I already spoke of one trouble I face in character design for our upcoming RPG: a player who wants the setting to match her idealized vision of biblical Israel. That’s not my only chargen problem worthy of examination. I’ve got another player who, after claiming no interest in joining the campaign, changed his mind, and only let me know last week. (More precisely, he didn’t even do that; one of the other players passed the information to me second-hand.)
In some campaigns, late arrivals are no trouble. If your PCs are all out for an Asgardian romp of mayhem and partying, or otherwise simply motivated, you can simply plug a PC in anywhere: “Hi, guys. Can I join your quest? I’ve got my own battle-axe.” In other campaigns, where motivation is complex, or politics and subterfuge are the norm, or a specific back story is already in place, inserting a late arrival can be tricky. The task becomes downright impossible when the late arrival has a specific character in mind, and isn’t prepared to compromise.
Not all characters are appropriate for all games. It’s an awkward truth, but true nonetheless. A bookish scholar of the occult is great in a horror setting, but not in a swashbuckling pirate adventure, where his refusal to leave the library puts a serious crimp in everyone else’s fun. A murderous son-of-a-bitch can be an engaging anti-hero, but he doesn’t belong in a four-color superhero game, where he forces everyone else to adopt a double standard toward murderous sons-of-bitches simply because he’s got “fellow PC” stamped on his ninja-black spandex outfit. A flirtatious cat-girl doesn’t belong in a historical drama. A strict moralist doesn’t belong in the morally ambiguous world of an espionage game.
Generally, players who insist on creating such “toxic characters” want to play that same character all the time, regardless of the setting. There’s just something about murderous sons-of-bitches or flirtatious catgirls or whatever that the player loves so much that he wants to do it all the time, and seeks variety by plugging that character into different environments. But it can also happen as a one-off: a player who really wants to play this particular character in this particular setting and won’t let the idea go, often because he’s missed something important in the setup.
When faced with such a player, the GM has three choices, apart from the scorched earth policy of ejecting the player.
One, he can change the setting to accommodate the character. That’s fine if the setting is flexible enough—probably the ideal choice, in fact. Giving the players—all the players—what they want is the foundation of being a good GM, and few things are as important to player involvement as character identification. But it may happen that the setting is not flexible enough; the GM may have a particular story in mind, or (as is the case for me) the other players may have already settled on a definite concept or the campaign may even be underway. In such a case, it isn’t fair to toss aside everyone else’s work—and the GM is entitled to some consideration here, too—just to make room for the new guy, and it’s time to move to option two.
Two, the GM can veto the concept, no matter how attached the player is to it. Preferably, the GM can explain why the character would be toxic to the game, but if he can’t do so without giving away vital secrets, the player will just have to trust the GM and accept the decision.
Three, if for some reason standing up for the other players and the legitimate needs of the campaign are socially unacceptable, the GM can grit his teeth and let the toxic character in. When this happens, be prepared for a lot of adventures spoiled by genre-breaking behavior or, more likely, impasse—a player who won’t compromise during chargen is unlikely to compromise in play, either. The GM may be tempted to kill off such a character, and this works in a pinch, especially if the villains decide the only way to deal with this alien (literal or figurative) is to bump him off, but this can lead to resentment. Far better to simply leave the toxic character out of the loop: dramatic hooks are a vital part of a genre’s conventions, and a PC who flagrantly violates those conventions shouldn’t be lined up to receive any such dramatic hooks. Cagey players will sooner or later catch on to the fact that nothing ever happens around them, and begin to adapt, consciously or not, their character concepts to enter the flow of the action. Less cagey players may simply sit inert, doing as little damage as one could hope for under the circumstances, or they may move to disrupt everyone else’s fun in the hopes of sharing some of the attention, in which case it’s time for the dreaded “pulling the player aside” for a frank discussion.
None of these options look very good, do they? There’s a lesson here. For the players. If you’re a player, and not the GM, don’t put him in this dilemma. Find out what the campaign is about, understand the ground rules and the setting, before becoming attached to one particular character. Be prepared to tone things down or crank them up if necessary to the story’s pacing. If the GM calls for something specific—a career in the navy, a haunted past, a family—cooperate. It’s okay to negotiate, to ask if something’s really necessary, but not to dig your heels in and repeat, “But I wanna play a [whatever].” Understand that the GM knows more about what’s going to happen in the campaign than you do, and can better recognize which characters will kill a story. If you design something incompatible, you’re going to halt the action rather than participate in it. As Greg Stolze observes, “If ‘but my character just wouldn’t do that’ becomes a common refrain, well, then you didn’t design your character right in the first place.” In general, it’s a hell of a lot easier to create a new character than to create an entire campaign setting, especially if it isn’t some paint-by-numbers romp of Asgardian mayhem and partying. The least you could do is meet him half-way.
