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Author Topic: Guide - The Art of Roleplaying  (Read 8641 times)

archonzero

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Guide - The Art of Roleplaying
« on: August 06, 2008, 06:17:54 PM »
I would just like to state before you read this.  That these are not my own guides, they were approved for use/distribution by the original writer the owner/dev/DM from another server community known as the City of Arabel.  I do feel he has constructed some very well thought and presented ideas to help defining role playing and character development.  If anyone knows Division by Zero, feel free to say thank you to him.

  Note - I feel these are useful to both newbie and veteran alike.  If possible to have the post stickied for easy finding that would be great.  Also I do understand that the Devs/DMs may feel it inappropriate material as it is an outside source, despite having the approval of the original author.


Table of Contents
Section One - Definition of Roleplaying
1. Roleplaying and In Character Defined
2. Rolling with the Punches
3. Balancing Roleplaying Realism and Fun
4. What is OOC Consideration, really?
5. Retiring a Character
6. Respectful Disagreement

Section Two - Character Development Tips
1. Preface
2. Defining Your Character
3. Character Design
4. Goal Setting
5. Revisiting Your Concept
6. Conclusion

Section Three
Generic Tips Guide

Section Four
Guide to Natures and Demeanors

« Last Edit: August 15, 2008, 03:42:53 PM by archonzero »

archonzero

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Re: Guide - The Art of Roleplaying
« Reply #1 on: August 06, 2008, 06:18:23 PM »
Section One - Definition of Roleplaying

Roleplaying and In Character Defined

So what is Roleplaying and all this stuff about being 'In Character?' Most players have a rough sense of what it is. But ask for a definition and you may get dozens of different answers. In this guide, I hope to communicate my personal definition of the two, and to help explain why I believe it is the best definition to apply.

Definition and Dissection

I define Roleplaying as: Assuming the role of an independent entity, and governing its behavior based upon the entity's conceptual design and past experiences. Yes, I know it sounds like a complicated definition, and some of you are probably reading this and wondering if I should be checked into a mental institution. Set aside that for a moment, and let me attempt to explain why each and every word of this definition is important.

"Assuming the Role" is a pretty simple part, and I'm certain most experienced players will understand that part at least. For those who do not, it simply means that a player takes upon himself to play a role. To talk, act, emote, and everything in between as the character he is playing. It's understood that a player doesn't use internet slang when speaking or try to make friends like they were on a social server or chat room. This is typically the core of what most people would define as 'Roleplaying' or 'Being In Character.'

So now, what does the "Independent Entity" part mean? It simply means that the role you are assuming is independent from you as a person. Okay, so what does -that- mean? That means that the character is not you, the player, but rather a separate entity that you just happen to be associated with. Why is this part important? We'll see more about this later, but the basic reason is that players should understand not to take things that happen to their character's personally, because that character is independent from their own personal emotional and physical well-being.

Finally, we get to the last part "governing [the entity's] behavior based upon the entity's conceptual design and past experiences." This part basically means that we play the character and determine his actions and feelings. However, we do so based upon the persona and concept we have designed the character under, and also based upon the experiences the character has had throughout his game life. This is important in relation to independence, because it gives you bearings on separating yourself from the character itself. Instead of thinking 'what would I do?' the question becomes 'what would -he- do?'

So we have the basic explanation of the definition of Roleplaying. What is the definition of In Character? It's simply the be constantly in a state of Roleplaying.
« Last Edit: August 15, 2008, 03:23:57 PM by archonzero »

archonzero

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Re: Guide - The Art of Roleplaying
« Reply #2 on: August 06, 2008, 06:18:55 PM »
Rolling with the Punches

Players have always heard the DMs use the expression 'Roll with the Punches.' I will attempt to explain it as best as I can, but if you don't have my definition of Roleplaying fresh in your mind, then please take a moment to return to the previous chapter and review it. The definition is integral to what 'Rolling with the Punches' means.

The term is essentially used to explain that the server and world is a dynamic one. While in single player, the world revolves around the character of the player; In a Persistent World, the player is another speck amidst hundreds of other factors that are at work at the same time. In this respect, the character is very much like we are in the real world: One entity of millions.

Due to this fact, the forces that be will be constantly be shifting and affecting every character that exists in the game world. This can be direct or indirect, and though for the purposes of this discussion I will be focusing on the direct cases. Good and bad things will happen to the character, whether the character understands them or not and even whether the player understands them or not.

There will be characters that work with yours, and others that work against him. There will be NPCs that work with your character, and others that will work against him. On occasion even the weather, the Gods, or sheer luck will either facilitate or interfere with your character's plans and goals.

The concept to understand is that in a Persistent World setting, the world will not revolve around your character, and things will move with or without you. DMs will play their characters (the NPCs) accordingly, and PCs will play their characters properly (hopefully). Like in real life, your character will experience good and bad times. It is simply the way things are.

Why is the definition of Roleplaying important here? It is important simply because it should govern the way you behave throughout these experiences. It is these good and bad times that will help define your character as he progresses in the world. It is these experiences that will help him grow or falter, much like our own good and bad experiences in real life contribute to our growth.

But this is a game. You play it to escape real life. Yes, that's true. Even I, a DM, play this game as a way to get an alternate reality that I find fun. But remember the other part of the definition I gave for Roleplay: Independence. What happens to your character should have no bearing on your own physical or mental well-being. Even if the character suffers five months or constant adversity, the player does not bear any consequence of that. In this way, there is no reason a player cannot have fun playing in either the good or bad times for his character.

archonzero

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Re: Guide - The Art of Roleplaying
« Reply #3 on: August 06, 2008, 06:19:26 PM »
Balancing Roleplaying Realism and Fun

Regrettably, there will always be players who simply just don't find the bad times fun. We all like to 'win,' and modern society teaches us to strive for success and excellence, not strive for the journey. And yet, the journey is necessary to ever even have a chance for success. Thus, the best thing to do is to try and learn to have fun for the journey, and treat success as a rewarding byproduct; not the be all and end all.

Think about any truly rewarding experience you've ever had. What are you truly proud of in your lifetime? It's probably not the time Uncle Joe handed you a $2,000 dollar check and told you there would be one for you each week until you choose to retire. That'd probably be cool, and I'd love an uncle like that too. But in the end, would you be proud that you were handed a salary for nothing?

Your proudest moments are likely the ones where you overcame great adversity and challenge. And in some cases, you may have not even succeeded at obtaining the end prize, but the fact you went as far as you did amazed even you. It's usually the journey that's the most fun and rewarding, not necessarily what tangible 'rewards' you gain out of it; and roleplaying is no exception.

