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There's been a thread floating around that vaguely involved the topics of roleplay instigation and finding one's place. I've also been told about the complications people had with finding others to roleplay with, or to get involved with story-lines.
All pictures & quotes are from the Hillfolk book proper, by Robin D. Laws.
This thread should help anyone who:
- Wants to improve their capability of providing roleplay to others
- Wants to improve their capability of finding roleplay with others
- Generally find themselves running around a lot instead of roleplaying on the server
What is Hillfolk? What is the Drama System?
In 2012, a kickstarter project was launched with the call "Hillfolk, a game of epic personal interaction by Robin D. Laws, brings new dramatic insight to character-driven roleplaying."
Basically, Hillfolk is an RPG like Dungeons and Dragons, though one built on drama and story-driving instead of the usual dungeon-clearing, dungeon-killing idea.
How is the drama system different?
Developing characters the Hillfolk way:
What are Dramatic Poles? How can I have my character possess them?
How does one establish relationships with goals?
My experience with applying this to roleplay:
A little exercise to try!
That's all folks, d'Ortonnaise out.
Tagging some from the mentioned thread:
@Ferrochrome @Magivore @MonMarty @StevenWeen @MugKing @Miss_Confined @TyrolleanEagle @Eronoc @Tiber_ @Pauleen @TheDongler @Conflee @ezalB @RedSentinel @AtticCat @SasuNaru2016 @Emo_Bunny @MokeDuck27 @DrDrago @RandomTheChosen
All pictures & quotes are from the Hillfolk book proper, by Robin D. Laws.
This thread should help anyone who:
- Wants to improve their capability of providing roleplay to others
- Wants to improve their capability of finding roleplay with others
- Generally find themselves running around a lot instead of roleplaying on the server
What is Hillfolk? What is the Drama System?
In 2012, a kickstarter project was launched with the call "Hillfolk, a game of epic personal interaction by Robin D. Laws, brings new dramatic insight to character-driven roleplaying."
Basically, Hillfolk is an RPG like Dungeons and Dragons, though one built on drama and story-driving instead of the usual dungeon-clearing, dungeon-killing idea.
How is the drama system different?
"Historically, roleplaying games have concentrated on procedural action, giving short shrift to dramatic interplay. (...) When scenes that ought to be dramatic arise in the typical roleplaying game session, they tend to start strongly, but rapidly stall out. Players whose characters find themselves in conflict with one another typically dig in, refusing to relent. They do this because they don't want their characters to lose, and because they believe that, by sticking to their guns, they're doing what their characters would do in real life. Story momentum grinds to a halt as the exchange reaches an impasse. In real life, though, when we enter into emotional disputes with people we care about, we sometimes relent and sometimes dig in. That's because we need emotional reward from the people in our lives."
Hillfolk's roleplay system is divided into scenes that are pitched by players, in which characters are featured that the players develop together in an initial phase. One speciality of the system is that not every scene will feature all characters of the group, though other characters may "intrude", "crash" or "influence" scenes based on a token system. More on that later.
The main difference is the lack of combat-orientation. Hillfolk is all about discussion, all about trying to achieve change and development in character. And the token system (more on that later, yet again) rewards any achieved change! Mind you, this isn't victory or earnings, more so drama. Drama is rewarded, no matter whether it's a loss or a victory.
Does this all sound familiar? Of course. Massivecraft's roleplay is heavily de-focused from combat as well (with a very lax case of no official system in place). And of course, Massivecraft's roleplay is driven by the characters too (and usually not a DM, or a DM only vaguely influencing events), with scenes of drama playing out instead of episodes of combat.
Hillfolk's roleplay system is divided into scenes that are pitched by players, in which characters are featured that the players develop together in an initial phase. One speciality of the system is that not every scene will feature all characters of the group, though other characters may "intrude", "crash" or "influence" scenes based on a token system. More on that later.
The main difference is the lack of combat-orientation. Hillfolk is all about discussion, all about trying to achieve change and development in character. And the token system (more on that later, yet again) rewards any achieved change! Mind you, this isn't victory or earnings, more so drama. Drama is rewarded, no matter whether it's a loss or a victory.
Does this all sound familiar? Of course. Massivecraft's roleplay is heavily de-focused from combat as well (with a very lax case of no official system in place). And of course, Massivecraft's roleplay is driven by the characters too (and usually not a DM, or a DM only vaguely influencing events), with scenes of drama playing out instead of episodes of combat.
