History SoYouWantTo / WriteAWesternRPG

* ''VideoGame/{{Fallout 1}}'' and ''[[VideoGame/{{Fallout2}} 2]]'' have merged open world and narrative elements in a way that brought out the best of both worlds and wouldn't be replicated until ''VideoGame/TheWitcher3''.

** Freedom for Oneself. This villain (often of supernatural evil variety) has been imprisoned long ago and seeks to escape that state.

* Which StandardStatusEffects, if any, can be inflicted in combat? Can common status effects be inflicted in multiple ways (e.g. can a mage's spell, a CriticalHit by a hammer-wielding fighter, and a thief's specialized perk all inflict the same Stun effect)? Is there a BreakMeter for enemies/allies?

Finding true "[[DarthWiki/SoBadItsHorrible epic fails]]" among published and [[TroperCriticalMass somewhat well-known]] examples of the genre is actually quite hard, because ever since mid-90s, {{Western RPG}}s have not been mainstream enough to flood the market with shoddy hack jobs. Most horrible [=RPGs=] either never leave production, or pass into obscurity immediately, unnoticed and unplayed by anyone, so it's much easier, in fact, to list games that have turned out alright but still failed to live up to their full potential for different reasons:

Some of the popular ultimate villainous goals below overlap with "heroic" motivations focusing on personal well-being -- feel free to use [[NotSoDifferent this observation]] for dramatic effect:

Note that the above concerns what the individual villains believe they are fighting for, even when, in reality, they may be deceived and manipulated by even bigger villains. Furthermore, while some of the "villainous" goals above may not sound all that evil at first, their [[RealityEnsues collision with imperfect reality and flawed human nature]] often brings about just as much pain and suffering as plain and obvious evil. This takes us to the next question: What is it about the BigBad or his plans that make them dangerous and imperative to thwart?

The Twist may be a good point to throw a PlayerPunch. Best punches catch the players off guard, take away something they already considered theirs, and then [[TheWorldMocksYourLoss mock their failure]] for the rest of the game. Take the players out of their comfort zone by following the StrictlyFormula right up until you suddenly don't. For maximum effect, a PlayerPunch should be a singular event, because [[TraumaCongaLine overloading the players' emotional circuits]] tends to [[DarknessInducedAudienceApathy desensitize more than to hurt]]. A classic way to meet all of these requirements is to [[PlotlineDeath kill off]] [[DeadSidekick a party member]], but GenreSavvy players will expect that. See also Analysis.PlayerPunch.

* [[TheManBehindTheMan The Monster behind the Man]]. A likely sympathetic Narrative Human [[TheHeavy Heavy]] plays the part of an Evil Overlord, but it may or may not be obvious that he is actually manipulated by an inscrutable supernatural force (Narrative Nonhuman Villain) for its own goals. Defeating or freeing the Heavy is required to banish his hidden master (because destroying it outright may prove impossible).

* [[https://www.engadget.com/tag/rowan-kaiser/ Rowan Kaiser's column at Engadget (formerly at Joystiq)]]: A collection of articles on the theory and history of the WesternRPG genre.

You can, of course, mix up any or all of the three, but such experimentation very often ends up diluting the overall experience. Remember that you cannot please everyone and don't try to cram in every {{RPG Element|s}} you read about in this article just for the sake of it being there. Instead, choose carefully and deliberately which the elements will strengthen the experience you want to give to your players--and leave everything else out.

* Dungeon crawlers, in contrast to the other types, don't gain much from non-linearity at all. The players [[PlayTheGameSkipTheStory aren't there for the story]] (which doesn't mean, however, that the narrative can be ignored), while too much exploration freedom makes it difficult to balance encounters and distracts the players from grinding and looting. Level design non-linearity should be present insofar as is necessary for both short and long-ranged specialists to be able to clear encounters--and if your dungeon crawler features RandomlyGeneratedLevels, the level generator must take that in account.

* Perks, a.k.a. "traits" and "feats", are distinct moves, spells, auras, and permanent passive bonuses, from which the characters only benefit after they learn them--so one may be a sword fighter but unless he knows the Feint technique, he cannot use it in combat, period. These perks are often grouped into [[TechTree "skill trees"]] and cannot be leveled up beyond the initial skill point investment, the size of which may vary with the complexity of the perk. Some perks, however, can be upgrades of their respective prerequisite perks rather than new techniques.