Still, you play for fun, and you can't have fun if you don't succeed. That's why some players have so many high level characters. But, oh wait. Why is it that they have so many characters in their vault, while players who focus on roleplaying and the journey tend to have a couple that have lasted months or even years? It's simple. The tangible rewards (Exp, Loot, Success) are hollow by themselves. While they provide initial satisfaction, without some journey to have accompanied receiving the reward, they soon lose their flavor and more is needed to sustain happiness. Because of this, players who dislike adversity or challenge tend to need to create multiple characters to keep themselves happy. Whether it is because they've finally reached the tangible (exp, loot, etc) rewards cap with an existing character, or because they're unmotivated to play a character that recently hit a bump in the road.

This realization also gives rise to another point about 'fun' and roleplaying your character realistically. Roleplaying realistically is a constant. People may debate on whether or not a player is doing so, but by analyzing the concept, past experiences, and current state of the character, one can generally get a feel for whether or not a character is being roleplayed properly.

On the other hand 'fun' is a subjective standard. The way we have fun is all different. For those who don't know, the server will not change to try to meet everyone's expectations of what fun is, because it is simply impossible to do so. Players who find success to be the only way to have fun, I encourage to go look at some Action servers (if you like loot and exp) or Single Player Campaigns (if you like to get easy success) because those are probably much better suited to your taste than any RP server.

Still, I assume that many players with us (even if they bear love for a dominant love for success) have stayed with us for so long because there is some draw to the roleplay, the realism, and the challenge. My advice to you would simply be to understand my definition of Roleplaying, and most importantly recognize the independence aspect of it. Learn to have fun for the experience of playing the role and journeying a character through good and bad times.
« Last Edit: August 06, 2008, 06:55:33 PM by archonzero »

archonzero

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Re: Guide - The Art of Roleplaying
« Reply #4 on: August 06, 2008, 06:20:07 PM »
What is OOC Consideration, really?

So we've talked a bit about roleplaying, its definition, and the idea of realism of challenges as opposed to 'fun'. But I know some of you who've been around for awhile have heard 'OOC consideration' and are probably thinking that I'm a hypocrit since I myself have told players before to exercise 'OOC consideration'.

I promise you I'm not a hypocrit; at least not in this aspect. I believe OOC consideration to actually be a method of ensuring a player is roleplaying at all times, and not being himself through the character he is playing. Let me explain what I mean.

The most common time a DM tells a player to exercise OOC consideration is for pvp circumstances. Exercise OOC consideration when killing a character. Don't grief characters. But you're not griefing a character. You're being in character and roleplaying because your character is an evil bastard! Right? Wrong.

I'll use a common situation I've gotten over my years as a DM. The standard kill and loot that many characters in the past have exercised. If you bring them aside for an ooc chat, the general progression of the conversation tends to be similar to the following:

Quote
Quote:
[DM]: I saw that your character killed that PC. Why did he do that?
[Player]: He looked at my character funny. So I killed him and looted him.
[DM]: Why did your character kill him and loot him for looking at him funny.
[Player]: My character is an evil bastard. I was just roleplaying him like you all expect me to.
[DM]: But then why kill him? Why not just beat him down? Would your character risk murder just over a dirty look?
*1-5 minute pause*
[Player]: I told you, he's an evil bastard.
[DM]: Okay, assuming your character really did kill him for in character reasons and that you were roleplaying him. Why did he loot him thereafter then? And how did he pick up 2 plate mails, 3 weapons, the gold, and the magic belt, cloak, and boots the dead character had?
[Player]: I told you. He's an evil bastard. He figured the loot was better taken than given to some other guy.
[DM]: And how did he loot all that in 5 seconds? He wasn't worried about getting away from the scene? He wasn't scared?
[Player]: I told you. He's an evil bastard. And you're the DM, you should try to fix it so we can't loot everything in 5 seconds.


I'm an advocate for players to pvp appropriately. If a level 2 character gives a level 8 jackass a dirty look, I'd expect the level 8 jackass character to beat down the level 2 (preferably with an ooc tell afterward to explain the situation to the level 2 so he understands it was nothing personal). If a level 2 character tells a level 8 Talassan that Talos sucks, and Torm would own him, then spits on the Talassan's face, then proceeds to do this every meeting, I'd fully expect the Talassan to kill the PC or find some other form of pvp to make a point that Talos is stronger than Torm.

However, you often find situations like the one I illustrated above. The only justification is that the character is an evil bastard (or for good aligned characters, the character that was killed was evil and needed a smiting). Is this roleplaying realistically? Possibly, but let's consider this a moment.

In the real world, criminals often have some motivations that make them unlawful or evil. Their reasoning may be warped, but they've often rationalized some reason as to why their actions were justified. No one ever says to their lawyer 'I did it because I'm an evil bastard.' Moreso, criminals in most cases understand the varying degrees of offenses and punishments in the justice system. Even street punks who've never been to school know that if they rob someone, they'll get a little jail time if caught; as opposed to 20 to life for murder. Moreso, they know that once they make the robbery, they better get the heck out of there or the police will be along soon. So does it make sense that an 'evil bastard' will kill a person for a dirty look, then take his time to loot a bunch of items (half of which were likely very heavy)? Probably not.

The point is that OOC consideration often comes into play as a means to help players realize that they're not roleplaying as the character any longer, but are using a character avatar for their own personal hopes of acquiring loot, bragging rights, or both.

archonzero

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Re: Guide - The Art of Roleplaying
« Reply #5 on: August 06, 2008, 06:20:34 PM »
Retiring a Character

Outside of cheaters, griefers, metagamers, powergamers, and bad dm quests / plots, there's probably nothing worse than a good character that goes bad. It's terrible watching a character whose just plainly lost all his favor and reason to exist, dragging on his life on the server for no apparent reason. Think of Micheal Jordan or Joe Gibbs, men who achieved great things in their respective sports during their time, but ultimately returned and more or less tarnished their reputations and how they will be remembered.

So when is it time to retire a character? When is it realistic that he should move on? This part of the guide may be abit confusing because at some point I'll be blurring OOC (Out of Character) and IC (In Character). But let me start off with the ideal situation.

Ideally, a player will have a good understanding of what this guide has been about: Roleplaying, Independence, and the journey. They will understand that they are separate entities from their character, and if they do ultimately end the character, that ending will not affect them in any physical way. Moreso, they understand that every journey has an end, and that for this character, it has.