Developing characters the Hillfolk way:
Co-operative character development is a core to the Drama System. Players don't create their characters completely on their own; other players dictate relationships, may create rivalries and interesting goals between each other.
This, however, is only possible on Massive when a brand new noble family or group of characters are created, and event then the system will only encompass those. Massive has a pool of characters, every newly made character interacts with these and establishes relationships, slowly shifting to become part of the pool themselves.
You still can use the system to develop and drive relationship-based drama by establishing these towards the already-existing characters, and you can display dramatic poles for your character that can make it easier for other characters to approach, involve themselves and create a relationship with goals.
By the way, a "relationship with a goal" is not a date you want to marry. It can be a military commander you want to outshine, a sibling you seek to punish or a former rival whose friendship you wish to earn.
This, however, is only possible on Massive when a brand new noble family or group of characters are created, and event then the system will only encompass those. Massive has a pool of characters, every newly made character interacts with these and establishes relationships, slowly shifting to become part of the pool themselves.
You still can use the system to develop and drive relationship-based drama by establishing these towards the already-existing characters, and you can display dramatic poles for your character that can make it easier for other characters to approach, involve themselves and create a relationship with goals.
By the way, a "relationship with a goal" is not a date you want to marry. It can be a military commander you want to outshine, a sibling you seek to punish or a former rival whose friendship you wish to earn.
What are Dramatic Poles? How can I have my character possess them?
"Driving any compelling dramatic character in any story form is an internal contradiction. The character is torn between two opposed dramatic poles. Each pole suggests a choice of identities for the character, each at war with the other. Events in the story pull the character from one pole to the next. Were your character's story to conclude, her final scenes would once and for all establish one of the identities as the dominant one."
Dramatic poles are divides in your character's personality that can be used by others to instigate dramatic scenes, relationships or stories. If your character has none of these, they will be much harder to be involved in meaningful stories by others. When you have them, and when another player identifies them, they can have their character decide between either extremes and support one side. Through this, they will sway the character itself and create development.
Some examples include:
As you can see, these don't have to be political. In fact, the best is when these are mixed: a political character could have defined views but be torn in their private life, or torn in their love life.
You should also not make this too chaotic.
- One contrast is meagre.
- Two contrasts are less-than-enough.
- Three contrasts are a good balance.
- Four contrasts are more-than-enough
- Five contrasts are overwhelming.
Dramatic poles are divides in your character's personality that can be used by others to instigate dramatic scenes, relationships or stories. If your character has none of these, they will be much harder to be involved in meaningful stories by others. When you have them, and when another player identifies them, they can have their character decide between either extremes and support one side. Through this, they will sway the character itself and create development.
Some examples include:
- A reverend torn between political ambitions in the synod and the nobility.
- An Ithanian torn between supporting the "old pacifist ways" or assimilation.
- A young character torn between homosexuality and heterosexuality.
- A guardsman torn between justice and morals.
- A military man torn between obedience and ambition.
- A female character torn between subservience or independence.
- A noble character torn between the rule of morals or the rule of a tyrant.
- An ambitious artist torn between pursuing their dreams and finding a job that can pay their food.
- An elf torn between preserving their identity and assimilating in Regalia.
- An Ithanian torn between supporting the "old pacifist ways" or assimilation.
- A young character torn between homosexuality and heterosexuality.
- A guardsman torn between justice and morals.
- A military man torn between obedience and ambition.
- A female character torn between subservience or independence.
- A noble character torn between the rule of morals or the rule of a tyrant.
- An ambitious artist torn between pursuing their dreams and finding a job that can pay their food.
- An elf torn between preserving their identity and assimilating in Regalia.
As you can see, these don't have to be political. In fact, the best is when these are mixed: a political character could have defined views but be torn in their private life, or torn in their love life.
You should also not make this too chaotic.
- One contrast is meagre.
- Two contrasts are less-than-enough.
- Three contrasts are a good balance.
- Four contrasts are more-than-enough
- Five contrasts are overwhelming.
How does one establish relationships with goals?
Whenever you meet a character, fill a snippet like this out in your mind. You can say it out loud, you can take note of it, you could even have a sheet logging all relationships your character holds:
Name of the other character:
Actual relationship to them:
Main goal from this character:
Main obstacle in achieving it:
And I do mean every character. This will give you a reason to roleplay with anybody, any time for reasons other than just casual roleplay (since you will have an actual goal, to impose a change in relationship / view that develops both characters). But let's see an example.