* Is there a SkillPointReset option? While [[LaserGuidedAmnesia utterly]] [[InstantExpert unrealistic]], this feature lets the players [[AntiFrustrationFeatures fix messed up builds]] and [[RuleOfFun try out new things]] without restarting the game. It doesn't have to be readily available, of course--for instance, it can cost increasing amounts of in-game currency, or only be available at certain opportunities (e.g. upon unlocking a PrestigeClass SkillTree, or when a NonPlayerCompanion gains their first level after joining, so players can re-spec them after trying out their predefined stats).

At this point, you also need to figure out how to avoid EmptyLevels. Players like agency and have the most fun in acquiring and trying out new powers that change how they play the game, so most of them will feel cheated if their hard-earned LevelUp gives them little besides a basic stat increase. "New powers" aren't necessarily limited to SkillScoresAndPerks--for instance, a piece of previously restricted LevelLockedLoot can be one, too--and it is imperative to give meaningful rewards to characters going up in level. Possible solutions to the EmptyLevels problem include:

* The basic stat increases serving as stepping stones towards unlocking new powers, either via StatGrinding or in a complex SkillTree where stat increases lead up to new abilities. This lets the players set their own goals and revel in the feeling of achievement upon reaching them--as long as it doesn't take too long to get from one new power to the next. This is the preferred option for dungeon crawlers, since it allows for a much finer control over the character build, as well as for sandbox games, as it allows for more customization.

* Don't confuse [[https://www.youtube.com/watch?v=lg8fVtKyYxY choices with calculations]]. Both are valid player decisions, but in a calculation, all options are immediately comparable to each other and the players are challenged to find the best one. In a choice, the players either don't have enough data for a calculation or must choose between several things they want but can't get at the same time--in either case, the key is setting up an internal conflict between the players' desires for them to resolve.

* Subvert NewGamePlus by letting the PlayerCharacter keep not only the skills and powers s/he gained in the previous walkthrough but also knowledge of the storyline--possibly unlocking additional story branches. Combine that subversion with subverting the AmnesiacHero by revealing that the PC remembered his/her past "playthroughs" all along but assumed [[CassandraTruth nobody would believe him/her]].

Furthermore, a vast majority of WRPG protagonists embark on their journeys [[WithThisHerring with minimal skills and material possessions]]. Gameplay-wise, this allows for a continuous power progression and lets players further customize their characters in the course of the game. In-story, such pitiful state of affairs is usually justified by some kind of misfortune or calamity--preferably one that wasn't [[IdiotBall caused by the PC's own stupidity]]--that occurs either in the opening scene or in their recent past. This, in turn, must reflect on their motivation to go on an adventure: the main quest can be presented as the only way to undo said misfortune or as [[TheCallKnowsWhereYouLive something completely unavoidable in the situation at hand]].

** The Player. The PC is [[PlayerAndProtagonistIntegration explicitly]] the player--a regular shmoe (overlapping with the Uprooted Everyman background) from RealLife, [[SummonEverymanHero summoned]] to the game world on a heroic mission--which they are [[EscapistCharacter only too eager to undertake]], putting their mentality closer to the Drifter. Because of the heavy [[BreakingTheFourthWall fourth wall abuse]], this type is mostly found in old school [=RPGs=].

** [[DeathAmnesia Dead Man Walking]]. The PC's amnesia was actually caused by their death--and yet they are mysteriously alive again.

* [[https://www.youtube.com/watch?v=NyDx5nG7koA Narrative Villains]] are characters in the storytelling sense. Narrative Big Bads and [[TheHeavy Heavies]], unlike their Mechanical counterparts, tend to be humans (or at least, humanlike beings) with elaborate pasts, goals, and flaws and, as such, can fall anywhere on the SlidingScaleOfAntagonistVileness. That is not to say that Narrative Villains cannot put up a good BossBattle--but since they aren't defined by their combat prowess, they may just as well go down [[AnticlimaxBoss with a single hit]], [[CutsceneBoss in a cutscene]], or even let themselves [[TalkingTheMonsterToDeath be talked down]] [[SkippableBoss without a fight]]. At least one Narrative BigBad is pretty much a requirement in a Narrative RPG, but they are also often found in Sandboxes and even in some Dungeon Crawlers. This type is rarely applied to lesser villains, since you don't have time to develop them properly before they leave the stage, but a non-BigBad RecurringBoss may belong to this category.