A sign of this is generally shown by when the player can no longer conceivably think of any meaningful goals to pursue for the character. The character is now happy with his situation, and has accomplished enough. In these situations, if a player continues playing the character, one of two things often happen. The character may go into semi-retirement, and return only for plots or pvp situations that he should not be a part of, due to the fact that the character will no longer be frequently around to take the good and bad of those situations. Or the character just enters a state of limbo, and adds nothing to the world, except take up space. It's sad, but one of the most important things for a player to consider is when it may be time to end the character.

The more ooc situations comes to light when a player just loses all motivation to play. Hopefully, you've realized that the character is independent of you as a player, and therefore this will be a non-issue. However, if this is truly the situation you find yourself in, as I said earlier: this game is about fun. If you don't have fun with the character anymore, it's often better to just retire them altogether. The lack of motivation will transfer into your roleplaying, which is likely to ultimately be very poor until you find the renewed spark (which most players often don't find).

In either case, don't let your character's become stagnant. And always at least put it in the back of your mind to consider when may be the appropriate time to retire the character (whether the retirement comes expected or unexpected).

archonzero

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Re: Guide - The Art of Roleplaying
« Reply #6 on: August 06, 2008, 06:21:03 PM »
Respectful Disagreement

Now that I've conveyed as much as I can think of on the subject, you've thought about it, and you respectfully disagree with some or all the points I've made. That's fine. Some DMs even may not agree with some of the smaller and finer points that I've made.

This guide is one I've made based on my own opinions in hopes of conveying what I believe will help many players understand the mindset they should have when roleplaying. Whether or not you chose to follow it or listen to it is something I'll likely never know for sure.

I know these methods work for me, and is one of the reasons I've played about 8 characters in v3, and enjoyed playing 5 of them enough to play them for over 3 months, with the longest being a year (the other 3 were dropped due to time constraints). They may not work for you in that way, but I am confident they will if you really take the guide seriously and try your best to understand everything in its entirety.

archonzero

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Re: Guide - The Art of Roleplaying
« Reply #7 on: August 06, 2008, 06:29:44 PM »
I would just like to state before you read this.  That these are not my own guides, they were approved for use/distribution by the original writer the owner/dev/DM from another server community known as the City of Arabel.  I do feel he has constructed some very well thought and presented ideas to help defining role playing and character development.  If anyone knows Division by Zero, feel free to say thank you to him.

Section Two - Character Development Tips


Preface

Most players have the potential to put together a great concept that's fun, dynamic, and interesting. There are some who are able to realize the whole concept in its entirety at the start, or develop it in game as time progresses and the character comes of age. Unfortunately, not all of us (including myself) are that talented, and many times a character that seemed to be fun at the start begins to lose its luster and we realize that the potential we had in the character has degraded into a rather dull shell of little quirks, gimmicks, and catch phrases or emotes. Usually, it's not because the concept was bad, or that we're bad roleplayers.  It's simply because we got so excited over a few bells and whistles in the concept that we forgot to establish the core facets of the character that make it complete.

This guide is designed for players who hope to round out their characters more completely. I've written it in a way that should help most players who need help with the background and goals sections of their applications, but I believe it can be of benefit to anyone to establish a sound character concept. I've written this guide with explanations on my philosophies, but for those of you who simply want a step by step instruction, I've colored in those parts so you can easily find what you need in each step.

Please note that this is not the only correct way to create a character. There are many ways to do so, and if you find one that works for you, then by all means use it. But if you're having trouble getting a grasp on your character or need some help with the types of things DMs look for in an application, then this guide will hopefully be of great help to you.
« Last Edit: August 15, 2008, 03:25:04 PM by archonzero »

archonzero

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Re: Guide - The Art of Roleplaying
« Reply #8 on: August 06, 2008, 06:30:09 PM »
Step 1: Defining your Character

Defining your character is in my opinion, the most important part of building a character. We as DMs often place a heavy emphasis on goals, but it's important to realize that without a properly developed personality and background, a character probably won't have an interesting purpose. Most players who skimp out on this part of character development tend to find it hard to develop goals beyond the ones the character began with. Those who take proper care to complete this step will typically find it easier to step into their character's shoes and use the character's motivations to guide their actions, rather than their own desires as a player. This in turn allows them to roll with the punches, and take set backs, challenges, and PVP much better.

Defining your character is essentially establishing his background and personality as he enters the game world. They should help establish what goals your character pursues, how he reacts to situations, and how he behaves in game. What you establish here isn't set in stone, since your character's experiences may alter his views and personality. But fleshing out a character definition will help you determine when it is proper for your character to do so.

I like to use the beginning portion of this guide here for developing my character's persona: http://www.geocities.com/oak_thorn/characterization.html

The guide provides a number of questions, in a step by step fashion that should help make the development of an adequate persona simple. The questions aren't all inclusive, and there may be many others that you can think of that will help further round out your character. I also don't personally use the goals section, because I tend to follow a process that is more in line with the CoA application (goals will be covered more in depth later).

The bare minimum you should establish here are:

1) Character Background.  Where does your character come from? Where has he been? Good for small talk and helping establish motivations, virtues, flaws and traits. Remember to keep it in line with a level 1 character.
2) Nature and Demeanor.  What are the core values to the character and how does he present himself to those around him.  Are they easily read and mislead, or are they like an onion with many layers that hide the core of their being. See Section Four - Nature and Demeanor list for possible options to read.
3) Likes and Dislikes.  What sorts of foods, drink, colors, etc. do your character like? This will help make your character more colorful and appear to have a greater level of personality. It's also easier to create small talk when you establish these aspects of your character.
4) Character Traits.  Put out a list of traits and rank your character on a scale of one to ten. These will help define your character's behavior.
5) Character Motivations.  What things motivate your character? This helps put your character in perspective so you know what goals he's likely to try and pursue, as well as how he would react in certain situations.
6) Character Virtues.   What good attributes does your character have? These are the details about why other characters will like yours. They can also help you establish your character's mechanical design later.
7) Character Flaws.   What flaws does your character have? These are very important to make the character interesting. Most heroes overcome their flaws with the help of those other characters that support them. These also help establish your character's mechanical design.

All six of these details intermingle amongst themselves, and their combination should establish enough detail about your character to make him interesting, and give you a good starting ground for the next steps of developing your character. Try to be creative and avoid stereotypes if possible. Don't be afraid to flesh out other character details not mentioned here, because more detail will help you further establish your character's starting point.

Most importantly, develop a character you'll have fun playing.

