasy, the player must usually save a kingdom or a city. In [[LowFantasy Low]] and DarkFantasy, it's essentially the same, except the kingdom/city is [[KnightInSourArmor probably not worth saving in the first place]]. CyberPunk is comparable to DarkFantasy in this aspect.

Will the players control a single PlayerCharacter or an entire PlayerParty?

* Party-based [=RPGs=] tend to [[RPGsEqualCombat focus largely on tactical combat]], because a party means character specialization and combat is the only middle ground that [[FighterMageThief fighters, mages, and thieves]] have in common. There is little point in including a realistic stealth system, if the party thief is the only one who can do it while the rest must stay back, twiddling thumbs.

Does the player create their characters from scratch or choose from among pre-defined characters?

* Created characters are by far the most common alternative in Western [=RPGs=] for the primary {{Player Character}}s (in fact, only [[VideoGame/TheWitcher one major RPG series]] in recent memory averts it). Entire player-created parties, however, while popular in the past, have gone largely out of favor in the past decade, probably because it takes more time than most players are ready to invest before the start of the actual game.

* How much control over party members/followers do you give to the player? This concerns both CharacterCustomization (can the players change their appearance, decide which equipment they use, which stats/skills they improve, etc.) and exploration/combat. Options for the latter ranges from [[ManualLeaderAIParty fully autarkic AI]], through SquadControls, scriptable AI (the player decides how individual [=NPCs=] must behave in general terms), to scriptable AI with optional micromanagement, and mandatory micromanagement of each character.

Since the exploration is the backbone of [=RPGs=], it pays to start with defining the setting first. Most [=RPGs=] out there belong to the genre of SpeculativeFiction, specifically its two most prominent subgenres: {{Fantasy}} and ScienceFiction. The differences between the two are many (see Analysis.SpeculativeFiction) but so are the similarities, and it's not without reason that the trope SciFiCounterpart exists.

One difference that may be important for WorldBuilding and plot writing is that in a fantasy, OlderIsBetter, while in sci-fi, it's usually the bleeding edge technology that trumps everything. Accordingly, while in a fantasy RPG, the hero might be searching for an [[MacGuffin ancient artifact]] to destroy an even older evil, a futuristic RPG may revolve around the hero building a space superweapon to repel the invading SufficientlyAdvancedAliens.

* Options are non-exclusive optional content, which can be experienced and explored without affecting other options to a significant extent. Options extend a single playthrough duration and work best in exploration-driven [[WideOpenSandbox free-roaming RPGs]].

To illustrate the difference, let's assume you make a fantasy RPG where the player can contract lycanthropy or vampirism. In a choices-driven game, the player would have a chance to turn their character into a werewolf, and if they refuse, into a vampire later on. If they refuse again, they will have to finish the game as a human. In an options-driven game, they will be able to turn into a werewolf or a vampire at any time after discovering this possibility. They may even be allowed to reverse their condition or become a vampire-werewolf hybrid in the same playthrough.

Finally, one more trope essential for exploration and thus to a free-roaming RPG experience is TakeYourTime. Even though it's unrealistic, the players must know that there is no time limit for main plot missions; otherwise, they will readily miss out on most of the non-essential content out of fear that the main quest becomes unwinnable. Soft time limits are okay, though: if certain side quests are only available until certain plot events but said events themselves can be postponed indefinitely, a lover of exploration would always clear the former before doing the latter.

Additionally, the soundtrack provides ample opportunity for motifs, be it for certain events (MoodMotif), locales (RegionalMotif), or characters ({{Leitmotif}}).

Be sure to read SoYouWantTo/WriteAnRPG for more general advice. Other guides, particularly SoYouWantTo/WriteAStory, SoYouWantTo/WriteAHeroicFantasy, SoYouWantTo/WriteAHighFantasy, and SoYouWantTo/WriteACyberPunkStory, may also be helpful, since this guide will focus less on giving you ideas for plots and characters and more on giving you a general overview of your options and important considerations when designing an RPG.

Be sure to read SoYouWantTo/WriteAnRPG for more general advice. Other guides, particularly SoYouWantTo/WriteAStory, SoYouWantTo/WriteAHeroicFantasy, SoYouWantTo/WriteAHighFantasy, and SoYouWantTo/WriteACyberPunkStory, may also be helpful, since this guide will focus less on giving you ideas for plots and characters and more on giving you a general overview of your options and important considerations when desinging an RPG.

!!Necessary Tropes

!!Choices, Choices
!!!Choices or Options?

!!!Fantasy or Sci-Fi?

!!!Player Party or Single Character?

!!!Technology

!!!Linear or Non-linear?

!!!Levels, stats, and skills

!!!Class-based or Open-skilled?

!!!Alignments, Karma Meter, or...?