Before you begin, an important note on supernatural non-human villains: In most cases, these beings represent primal forces of the universe and, as such, lack complex human-like motivations. A [[MadeOfEvil manifestation of pure evil]] is an OmnicidalManiac and its spawn are AlwaysChaoticEvil simply because their concept of "normal" is monstrous by any sane human reckoning. Neither do they have flaws that can be exploited to bring about their downfall--rather, they fail because their power proves insufficient to overcome human tenacity and the supernatural powers backing the heroes. Human, human-like, and human-made antagonists can never take this cop-out.

Some of the popular ultimate villainous goals below overlap with "heroic" motivations focusing on personal well-being--feel free to use [[NotSoDifferent this observation]] for dramatic effect:

* Change. These (often epic) villains want to bring [[{{Ubermensch}} the laws of the society or even of the entire existence into conformity with their own particular vision thereof]]. While all of them ultimately envision changing the whole world, many [[TakeOverTheCity start out pragmatically small]].
** [[UtopiaJustifiesTheMeans Make a Better World]]. This villain believes he is acting to the ultimate benefit of humankind. This motivation is mainly found in human villains--after all, most evil-doers [[KnightTemplar believe they are doing the right thing]] (although some may recognize themselves as NecessarilyEvil).

** Slave to His {{Code|OfHonor}}. This villain follows a certain code of conduct--which may have driven them to villainy in the first place--and won't stray from it even when it leads him straight into disaster. Unlike other types, he may realize all of this but feels powerless to change his course.

When deciding how many Big Bads your story will have, keep in mind that as its central characters (alongside the PC and their companions), each major Narrative Villain demands sufficient screentime for characterization--preferably [[ShowDontTell through actions rather than text]]. You do not want the driving force of your intricate plot to be a FlatCharacter, so it's better to have a few fully fleshed-out antagonists than a cavalcade of [[GiantSpaceFleaFromNowhere Giant Space Fleas from Nowhere]]. Most importantly, though, a Narrative Villain must have a dynamic relationship with the player character that develops over the course of the plot, and a large number of villains will get in the way of that interaction.

* NoAntagonist. A very rare unconventional variation without a BigBad, so rare, in fact, that the last pure example of it in the WRPG genre was ''VideoGame/UltimaIV'' (or ''VideoGame/UltimaVI'', if you do not consider Gargoyles a true antagonist--there is certainly no FinalBoss to defeat).

* {{Bounty Hunter}}s. Heroes with an Identity Mystery must often deal with bounty hunters hired by the villains--in fact, this may be the first clue to the existence of said mystery.
* [[HostileWeather Hostile Environment]]. Sometimes, the Oppressive Force is not personified--instead the heroes may run into earthquakes, storms, and other calamities directly or indirectly caused by the villains' actions.

Another idea for you to consider is introducing a {{Rival}} figure--an archetype rare in Western [=RPGs=], probably because it breaks the unwritten genre law that only [[ItsUpToYou the player]] and [[VillainsActHeroesReact the villains]] can shake up the {{Status Quo|IsGod}}. Still, such character has a lot of narrative potential by having a background similar to that of the PC but a role more akin to that of a Narrative Villain. They may be a HeroOfAnotherStory, picking up quests that the PC failed or turned down, or a RecurringBoss leading a party of companions that the player never recruited--either way, they never [[VillainForgotToLevelGrind forget to level grind]]. As the story progresses, the Rival may [[RivalsTeamUp team up with the protagonist]] to accomplish their mutual goals (and not necessarily as a party member)--or, depending on the player's choices, [[RivalTurnedEvil run over to the villains]].

** ...the PC, unsuccessfully. Now they must find out [[MysteriousMercenaryPursuer who is hunting them and why]]--most commonly, it has to do with their Identity Mystery. Also, the attack may instead kill their friend, a {{mentor|OccupationalHazard}}, a loved one, or even destroy their [[DoomedHometown entire hometown]], adding revenge as a potential motivation.

A Personal Call can segue into Epic Villainy after the Twist, but that is in no way a requirement. In fact, while SavingTheWorld is a popular gaming objective, its capacity to motivate a remotely GenreSavvy player is next to zero. Players who have not yet lived in the world you've created and don't [[VideoGameCaringPotential care about its residents]] will most likely [[EightDeadlyWords feel absolutely nothing]] about its catastrophes. Not to mention that by playing your biggest card right from the start, you bar yourself from any kind of meaningful SequelEscalation later on. Therefore, instead of [[TheWorldIsAlwaysDoomed putting the world in peril again]], start off with a personal threat and spin a central conflict around the main actors' desires and flaws--while [[SaveTheWorldClimax saving epic threats for the sequels]].