Side Tip: Many players often try to write an application, and then develop their character from the application. I've found it much more helpful when I first develop my character concept without looking at the application template, then answering the questions once the concept has been established.
« Last Edit: August 15, 2008, 03:43:40 PM by archonzero »

archonzero

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Re: Guide - The Art of Roleplaying
« Reply #9 on: August 06, 2008, 06:30:34 PM »
Step 2: Character Design

Character designing is essentially establishing all the mechanical things that create your character in game. It's more popularly known as "character building" but I tend to differentiate the two. Whereas "character building" is building a character based on his combination of feats, skills, attributes, etc, "character designing" is when you select your feats, skills, attributes, etc based on your character definition (established in Step 1).

When selecting a character class, figure out which one would suit your character at level one. Most of you probably have this figured out by now anyway, but try not to set your multi-classes right now. Worry about that at your next level up, and decide what's appropriate at that point in time.

When selecting attributes, assign points based on your character's physical virtues and flaws. If you've established that your character is gimpy or ungraceful, give him below average Dexterity. If the character never liked studying, give him below average intelligence. If he did a lot of farm work as a child, give him higher strength. A lot of this is subjective, but you can use the below ranges to give you a feel for what level your character should probably be:

6 or 7 - Exceptionally low
8 or 9 - Below average
10 or 11 - Average
12 or 13 - Above average
14 or 15 - Gifted
16 or 17 - Exceptionally Gifted
18 - Prodigy

When assigning skills, assign them based on the character definition you developed. Just because your character starts as a rogue, doesn't mean that he's the sneaky type who hides and moves silently. Or just because you're a wizard, doesn't mean you're good at concentrating. Your rogue could very well be more akin to getting out of jams by being a good talker, or your wizard could very well let his mind wander frequently. Don't feel you must take class skills, as many cross class or non class skills will often fit the character much better.

When assigning feats, similar to the above, assign them based on the character definition you developed. Has your character received any specialized training in a specific weapon? If so, take a weapon focus. Was he raised in frigid winters or scorching summers? If so, maybe toughness is most appropriate. Again, don't worry about what feats you'll take at level 3 or level 6. A character might teach yours how to use a long sword better between now and then. Or another might start teaching you how to cast spells, and you decide to multi-class into a wizard/fighter instead of being pure fighter.

You may have noticed the theme of me saying not to decide on your future feats, skills, attributes, etc. It's tough to do, but I believe it's the only way you can truly allow your character to grow with his experiences. In many cases, your character may continue to just develop what he already knows. But always leave the possibility open that a series of events will have such a profound effect on your character that he takes a different feat, class, or skill.

archonzero

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Re: Guide - The Art of Roleplaying
« Reply #10 on: August 06, 2008, 06:30:56 PM »
Step 3: Goal Setting

You've just completed developing your character as he is. Now it's time to look toward the future, and begin fleshing out his hopes and dreams. You should always have it in mind to develop goals that others can become involved in, and ones that don't rely upon heavy DM intervention to succeed. We'll illustrate this a bit more clearly later in this section. For now, know that we'll be discussing goal setting in two steps: Main Goals and Plans. It may help to look at the Main Goals as the Ends, and the Plans as the Means to that End.

The first step in goal setting is deciding on your character's Main Goals, which are the main objectives he hopes to achieve in Arabel. These goals should be formed based upon the persona you developed earlier in Step 1, since all that background information is what likely leads him to choose to pursue such a quest. When you've identified several possible Main Goals, review each one individually and try to determine if they are truly an End, or if they are simply a Means to another End. This is an important process to undertake in order to differentiate between your Main Goals and the Plans to achieve them.

The second step in goal setting is to take each of your character's Main Goals, and begin devising your character's Plans to achieve them. You may already have identified a few Plans in the first step. For example, you may have originally had "Joining the Militia Watch" as a main goal, but later realized that it was simply a means to "Securing and Protecting for Future Generations." Remember that you are now devising your means to the end, and the steps you hope to take in order to achieve your main goals. They are your stepping stones, and should primarily focus on ideas that will involve the player base and require minimal DM intervention (we'll be happy to help, but you should never -rely- on DMs).

In following these two steps, also make sure to keep in mind what your character's attributes are. Devise Main Goals and Plans that are appropriate for his stats. Don't have a low CHA, INT, and WIS character hoping to raise an army for a rebellion. At the same time, don't have a low STR, DEX, and CON character hoping to become the physical bodyguard of a noble. Make sure what you choose is appropriate.

Some of you may be reading this and think this is too rigid. How do other characters, events, etc change your character if you have all this stuff written down like this? The answer can be summed up in the phrase: Main Goals are rigid, Plans are flexible. This means that your Main Goals should only be changed in the most extreme of circumstances. Remember that they were built upon your character's very morals and personality. If an event has a great enough effect on your character that his very persona is changed (Step 1), and then he may choose to change, eliminate, or add Main Goals. On the flip-side, Plans will frequently change as a character realizes that they were ideas that weren't working. He may also experience some minor alteration in his beliefs, and also cause him to revisit his Plans.

Finally, just a word on what I meant about relying on heavy DM intervention. The DMs do realize that they need to assist in playing the rest of the world, while your character is pursuing his goals. We fully expect this, and welcome the opportunity to help supplement your character's story by doing this. However, when goal setting, you should look at your character's Main Goals and Plans and ask yourself if each step requires a DM to be looking over your shoulder. A good rule of thumb is to ask yourself.  If no DM logs in for several weeks, will I still have something I can do to help achieve my Main Goal?

archonzero

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Re: Guide - The Art of Roleplaying
« Reply #11 on: August 06, 2008, 06:31:21 PM »
Step 4: Revisiting your Concept

This is a step a lot of people do not take, but it is one I think that is crucial for players to continue enjoying their character. It keeps them from feeling static and boring, and lets players overcome frustration of failed or slow-working plans that their characters have undertaken. The goal of revisiting is to periodically return to the sheet you've made up about your character using Steps 1-3 and asking yourself if any changes need to be made to more accurately reflect where your character is now.

Step 1 reflects the Definition of your character's state of mind. Look over what you wrote last time and ask yourself if there�s anything that has changed him? Does he look at anything differently? Does he have new beliefs? Has he realized the naivety of old beliefs? Go through the entire step again, and fill in any relevant information based on what's happened in game.