Let me illustrate this with specifics. The upcoming campaign is a conspiracy story, something similar to The X-Files or The Star Chamber, where a shadowy and powerful group controls the world for sinister ends. The conspiracy genre makes some imposing demands on an RPG, because an all-knowing, all-powerful, and utterly ruthless enemy can easily get out of hand and turn the campaign into an exercise in frustration. I’ve chosen to limit this frustration by moving the action from the modern world to a fictional bronze age setting with a limited population; the idea is to deprive the Conspiracy of its most powerful weapons in the form of modern complexity—an incomprehensible legal system, inaccessible world leaders, massive databases, high-tech spying equipment, impenetrable layers of overlapping state security organizations, unfathomable economic forces, and so on. But using a fictional setting has placed a different burden on me: I have to establish clearly and early on what is normal and culturally healthy in this world—or rather, what is apparently normal and culturally healthy even as the Conspiracy twists it to dark ends—so that the players, and through them the PCs, can react with horror as they begin to recognize the Conspiracy’s transgressions. If I don’t do this job well, players will witness some atrocity and respond, “Huh. What an odd facet of this fictional world. Well, let’s go do this other thing,” rather than, “Oh no, this can’t be real! What fiends could be behind such madness?” as should happen regularly in a conspiracy story.
I also demanded of my players that they create characters with an intimate connection with one another, and especially reason to trust one another. Trust is hard to come by in a world where the truth is unbelievable, and betrayal lurks at every corner, and the PCs need some kind of anchor point, both to avoid freezing up in the face of overwhelming peril and to skip the tedious second-guessing of intra-party suspicion. I offered a variety of ideas as to what kinds of relationship would work for this purpose, and my players took the suggestion of a childhood oath and ran with it in an inconvenient direction. They wanted to have lived as children in a village populated by a horrific cult; the village had been wiped out by pirates, but the kids knew that one of the village elders, the ringleader of the cult, was responsible for its destruction, and vowed to work together for vengeance even as they were shipped off to distant relatives in scattered islands. Now the children are grown, and gathering to fulfill that vow.
Great stuff. A bit of a problem for me, in that the PCs are already waist-deep in horrific secrets and lies. The shocking exposure of the Conspiracy won’t be very shocking at all when the time comes, and the players are going to have a hard time even recognizing disturbing revelations at all. But the players were enthusiastic, and I agreed to go with it rather than kill that enthusiasm. They went on to create their back stories, and I put in several hours of plot generation to tie the first few adventures into the larger storyline.
Enter our late arrival. He wanted to create a feral girl, escaped to the wilderness rather than being sent to live with distant relatives, who had learned some kind of witchcraft by participating in the cult’s horrific rituals, but had somehow become fanatically loyal to one and only one fellow PC. This set off all kinds of warning bells. An inability to interact with people is suicidal in the conspiracy genre, basically an extended question of who to trust, never mind how important it is for the PCs to be able to bluff their way through situations. A character tied to only one other PC would be poisonous to group trust, as well as making her single friend de facto dictator in a four-person party (or split it permanently into two conflicting pairs). A participant in the cult’s rituals would be a prime target for the group, not a comrade-in-arms, not to mention the firmly established ground rule that magic definitely does not exist in this world as a human institution. (It does exist in the wild, but a fanatical response to magical horrors that nearly destroyed the world a few centuries ago led to the complete and violent eradication of sorcerers and their works. A magically active character would face a lynch mob in a world where magic is hated and feared with the same intensity of witchcraft in Salem.) Also, the character’s back story inadvertently stole what was supposed to be another character’s dark secret, magnified it beyond all reason, casting the other PC in the narrative shade, and made keeping that secret a secret impossible, thereby trampling on a fellow player’s already-established concept.
This feral witch-girl was toxic to the campaign in so many ways that it was hard to express them all clearly, to keep all the objections distinct. This was a toxic character of the first water. Perhaps that confusion is the reason this last player was so resistant to drastic revisions or, ideally, trashing it altogether. Or perhaps it was his habitual preference for characters with, if not god-like power, than at least unique abilities which can’t be stopped, or even recognized, by the vast majority of the public. Either way, the character had to go, and the player wouldn’t let it go.
So what happened then? How did we resolve the dilemma? Well…we’re still working on it, the player having agreed to “think some more about it,” now that he had a better understanding of the nature of the campaign. And I’m writing lengthy descriptions of the campaign’s nature, because supposedly that character was designed after reading an ever-expanding wiki set up for just that purpose, including information on both setting and ground rules (and after hearing about the other characters’ back stories, albeit sketchily). I’m desperately hoping that this outpouring of text, describing how most RPGs are power fantasies but conspiracy games are about being powerless, and how the protagonists discover the Conspiracy from the outside, and how The Bourne Identity, where the protagonist is an unstoppable super-agent and the Conspiracy had better just stay the hell out of his way, isn’t the kind of conspiracy-suspense genre we’re aiming for will all carry the message. I have to hope because I don’t trust my player to absorb the ground rules laid down in our conversation any better than he did the rules laid down in the wiki. I’ll be happy to have him on board, but I’m not in a position to bend very far, so he’ll need to do most of the bending. If he doesn’t, I’ll have a hard time refusing his character outright, since he’s my brother-in-law (once removed), and my sister-in-law is one of the players…so while trying to draw him into the excitement with suggestions from one corner of my mouth, I’m also slipping in discouraging comments about how over-powered characters don’t live long in conspiracy games from the other corner, hoping he’ll give up rather than try to shoe-horn a toxic character in.
It’s the truth, too: over-powered characters draw lots of attention, and in a world run by an all-knowing, all-powerful, and utterly ruthless Conspiracy, drawing attention to yourself is a death-wish. And if push comes to shove, we may all get a chance to watch that truism function up close, preferably before the witch-girl marks all her friends for death, too.