You can follow up any ending(s) with a ModularEpilogue--a collection of simple slides and text snippets detailing [[WhereAreTheyNowEpilogue what happens to the setting and the surviving characters afterwards]]--or a fully PlayableEpilogue.

You can also use dialogue trees to let the players interact with environment beyond merely exchanging words with [=NPCs=]. If your engine cannot render complex or non-standard interactions (or you don't have the budget for elaborate cutscenes), you should instead describe them textually, through the dialogue window and let the players imagine them [[LiteraryTropes as they would in a novel]]. Interactive dialogue does not have be [[GameplayAndStorySegregation an isolated mini-game irrelevant to other gameplay modes]]--you can very well mix it with:

* ...combat, e.g. by giving the players a dialogue option to punch an NPC in the face and deal damage proportional to the PC's strength against NPC's toughness--all without ending the dialogue.

* [[ConvenientQuesting Linear Progression]] lets the players visit multiple town and dungeon levels (separated [[TheQuest geographically]], [[RemixedLevel chronologically]], or both) in a linear succession, knowing that once they leave the current area, all of its unfinished content will be [[PermanentlyMissableContent lost]]. A less {{railroading}} game may instead be split into chapters, wherein the players can {{backtrack|ing}} to the start or explore accessible levels in any order--but can never go back to the previous chapter. This form lends itself best to narrative-heavy [=RPGs=] and dungeon crawlers.

*** "Short" bows have a high rate of fire but low damage output and short range--often [[ShortRangeLongRangeWeapon unrealistically so]] for the sake of balance

Refer to Analysis.VideoGameAchievements for common achievement/trophy templates. Most of them can be used in an RPG (except multiplayer--you [[MisbegottenMultiplayerMode probably don't want]] it in your game).

* ''VideoGame/NeverwinterNights'' was released with a much-loved LevelEditor, so many fans forget the flaws of its lackluster original single-player campaign's plot --but one cannot excuse the other. The expansion campaigns did a better job at meeting the engine's potential and are more fondly remembered.

Making an RPG is a ''lot'' of work, so quite a few are released in a [[ObviousBeta state that is so horrendously bugged]], it cannot be fixed even by extensive patching. Following examples could have become genuinely good games, had they spent more time in beta-testing--so take them as a cautionary tale of how even the best writing cannot excuse bad coding:

* [[http://www.mobygames.com/featured_article/feature,31/ The World of Western [=RPGs=]]]: An extensive (if admittedly biased) overview of the evolution of the WesternRPG genre between 1980 and 2007.

* Subvert StandardFantasySetting by revealing half-way through the game that it's powered by MagicFromTechnology, the FiveRaces are actually offshoots of the same biological species (why else would they all be [[MaleToFemaleUniversalAdaptor able to interbreed]]?), TheGoodKingdom is the last bastion of [[MedievalMorons medieval ignorance]], [[CorruptPolitician corruption]], and [[KnightTemplar religious radicalism]], while the invading [[TheEmpire Empire of Evil]] is the world's main force for scientific progress, (non-)human empowerment, and freedom of belief.

* Ethnology. Which sentient species inhabit the setting? The classic [[Creator/JRRTolkien Tolkienesque]] FiveRaces? Is FantasticRacism a large factor? Does one of the species (humans, [[ScrewYouElves elves]]) dominate some or all others? Which races are available for the PlayerCharacter and the PlayerParty members?

* Give non-player companions stats and potentially unique abilities that accurately reflect their quirks, BackStory, and CharacterDevelopment. WorldsStrongestMan? Has a crazy {{Strength}} stat. BornLucky? The LuckStat is through the roof.

* Attributes offer relatively small bonuses to a large spectrum of success checks. They often come in the form of TheSixStats ({{Strength}}, {{Dexterity}}, {{Constitution}}, {{Intelligence}}, {{Wisdom}}, {{Charisma}}) or a much leaner ThreeStatSystem (e.g. Melee, Ranged, and Magic).

When it comes to wrapping up the plot, you may go with a single ending or write several of them. The vast majority of Dungeon Crawlers only have one, as do most Sandbox [=RPGs=] (although some feature FactionSpecificEndings for the main quest or for the BStory). Most Narrative [=RPGs=], in the meantime, feature MultipleEndings in one of following forms:

The last Call type is rare in main plots but may instead be easily included as an optional BStory in more personal stories (in lieu of a Competing Powers subplot) to provide context to the main conflict. For instance, an Amnesiac Serviceman may use his organization's resources to [[RecollectionSidequest investigate his own past in-between story missions]], providing key insight into his role in the overarching conflict.