Step 2 reflects the physical side of your character, and revisiting will mostly reflect whether or not your character is going to change what feats, skills, etc that he will be taking in future level ups. Has your character started training in something else that he didn't before? Are there any changes in his Definition (Step 1) that will change what he wishes to get training in? Ask yourself these sorts of questions and see if an alteration in his physical progression is warranted.

Step 3 reflects the goals and main goals, and this is the section that will most often be affected upon Revisiting your Concept. If your character has undergone great changes (based on Step 1) then will any of those changes affect his current Main Goals? If he has undergone minor changes (based on Step 1), will he change the Plans he wishes to put in motion? Are some of the Plans in motion simply not working and they need to be altered for a better chance of success? Again, ask yourself these sorts of questions, look over what your character has been doing, and see if any changes are warranted.

This process may seem lengthy and annoying, but I've found in most cases it can be completed in just ten to fifteen minutes. I've also found that regardless of the time spent, the benefits of "refreshing" your character are well worth it.

archonzero

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Re: Guide - The Art of Roleplaying
« Reply #12 on: August 06, 2008, 06:31:46 PM »
Conclusion

I hope this guide has been helpful in some way to those of you who chose to read it. Remember that this is not the -only- or -right- way to develop your character, but is one that I've found works well for me and encompasses many of the beliefs -I- have about roleplaying. If you find another way to develop your character that works better for you, by all means, use it.

If you've only read through the colored in sections of this guide, and are having trouble understanding the rationale behind each of my steps, I suggest reading the whole thing from start to finish. Many of the things I suggest players do are rooted in some of the philosophies I've tried to share in this guide. If you still have further trouble understanding something within the guide, by all means feel free to contact me and I will try to illustrate the point better for you.
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Again, I hope this guide is helpful to you, and your next or current character will become all the more fun when you utilize this guide.

archonzero

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Re: Guide - The Art of Roleplaying
« Reply #13 on: August 06, 2008, 06:36:54 PM »
I would just like to state before you read this.  That these are not my own guides, they were approved for use/distribution by the original writer the owner/dev/DM from another server community known as the City of Arabel.  I do feel he has constructed some very well thought and presented ideas to help defining role playing and character development.  If anyone knows Division by Zero, feel free to say thank you to him.

Section Three - Generic Roleplaying Tips

Generic Tips

 :arrow:  Feats and Skills:

In my Character Development Guide, I placed heavy emphasis on the development of personality and building around a character concept, as opposed to building for optimism. The idea is that no matter what character class or combination of classes you ultimately choose, the feats and skills should be chosen based upon what makes sense for the character. If events have led your character to be more cautious, he most likely will try to take more defensive oriented bonuses. If he's growing more angry, he may choose things like power attack or dirty fighting. All in all, you'll be the ultimate judge of what makes sense for your character to take, but deep down you'll also know if you made your choices because of what was optimal for your -build- or because it was what made sense for the character.

Taken a step further, it's always a good idea to periodically show the progress and development of your character's development in the feats and/or skills he's taking in the foreseeable future. If the character has been thrown into a more cautious line of thinking, he might seek out someone to try and teach him to fight defensively before taking expertise at the next feat level. While he's questing, he will likely even practice it, despite not being skilled enough to execute it to effect yet. You can emote those things, and even bring it up afterward in a way like:  I tried to be more defensive, but my footing was off and I found myself falling back into my old more offensive habits (Yeah I know, you probably would never say that  ). These little things can help create a good deal of fun between your characters and others as you try to attach development to the mechanicals of the DnD system.


 :arrow:  Character Attributes:

Character attributes should be assigned based upon the concept you've applied for your character. See my Character Development Guide for more information on developing a concept. It is common practice amongst inexperienced roleplayers to minimize the stats that their character will not find a use for. For instance, fighters often neglect to put in much wisdom, intelligence, or charisma. While this is perfectly legitimate to do, it is only acceptable to do so if you as the player will express these character flaws. Any attribute assigned a value of lower than 10, is considered a below average attribute, and thus will require special consideration when roleplaying the character:

Strength: Below average strength is simple and expressed in many of the engine's penalties already. However, you as a player should further express your physical inability to lift, push, and perform strained physical activity.

Vary your roleplaying of it depending on how low your strength really is. At a 9 you might just struggle with moving desks and such, at 6 you'd probably just end up getting pushed by the desk.

Dexterity:
Below average Dexterity is similar to strength in that you do receive numerous physical penalties for having low dexterity. However, players should also make an effort to express their character's lack of grace, and they will likely be more prone to be lumbering or frequently knock into things.

Vary your roleplaying depending on how low your dexterity actually is. At a 9, you're probably frequently accidentally bumping shoulders and occaisionally losing balance. At a 6, you probably fall over alot if you run.

Constitution: Once again, below average Constitution is similar to strength and dexterity in that you receive physical penalties just by the game engine. However, players should also make an effort to express their character's lack of endurance. Such characters are likely to grow tired more easily, and are less able to perform physical activity for long periods of time.

Vary your roleplaying depending upon how low your Constitution actually is. At a 9, you will probably start running out of breath about 90% of the way to a destination a normal person could get to comfortably. At a 6, you probably just hate running period and would prefer to be carried.

Intelligence: Intelligence is the first of the three attributes most often neglected, simply because there are virtually no physical penalties for most classes that result from minimizing it. Nonetheless, intelligence is a representation of knowledge and ability to figure things out. Low intelligence characters should never be the ones to propose good solutions (and are likely to suggest stupid ideas) and are also not characters who would be able to quote facts and present knowledge to other party members (especially of the intelligence skills are also ignored).

Vary your roleplaying depending on just how low your intelligence is. A 9 is likely not to know some basic facts, and struggle with basic problems. A 6 will have difficulty understanding basic commands, and will be unable to speak properly; they will also likely use alot more non verbal means of communication and be short with their verbal communication.

Wisdom: Wisdom is a representation of a character's ability to reason and provide insight. Philosophers (and obviously priests) often have high wisdom. A character who has below average wisdom should never be the one to offer sagely advice (they may offer advice that is not very coherent or well reasoned), speak like a philosopher, or draw connections between the physical and spiritual natures (Preaching and what not). This also determines abit of how quickly you can learn from your mistakes.

Vary your roleplaying depending on just how low your wisdom is. At a 9, a character is likely to occaisionally offer advice that is clearly stupid to a normal person. A 6 likely will never learn from his or her mistakes, unless guided by another and done so in frequent repitition.