!!!Crafting

!!Pitfalls

!!Potential Subversions

!!Writer's Lounge
!!!World Building

!!!Suggested Themes and Aesops

!!!Potential Motifs

!!!Suggested Plots

!!!Dialogue

!!Departments
!!!Game Designer

!!Set Designer / Location Scout

!!!Props Department

!!!Costume Designer

!!!Casting Director

!!!Sound Director

!!!Stunt Department

!!Extra Credit
!!!The Greats

!!!The Epic Fails

* Party-based [=RPGs=] tend to [[RPGsEqualsCombat focus largely on tactical combat]], because a party means character specialization and combat is the only middle ground that [[FighterThiefMage fighters, thieves, and mages]] have in common. There is little point in including a realistic stealth system (or even OptionalStealth), if the party thief is the only one who can do it while the rest must stay back, twiddling thumbs.

Another danger is a specific type of MultipleEndings, the LastSecondEndingChoice. While [[TropesAreNotBad not bad]], it is much more rewarding to players if several choices throughout the main quest determine its ultimate outcome or at least, limit your options in the end. For instance, instead of the player outright deciding who takes the kingdom's throne (the young heir apparent, the noble ReasonableAuthorityFigure, or the PlayerCharacter), make it an outcome of several factors, such as whether the player completed an arduous CollectorSudequest to find evidence of their royal descent, whether the prince or the duke are still alive in the end, whether the AllianceMeter with the prince's and the duke's respective factions is high enough, etc.

Crafting is an essential mechanic in an RPG with EqupmentBasedProgression, though any form of it runs a high risk of being either completely useless or [[GameBreaker completely broken]].

* InDefenseOfStoryTelling (on a more meta level)

Unlike non-interactive media, which [[TheLawOfConservationOfDetail shun any detours from the central story]], Western [=RPGs=] [[NarrativeFiligree revel in them]]. Numerous and diverse side quests are one of the biggest appeals for RPG players, since they let the players delve into your ConstructedWold and find their own adventures. Diversity of side quests is achieved by varying their length and complexity. StrictlyFormula approach is OK, as long as you have multiple formulas and the player doesn't know which one you'll give them next, or whether you'll subvert it half-way. For instance, not all quests have to be started by talking to an NPC with a glowing exclamation mark blinking over their head; found documents and items, party members, even EnemyChatter can also tip off an attentive player. Likewise, not all side quests must end with the same quest giver handing you the promised reward; the quest giver [[TreacherousQuestGiver turning on you]] or biting the dust before you can return is a nice shift of gears from the routine (in both cases, of course, the quest must [[SidequestSidestory have a follow-up]]).

* FetchQuest. This type is universally derided for being an IrrelevantSidequest for the sake of FakeLongetivity, and it indeed often is. On the other hand, a handful of straightforward fetch quests are OK to make a quick buck between larger missions, so [[TropesAreNotBad don't ignore them]]. To spice up the routine, use the tips above or include "reverse-fetch quests" (player picks up a random item that says "Deliver me to X in the town").

* CollectorSidequest. An average player grows bored after collecting the fourth or fifth MacGuffin, so if there are more items to collect, you should make this quest entirely optional. Also, the reward must be adequate for the amount of effort it takes to complete.
* CartographerSidequest. Greatly encourages exploration, especially in a continuous overworld. If you want to be nice to the player, hand out the rewards in small heaps, depending on the area explored since the last check-in, and the final reward, when 90% of the map is compiled.

* PlotCoupons and MacGuffins. If you have a weight limitation on inventory, make sure these quest items don't weight anything and are removed from inventory upon completion of the quest.

As discussed earlier, most Western RPG protagonists (player characters) are [[FeatureslessProtagonist blank slates]] with tons of CharacterCustomization piled upon them, and very few games feature a predefined protagonist (in stark contrast to the EasternRPG genre). Since their characterization throughout the game is completely up to the player, their past is usually kept utterly generic. Too many games have featured an AmnesiacHero to justify the blank slate part, so try to avert it unless you can put an [[PlayingWithATrope interesting spin on it]]. Instead of amnesia or a generic past, give the protagonist a moderately heroic BackStory that justifies their adventurous tendencies, or better yet, write several ([[RuleOfThree three]] or more) different character origins for the player to select from at character creation in accordance to their race, class, alignment, etc. Bonus points if you reference the chosen origin later in the game, offer exclusive side quests, or even make the origin stories playable as MultipleGameOpenings.

If your party members are to have a more than passive personality, make them express it in dialogue, both with other [=NPCs=] and with the PlayerCharacter. If their personality is to be revealed gradually, add RelationshipValues that determine whether they trust the PC enough to talk about personal issues. Rewards for gaining their trust can range from [[LevelUpAtIntimacy5 simple bonuses]] to character-exclusive side quests (including a RomanceSidequest). Losing trust may force characters to [[YouLoseAtZeroTrustleave the party]] (in which case, remember to avert SoLongAndThanksForAllTheGear).