Choices III

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1 March 2006

by Mike Rozak

This article is a continuation/summary of the "laws" of choices that I've been writing down in Choices, Choices II, and Choice and consequences.

Available options within a choice:

• Offering players a choice with too many options will confuse the players. Three to five options is a good number.
  
  
• The options of a choice should be expected and/or seen as reasonable by the player. Providing the options of attacking the dragon using a sword or lance is reasonable. Allowing the option of telling it the funniest joke in the world so the dragon laughs itself to death is probably not something players would expect (except in a comedy world).
  
  
• Options shouldn't always be symmetrical. Example: Don't give players a choice between weapon A or weapon B, but between weapon A and marrying the princess.
  
  
• Repeatedly offering the player (essentially) the same choice is bad. For example: Offering the player a choice between weapon A and marrying the princess is fine the first time. By the fiftieth time the player is offered that choice they're bored, even if it's a different weapon or a different spouse.
  
  
• A choice that the player doesn't have to think about (where the player's skill, knowledge, or thought is not exercised) is a bad choice because it doesn't challenge the player. Likewise, a choice that requires too much thought will frustrate many players.
  
  
• A choice between two identical looking doors is not a valid choice since the player will be forced to guess.
  
  
  • Exception: If players will return to the doors later in the game, they will learn how the consequences of the doors differ, so the doors are no longer identical.
    
    

Strong and weak choices:

• A choice that is easily and reliably reversible is a weak choice. A game filled with only weak choices is boring. For example: Movement is a weak choice since it's easy to move back in the opposite direction. Weak choices are relaxing.
  
  
• A choice that is not reversible is a strong choice. Strong choices are good so long as the different consequences are reasonably "equal" in the eyes of the player. Thus, a choice that results in a dead end (where the player's character soon dies) is bad. Strong choices are stressful.
  
  
• Players should be aware that they're making a strong choice when it's presented. If they aren't, make them aware.

Consequences:

• A choice between two doors, where the consequences are (virtually) identical, is not really a choice.
  
  
• A choice between two doors where there is no consequence to either door is a pointless choice.
  
  
• A choice where one consequence is obviously inferior (to the player's knowledge) is not a valid choice since the player will never chose the inferior option.
  
  
  • Exception: If the choice reoccurs, and in some instances the inferior choice is preferred, then allowing it is valid. For example: Jumping out of a plane is a generally bad choice. However, once in awhile people have parachutes attached to their backs, which makes it a good choice on those occasions.
    
    
• A choice where all expected consequences are negative is a bad choice. Players won't like to make the choice.
  
  
  • Exception: Sometimes such choices are used to add emotion to the game.
    
    
• Players must care about the expected consequences of a choice for it to matter. For example: If one option lets the dragon eat the princess, and the player doesn't care if the princess gets eaten (or that the dragon gets fed a healthy diet of princesses), then the player doesn't really have a choice to make.
  
  
• Players should have expectations for the consequences of a choice. Otherwise, they are guessing. If possible, the real consequences shouldn't exactly match the expected consequences. The consequence should be a variation of what the player expected, or something completely different yet still pleasing.
  
  
• Choices can include negative consequences if there is a probability associated with the consequence where the expected net-result is positive.
  
  
• Choices that result in instant death are (usually) a bad idea. The player will just reload the game from the last save. If there is no last save, they will be frustrated and stop playing such a "stupid game".
  
  
• The consequences of a choice might include:
  
  
  • Changes to elements of the world that the player cares about, such as (dis)liked NPCs.
  • Changes to the player's character or his possessions.
  • Changes to the rules of the game. For example: If a player chooses to wear boots of flying vs. boots of swimming, then the physics of the world alter to let the character can fly or swim.
  • Effects on what choices are available later in the game. For example: If a player chooses to bring a rope, then later in the game, the player will be able to choose to climb down the rope into a pit.
  • Spectacle... new eye candy. Example: Offer the player a choice of clothing, even though it doesn't affect gameplay.
  • Loss or or access to content. Example: If a player marries the princess, they can't marry the sorceress. Both are "fun" consequences, but they're not the same experience. For this to work, the player must be aware that they're giving up some content.
  • Punishment: Loss of the player's time/effort.
  • Punishment: Putting the player in a situation where they have to do a disliked (probably repetitive) task.

Miscellaneous:

• If a player is given a choice between door A and door B, and the player knows from experience with previous choices that one of the doors will have a good outcome, and one will be bad, then the player will rely on a walkthrough to play the game.
  
  
  • Exception: If there are no walkthroughs for your game, then these types of choices are possible, although stressful.
    
    
• Players should have a choice of which choice they wish to make at this moment. In other words, players should have a menu of three to five quests that they're participating in at any given time. Depending upon their mood, they can choose which quest to tackle at any point in time.
  
  
• Choices should be separated by actions. (Of course, the actions might involve choices too.) I'm not sure why this is, but Choose Your Own Adventure books aren't very satisfying (to me) despite the large number of choices. However, a Tunnels & Trolls solitaire adventure (or Fighting Fantasy novel), which has choices and actions, is more fun.
  
  
• Don't tell, show. Don't offer explicit choices, offer implicit choices. A player does not decide to be good or evil explicitly; they decide by their actions.
  
  
• Choices should lead to more choices.... Obviously, or the game will run out of choices and it will end. More subtly, choosing "marry the princess" should result in choices about where the wedding will be. Choosing to "take the weapon instead" should result in choices about where to get it embossed, or what to name it.