Charisma: Charisma is the attribute that is most frequently neglected, and it represents a character's charm and force of personality. This is the attribute that any character who wants to be a field leader -must- have, for it represents the ability to inspire just by being there. Characters with below average charisma should never be the one to offer inspirational speeches, inspirational discussions, or even be comfortable around people period. Characters with below average charisma should also make an effort to express flaws in their interactions which can range from being physically grotesque, to saying the wrong things at the wrong times, to simply being noticeably uncomfortable with other people.

Vary your roleplaying depending upon how low your Charisma really is. A 9 likely has a couple rather annoying habits such as a quick pick of the nose, yawning frequently without covering their mouth, not bathing and having faint foul odors or interrupting frequently. A 6 is probably a collection of rather grotesque habits such as exaggeratedly active picking of the nose, frequent passing of gas, refusal to bathe, or flat out not listening to the people they talk to.

It's important to note that the DMs of Arabel do take the playing of attributes very seriously. Players who refuse to acknowledge and play attributes they have chosen to minimize are likely to receive penalties that will inhibit their experience gain, as a result of their poor roleplay.



 :arrow:  Faith:

In general, remember that it is a widely acknowledged fact that there are multiple Gods in the Forgotten Realms as well other worlds. It's not blasphemous to give lip service to Helm for protecting you because you r character's patron happens to be Tyr or even someone like Velsharoon. In fact, it's not even blasphemous to give lip service for a deity that's alignment is the opposite of your character's or his patron. If you're a devout character, refer to the Deity pages to see which deities are actually opposed by your character's patron, and it's these specific deities that you'll want to avoid giving any lip service to.

Non-devout characters (typically non-divine casters) also have a lot more flexibility in their interpretations of faith dogma. It's entirely likely that a non-devout character may entirely ignore a certain part of the dogma. He doesn't get anything from the deity in way of powers, so the deity's pretty much just happy that some of what they preach is being followed. However, if you're a devout character (this includes non-divine casters who just happen to consider themselves devout) this doesn�t apply to you, and you'll need to apply the dogma in full. More discussion on that in the cleric�s tips.


 :arrow:  Rolling with the Punches:

People often hear us DMs say to 'roll with the punches' but what does it really mean? To truly be immersed in a role, a player needs to have complete separation from his character. Often times, players are so focused on being right or 'winning' that the moment an unplanned obstacle comes in the way of their character, it's taken into a personal light. The obstacle is no longer approached In Character as it should be, but Out of Character, because the player wants to have the obstacle removed from his character's path. This is often where the ideas of 'the DMs (or players) ruined my character' come from.

For those of you who would like some examples:

Deity abandonment or Spell failure is a common one that gets brought OOC. It's important to remember that while we do not want to play Gods of the server as DMs, we do play the deities as well as all the NPCs that exist in the game. As such, we as DMs do decide when a deity will abandon a cleric, paladin, etc. So the deity chose to abandon you, so what? What is your character going to do now? Seek atonement by restudying the faith and tryign to understand where he messed up? Abandon the deity? All these choices have their respective journeys and consequences and benefits. The important thing is if you approach them the right way, the obstacle can be 'fun'. But you have to not think about 'winning.'

Alignment Shifts - Some people don't care, but if you're an alignment dependent character it's pretty important. I'll use a paladin example, since those are the most common. Similarly to the deity example above, what happens when you become a fallen paladin? Most players send angry e-mails or dm tells trying to rationalize every possible ooc excuse as to why the shift is unfair. But there might be a few who approach it the right way; the IC way. These players, instead, ask what direction does this pivotal point in his paladin's life take him? Does he remember the futility of fighting evil, and decide to seek a different path? Does he take that a step further and seek vengeance on his former faith? Does he seek atonement because he simply made a mistake, but his heart is still with good and order? And once again, all these options can fall into very interesting, believable, and fun directions if played properly. And once again, the trick is to not think about 'winning.'

These are by no means the only types of obstacles. There are numerous ones that I could probably write a whole guide about and still not encompass every one. The message is to just roll with it ic, and instead of asking 'how can I rationalize to the DMs to negate the obstacle' ask 'what is my character going to do now, that this obstacle is set before him?' Don't take personal offense to things that happen in game. Just roll with what's being thrown at you, forget your personal player aspirations to 'win' Arabel, and just think about what your character would do.
« Last Edit: August 15, 2008, 03:44:20 PM by archonzero »

archonzero

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Re: Guide - The Art of Roleplaying
« Reply #14 on: August 14, 2008, 04:27:03 AM »
  Just a quick guide I compiled together from a series of RPG manuals that help to define how you would like to present your character(s).  This list is not my own list by the creative compilations I had found from the World of Darkness books for developing character creation.  I find it a helpful list for getting the core essence/face for a character before developing the complete history or emotional depth to a character. 

Section Four - Natures and Demeanors Defined

Natures and Demeanors

  A characters Nature is a basic description of your characters self-perception and the core of his "soul."  No character fits any Nature exactly, but one of the listed Natures usually describes his concept well enough.  Nature isn't all that a character is about.  Rather, it serves as a guide to your character's perspective on the environment and how he reacts to that environment.

  While a Nature helps describe who your character really is on the inside, this may not be the facade he presents to the world.  A person's mood and demeanor can change depending on who he's with and what situation he's in.  Your character's outward personality is handled entirely through roleplaying, although his Nature should probably color his general disposition.

  The characters Demeanor is the way a character presents herself to the outside world.  It is the "mask" she wears to protect her inner self.  A character's Demeanor often differs from her Nature, though it might not.  Also, Demeanor refers to the attitude a character adopts most often - people change Demeanors as often as they change their minds.


~Sample Nature/Demeanor types~

Architect
  The Architect has a sense of purpose even greater than herself.  She is truly happy only when creating something of lasting value for others.  People will always need things, and the Architect strives to provide at least one necessity.  Inventors, Pioneers, town founders, entrepreneurs and the like are all Architect Archetypes

Autocrat
  The Autocrat wants to be in charge.  He seeks prominence for its own sake, not because he has an operation's best interests at heart or because he has the best ideas (though he may certainly think so).  He may genuinely believe others are incomptetent, but ultimately he craves power and control.  Dictators, gang leaders, bullies, merchantile raiders and their ilk are Autocrat Archetypes.

Bon Vivant
  The Bon Vivant knows that life is shallow and meaningless.  As such, the Bon Vivant decides to enjoy her time on the earth.  The Bon Vivant decides is not necessarily irresponsible.  Rather, she is simply predisposed to having a good time along the way.  Most Bon Vivants have a low self-control as they are so given to excess.  Hedonists, sybarites and dilettantes are all examples of the Bon Vivant Archetype.

