Keep Writing

I actually dislike this methodology in games. It's so damn tired. I don't want a 'good route' and a 'bad route,' and I don't want a 'none of your choices actually matter because we've carefully balanced them so neither option could offend anyone ever' route.

I want different routes. I want multiple good endings. I want multiple bad endings. I want my choices to change things, not just slot stuff into 'this is good' or 'this is bad' or 'this is slightly different but doesn't actually matter in any meaningful way.'

Let characters fuck up. Let characters do amazing things. And then serve the consequences, good, bad, or weird, that they so richly ordered.

Material example:

Rupert walked into his supervisor's office. Today is the day, he thought. He'd been a star employee for over a year, and it was time to ask for that promotion. He knew - absolutely knew! - he could handle the challenge. Hell, he'd almost been doing the job already for the last month.

"What can I do for you, Rup?" Patricia, his supervisor, turned away from her monitor and gave him a friendly smile.

Rupert returned it. "I'd like to talk about the Feeney account."

"Oh? Any problems? Last I checked, everything looked great."

Rupert shook his head, smiling more broadly. I've got this, he thought. "Oh, no problems, but I know we're looking for someone new to manage it. And I've worked with their team a lot this month. Even found some financial discrepancies that were going to cost them big-time if we didn't get them fixed last week. So... I'd like to throw my hat in the ring. I think I could manage their account full-time."

Rupert has made a decision. It seems like the right decision. All the information we have indicates that he should be successful here... But where's the story in that?

We have some options for how Patricia responds.

• She could say "yes," and... That's the end. No more story.
• She could say "yes, but..." and offer some kind of obstacles and conditions for Rupert's promotion. There's more story potential here, but it's of the plot-coupon variety. Not a lot of interest here.
• She could say "no," and that gives us even more story potential. Why not? What's the problem? Is the company not doing well? Is there a problem with the Feeney account Rupert doesn't know about?
• She could say "no, and furthermore..." Now we're cooking with gas! Maybe she takes him off the account entirely. Maybe she starts acting really suspicious, or maybe she's suspicious about Rupert. Maybe she even fires him! Now what will he do? He has a family! Is something off about the Feeney account? Are there financial crimes going on here? Poor Rupert might be plunged into a conspiracy he wasn't aware of, just by being too competent when analyzing their records!

"No, and furthermore..." opens up all the potential of the story. You're already imagining computer break-ins, stealing binders of documents late at night, gun-toting thugs and chases through the rain-slick city streets, aren't you.

Pretty sure this is how the Dark Souls games were designed.

Permanent decisions, most good things have a drawback, sometimes you think you're doing a good thing, but it causes problems.

This is no way to write a Dwayne Johnson movie

I found this useful. Thanks.

So basically just try and avoid a bunch of Mary Sue's?