I am playing a footsoldier. A simple one. And one day I see a general of the army in the tavern. So I approach and establish:
Name of the other character: General Harnblase
Actual relationship to them: Potential superior in military
Main goal from this character: Appreciation
Main obstacle in achieving it: Difference in class (he is a noble)
This gives me some very interesting opportunities and guidelines. For once, the obstacle in appreciation can be demolished by becoming noble myself. Or, by becoming a house guard and thus being more in their presence. Appreciation is a different thing though. I could attempt to simply serve this general. I could also take their side in an argument and see what they react. Maybe I have another general I seek to punish, and I can work against him while supporting this one.
These apply to all: nobles, commoners, gangsters, anybody. The only difference is the creativity needed, especially between classes. Also, try and make sure you give a different goal to at least every other character.
Examples for goals:
Examples for obstacles:
Name of the other character:
Actual relationship to them:
Main goal from this character:
Main obstacle in achieving it:
And I do mean every character. This will give you a reason to roleplay with anybody, any time for reasons other than just casual roleplay (since you will have an actual goal, to impose a change in relationship / view that develops both characters). But let's see an example.
I am playing a footsoldier. A simple one. And one day I see a general of the army in the tavern. So I approach and establish:
Name of the other character: General Harnblase
Actual relationship to them: Potential superior in military
Main goal from this character: Appreciation
Main obstacle in achieving it: Difference in class (he is a noble)
This gives me some very interesting opportunities and guidelines. For once, the obstacle in appreciation can be demolished by becoming noble myself. Or, by becoming a house guard and thus being more in their presence. Appreciation is a different thing though. I could attempt to simply serve this general. I could also take their side in an argument and see what they react. Maybe I have another general I seek to punish, and I can work against him while supporting this one.
These apply to all: nobles, commoners, gangsters, anybody. The only difference is the creativity needed, especially between classes. Also, try and make sure you give a different goal to at least every other character.
Examples for goals:
- Servitude
- Respect
- Appreciation
- Cultural Conversion
- Religious Conversion
- Political conversion
- Submission
- Punishment
- Friendship
- Love
- Power
- Reassurance
- Forgiveness
- Respect
- Appreciation
- Cultural Conversion
- Religious Conversion
- Political conversion
- Submission
- Punishment
- Friendship
- Love
- Power
- Reassurance
- Forgiveness
Examples for obstacles:
- Class difference
- Past relationship
- Political opposition
- Religious opposition
- Ongoing rivalry
- Family rivalry
- Race differences
- Bad first impression
- Past insults
- Clashing personality
- Physical repulsion
- Past relationship
- Political opposition
- Religious opposition
- Ongoing rivalry
- Family rivalry
- Race differences
- Bad first impression
- Past insults
- Clashing personality
- Physical repulsion
My experience with applying this to roleplay:
I found it far easier to approach people after initial introductions. My character has a clear set of goals related to all characters she met for more than a simple wave, some goals erratic some probably accomplished soon enough. In all honesty, I feel like whenever I am online I have a specific reason to pursue, and if I don't, I can just approach someone in the tavern and find a new one. So far it's been mostly the former, though. Which means my hands are full with roleplay, which should be the goal.
On the downside, I have received some comments about the degree of instigation being "too aggressive". That may be a downside of applying this system since it essentially puts goals behind even the most meaningless conversation and also encourages you to approach out-of-your-league, which may be frowned upon by others.
On the downside, I have received some comments about the degree of instigation being "too aggressive". That may be a downside of applying this system since it essentially puts goals behind even the most meaningless conversation and also encourages you to approach out-of-your-league, which may be frowned upon by others.
A little exercise to try!
Try and fill these out and see if they give you any further insight on your character or aid you instigate roleplay.
Character name:
Character's role:
Character's dramatic poles,
- Contrast 1:
- Contrast 2:
- Contrast 3:
Character's relationships,
Other's name:
Relationship:
Goal:
Obstacle:
(Feel free to do this towards as many character as you'd like or can)
Character name:
Character's role:
Character's dramatic poles,
- Contrast 1:
- Contrast 2:
- Contrast 3:
Character's relationships,
Other's name:
Relationship:
Goal:
Obstacle:
(Feel free to do this towards as many character as you'd like or can)
That's all folks, d'Ortonnaise out.
Tagging some from the mentioned thread:
@Ferrochrome @Magivore @MonMarty @StevenWeen @MugKing @Miss_Confined @TyrolleanEagle @Eronoc @Tiber_ @Pauleen @TheDongler @Conflee @ezalB @RedSentinel @AtticCat @SasuNaru2016 @Emo_Bunny @MokeDuck27 @DrDrago @RandomTheChosen