Bravo
  The Bravo is the tough, bully concept and often takes perverse pleasure in tormenting the weak.  To the Bravo's mind, might makes right; power is what matters, and only those with power should be respected.  Naturally, physical power is the best kind, but any kind will do.  The Bravo sees overt threats as a perfectly reasonable means of gaining cooperation.  The Bravo is not incapable of pity or kindness, he just prefers to do things his way.  Robbers, bigots, thugs and the insecure are all Bravo Archetypes.

Bureaucrat
  Laws were created for a reason, and your primary concern is to follow them.  No matter what the crisis, you follow the proper procedure.  If people don't obey the laws, chaos will run rampant.  You take comfort in established processes, confident that they are the keys to victory.  Strict adherence to policy may blind you to better options.

Caregiver
  Everyone needs comfort, a shoulder to cry on.  A Caregiver takes her comfort in consoling others, and people often come to her with their problems.  Those withe the Caregiver concept often attempt as best they may, to protect those around them.  Nurses, doctors, healers and psychiatrists are all examples of potential Caregiver Archetypes.

Celebrant
  The Celebrant takes joy in her cause.  Whether the character's passion is battle, religious fervor, foiling her rivals or reading fine literature, it gives the Celebrant the strength to withstand adversity.  Given the chance, the Celebrant will indulge in her passion as deeply as possible.  Unlike the Fanatic, the Celebrant pursues her passions not out of duty, but out of enthusiasm.  Crusaders, hippies, political activists and art enthusiasts are Celebrant Archetypes.

Child
  The Child is still immature in personality and temperament.  He wants what he wants now, and often prefers someone to give it to him.  Although he can typically care for himself, he would rather have a caretaker-type cater to his bratty desires.  Some Child Archtypes are actually innocent rather than immature, ignorant to the cold ways of the world.  Children, spoiled individuals and som drug abusers are Child Archetypes.

Competitor
  The Competitor takes great excitement in the pursuit of victory.  To the competitor, every task is a new challenge to meet and a new contest to win.  Indeed, the Competitor sees all interactions as some sort of opportunity for her to be the best - the best leader, the most productive, the most valuable or whatever.  Merchantile raiders, professional athletes and impassioned researchers are all examples of Competitor Archetypes.

Conformist
  The Conformist is a follower, taking another's lead and finding security in the decisions of others.  She prefers not to take charge, instead seeking to throw in with the rest of the group and lend her own unique aid.  The Conformist is drawn to the most dynamic personality or the individual she perceives to be the "best."  Being a Conformist is not necessarily a bad thing - every group needs followers to lend stability to htier causes.  groupies, party voters and "the masses" are Conformist Archetypes.

Conniver
  Why work for something when you can trick somebody else into getting it for you?  The Conniver always tries to find the easy way, the fast track to success and wealth.  Some people call him a thief, a swindler or less pleasant terms, but he knows that everybody in the worl would do unto him if they could.  He just does it first, and better.  Criminals, con artists, salespeople, urchins and entrepreneurs might be Connivers.

Curmudgeon
  A Curmudgeon is bitter and cynical, finding flaws in everything and seeing little humor in life or death.  He is often fatalistic or pessimistic, and has very little esteem for others.  To the Curmudgeon, the glass is always half-full, though it may be damn near empty when other people are involved.

Critic
  Nothing in the world should be accepted without thorough scrutiny and examination.  Nothing is ever perfect, and the blemishes must be pointed out in order for the good to truly be recognized.  Your standards are high for everything, and you insist that they be met.  Encourage the same ideals in others; low standards reduce the quality of life for everyone.  They'll thank you later, once they discover the purity of your perspective.  Seek out and expose the imperfections in every person or thing you encounter - in essence you're never satisfied with anything that is less than perfect.

Deviant
  The Deviant is a freak, ostracized from society by unique tastes that place her outside the mainstream.  Deviants are not indolent rebels or shiftless "unrecognizable geniuses"; rather, they are independent thinkers who don't quite fit in the status quo.  deviant Archtypes often feel that the world stands against them, and as such reject traditional morality.  Some have bizarre tastes, preferences and ideologies.  Extremists, eccentric celebrities and straight-out weirdoes are Deviant Archetypes.

Director
  To the Director, nothing is worse than chaos and disorder.  The Director seeks to be in charge, adopting a "my way or the highway" attitude on matters of decision-making.  The Director is more concerned with bringing order out of strife, however, and need not be truly "in control" of a group to guide it.  Coaches, teachers and many political figures exemplofy the Director Archetype.

Explorer
  The prospect of finding new or lost places, people and things - whether it's an elder ruin, a lost artifact or a musical style - gives your life meaning.  Discoveries are your passion, and you devote a great deal of time and effort to keeping up with current events.  The routine and commonplace bores you, and learning someone else's discovery fills you with envy.  You constantly set your sights on the horizon, sometimes at the expense of the here and now.

Fanatic
  The Fanatic has a purpose, and that purpose consumes his existence.  The Fanatic pours himself into his cause; indeed, he may feel guilty for undertaking any objective that deviates from his higher goal.  To the Fanatic, the end justifies the means - the cause is more important than those who serve it.  Players who choose a Fanatic Archetype must select a cause for their character to further as this gives them the goal to attain.  Revolutionaries, zealots and sincere firebrands are all examples of Fanatic Archetypes.

Gallant
  Gallants are flamboyant souls, always seeking attention and the chance to be the brightest stars.  Gallants seek the company of others, if only to earn their adoration.  Attention drives the Gallant, and the chase is often as important as fulfilling that pursuit.  Nothing excites a Gallant so much as a new audience to woo and win.  Performers, only children and those with low self-esteem are often Gallant Archetypes.

Jester
  The world is a painful place, but it's not withits lighter side.  People go crazy without something to laugh at.  You are that someone.  You're the fool, clown or comic, forever seeking the humor in any situation.  You hate sorrow and pain and constantly try to take others' minds off the dark side of life.  Sometimes you'll do nearly anything to forget that pain exists.  Your particular brand of humor might not always impress your friends, but it makes you feel better.  Some jesters manage to escape pain and are tuly happy, but most never find release.

Judge
  The Judge perpetually seeks to improve the system.  A Judge takes pleasure in her rational nature and ability to draw the right conclusion when presented with facts.  The Judge respects justice, as it is the most efficient model for resolving issues.  Judges while they pursue the "streamlining" of problems, are rarely visionary, as they prefer proven models to insight.  Engineers, lawyers and doctors are often Judge Archetypes.

Loner
  Even in a crowd, the Loner sticks out, because he so obviously does not belong.  Others biew Loners as pariahs, remote and isolate, but in truth, the Loner prefers his own company to that of others.  For whatever reason, the Loner simply disdains others, and this feeling is often reciprocated.  Criminals, radicals and free thinkers are all loner Archetypes.

Martyr
  The Martyr suffers for his cause, enduring his trials out of belief that his discomfort will ultimately improve others' lot.  Some Martyrs simply want the attention and sympathy their ordeals engender, while others are sincere in their cause, greeting their opposition with unfaltering faith in their own beliefs.  many Inquisitors, staunch idealists and outcasts are Martyr Archetypes.

Masochist
  The Masochist exists to test his limits, to see how much pain he can tolerate before he collapses.  He gains satisfaction in humiliation, suffering, denial and even physical pain.  the Masochist defines who he is by his capacity to feel discomfort - he rises each day or night only to greet a new pain.  certain extreme athletes, urban tribalists and the clinically depressed exemplify the Masochist Archetype.

Monster
  The Monster knows she is a creature of darkness and acts like it.  Evil and suffering are the Monster's tools, and she uses them wherever she goes.  No villainy is below her; no hurt goes uninflicted and no lie remains untold.  the Monster does not commit evil for its own sake, but rather as a means to understand what she has become.  Many degenerates, unstable individuals, serial murderers and cold emotionless killers are characteristic of the Monster Archetype.

Paragon
  You have lofty  and concrete ideals about what is right and noble in life, and you strive to embody those ideals.  You consider your powers a great gift and a tremendous responsibility, and you feel dutybound to use them in pursuit of righteousness and altruism.  Though you aspire to be a role model, your are not a Gallant - public display is not as important as the knowledge of good deeds accomplished.  Some might see you as self-righteous, but you are your own worst critic.  You are completely intolerant of human foibles (especially your own), and this lack of acceptance might as well drive you over the edge one day.

Pedagogue
  The Pedagogue knows it all, and desperately wants to inform others.  Whether through a sense of purpose or genuine desire to help others, the Pedagogue makes sure his message is heard - at length, if necessary.  Pedagogue Archetypes may range from well meaning mentors to verbose blowhards who love to hear themselves talk.  Instructors, the overeducated and "veterans of their field" are all examples of Pedagogue Archetypes.

Penitent
  The Penitent exists to atone for the grave sin she commits simply by being who she is.  Penitents have either low self-esteem or legitimate traumatic past experiences, and feel compelled to "make up" for inflicting themselves upon the world.  Penitent Archetypes are not always religious in outlook; some truly want to scourge the world of the grief they bring to it.  Repentant sinners, persons with low self-esteem and remorseful criminals are examples of the Penitent Archetype.

Perfectionist
  Perfectionist Archetypes simply demand hte best.  A half-hearted job gives the Perfectionist no satisfication, and she expects the same degree of commitment and attention to detail from others that she demands from herself.  Although the Perfectionist may be strict and exacting, the achievement of the end foal drives her - and often those for whom she is responsible.  Prima donnas, artists and conceptual designsers exemplify the Perfectionist Archetype.

Rebel
  The Rebel is a malcontent, never satisfied with the status quo or the system as it is.  He hates authority and does everyhting in his power to challenge and undermine it.  Perhaps the Rebel truly believes in his ideals, but it is just as likely that he bears authority figures some ill will over a misunderstanding or "wrong" done to him in the past.  Teenagers, insurrectionists and nonconformists all exemplify the Rebel Archetype.

Rogue
  Only one thing matters to the Rogue: herself.  To each his own, and if others cannot protect their claims, they have no right to them.  The Rogue is not necessarily a thug or bully, however.  She simply refuses to succumb to the whims of others.  Rogues almost universally possess a sense of self-sufficiency.  They have their own best interests in mind at all times.  Prostitutes, capitalists and criminals all embody the Rogue Archetype.

Savant
  You approach the universe as a riddle to be answered.  You live by your logic and deduction; any problem can be solved in a rational manner.  You goal is to uncover the truth, to understand everything.  However, your intense interest in finding the answers to questions can be distracting, since you get caught up in the minutiae and may lose sight of the larger issue.

Survivor
  No matter what happens, no matter the odds or opposition, the Survivor always manages to pull through.  Whether alone or with a group, the Survivor's utter refusal to accept defeat often makes the difference between success and failure.  Survivors are frustrated by others' acceptance of "what fate has in store" or willingness to withstand less than what they can achieve.  Outcasts, street folk and idealists may well be Survivor Archetypes.

Thrill-Seeker
  The Thrill-Seeker lives for the rush brought on by danger.  Unlike those of arguably saner disposition, the Thrill-Seeker actively pursues hazardous and possibly deadly situations.  The Thrill-Seeker is not consciously suicidal or self-destructive - he simply seeks the stimulation of imminent disaster.  Gang members, petty thieves, mercenaries, exhibitionists are all examples of Thrill-Seeker Archetypes.

Traditionalist
  The orthodox ways satisfy the Traditionalist, who prefers to accomplish her goals with time-tested methods.  Why vary your course when what has worked in the past is good enough?  The Traditionalist finds the status quo acceptable, even preferable, to a change that might yeild unpredictable results.  Conservatives, judges and authority figures are all examples of Traditionalist Archetypes.

Trickster
  The Trickster finds the absrud in everything.  no matter how grim life may become, the Trickster always uncovers a kernel of humor within it.  Tricksters cannot abide sorrow or pain, and so they strive to lighten the spirits of those around them.  Some Tricksters have even higher ideals, challenging the static dogma by exposing its failures in humorous ways.  Comedians, satirists and social critics are examples of this Archetype.

Visionary
  The Visionary is strong enough to look beyond the mundane and perceive the truly wonderous.  visionaries test accepted social limits, and seek what few others have the courage to imagine.  The Visionary rarely takes satisfaction in what society has to offer; she prefers to encourage society to offer what it could instead of what it does.  Typically, society responds poorly to Visionaries, though it is they who are responsible for bringing about progress and change.  Philosphers, inventors and the most inspired artists often have Visionary Archetypes.


  Note:  These are only possible outlines and faces that one can title as core or illusionary values to defining a character, they are merely possible guidlelines to help build the foundation blocks to developing a rich and colorful character persona.  I hope these help those out there.. both young and old, new and veteran alike.
« Last Edit: August 15, 2008, 03:41:15 PM by archonzero »