Be sure to read SoYouWantTo/WriteAnRPG for more general advice. Other guides, particularly SoYouWantTo/WriteAStory, SoYouWantTo/WriteAVideoGame, 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 providing a general overview of important considerations when designing an RPG. Lastly, make sure you're familiar with common UsefulNotes/RolePlayingGameTerms.

* '''Color'''. The graphics (and sound) of your game, ranging from the interface design to the [[ConceptArt visual style of characters, levels, and enemies]]. Usually implemented within a GameEngine.

''The seven core tropes are thus: PlayerCharacter(s), CharacterCustomization, WorldBuilding, TheQuest, GameEngine, GameSystem, and TakeYourTime.''

VariousVideogameViews affect PlayerAndProtagonistIntegration, so it is important to consider their advantages and limitations and choose or develop the GameEngine accordingly. Some would argue that IsometricProjection is the one and true view in classic Western [=RPGs=] but that is [[http://www.joystiq.com/2012/09/21/what-makes-a-classic-rpg-everything/ not the whole truth]]. The three most common views in role-playing video games are:

* License a commercial GameEngine. If you're on a tight budget, ''UsefulNotes/{{Unity}}'' is in great demand among indie developers; beyond that, Wiki/TheOtherWiki helpfully provides an [[http://en.wikipedia.org/wiki/List_of_game_engines extensive list]].

* {{Expansion Pack}}s run on the same GameEngine and GameSystem as the core game and provide additional content. Some are standalone adventures set [[{{Prequel}} before]], after, or in an AlternateTimeline of the main campaign; others are integrated into it. You can usually produce an expansion pack or two for every successful core game without much thought.

* GoodVsEvil in general

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 [[NoCampaignForTheWicked 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 you really need a morality subsystem in it?

* Use a GameMaker geared towards [=RPGs=], such as the VideoGame/RPGMaker. UsefulNotes/RenPy is pitched as a VisualNovel engine, but several Western developers managed to create engaging [=RPGs=] in it.

To paraphrase the [[http://www.indie-rpgs.com/articles/1/ GNS theory]][[note]]a framework developed for designing {{Tabletop RPG}}s but partially applicable to [=CRPGs=] thanks to the latter's descent from the former[[/note]], an RPG needs five key components:

To paraphrase the [[http://www.indie-rpgs.com/forge/index.php GNS theory]][[note]]a framework developed for designing {{Tabletop RPG}}s but partially applicable to [=CRPGs=] thanks to the latter's descent from the former[[/note]], an RPG needs five key components:

To paraphrase the [[Website/TheForge GNS theory]][[note]]a framework developed for designing {{Tabletop RPG}}s but partially applicable to [=CRPGs=] thanks to the latter's descent from the former[[/note]], an RPG needs five key components:

* FetchQuest. This type is universally (and often deservedly) derided for being an IrrelevantSidequest for the sake of FakeLongevity, but a handful of straightforward fetch quests are OK to make a quick buck between larger missions, so [[TropesAreNotBad don't ignore them]]. You can also use "reverse-fetch quests" instead, where the player picks up random unique items in dungeons and must deliver them to someone in town (where they were heading to, anyway).

* [[HowTheMightyHaveFallen Fallen Mighty]]. The PC is a [[ImpoverishedPatrician former member of a privileged group who lost their status]] in a calamity that might or might not have kicked off the main quest. This background is similar to the Uprooted Everyman but includes {{Pride}} and ''[[RoyalsWhoActuallyDoSomething nobless oblige]]'' as additional motivation.

The last Call type is rare in main plots but may instead be easily included as an optional BStory in more personal stories (in lieu of a Competing Powers subplot) to provide context to the main conflict. For instance, an Amnesiac Serviceman may use his organization's resources to investigate his own past in-between story missions, providing key insight into his role in the overarching conflict.

Lastly, instead OpeningTheSandbox all at once, you may do so incrementally by giving the players access to a small part of the game world (e.g. the FirstTown and its side quests) at first and making them complete a [[DiscOneFinalBoss story mission]] before they can visit other regions. The initial region [[DoomedHometown may]] or may not be [[PermanentlyMissableContent inaccessible]] afterwards.

To paraphrase the [[Website/TheForge GNS theory]][[note]]a framework developed for designing {{Tabletop RPG}} but partially applicable to [=CRPGs=] thanks to the latter's descent from the former[[/note]], an RPG needs five key components: