How To Make A POV Character Follow A Player's Choices but Still Have Personality?
I've been spitballing a few ideas for TellTale decision based stories within a Walking Dead setting (but this is a more overall writing topic so I'm just posting in general discussion), but I noticed a pattern in 3 of the more concrete ones: There's only 2 really predominate A-list characters, the POV character and a friend/family member that you're very close with. But a look into their character arcs and personality has had me realize that on every single one that second person has the more interesting development and arc than the POV character as the choices in dialogue and decisions, and by extension morals and personality, by the player shape them. The sheer amount of variance doesn't allow for much choice in paths or attitudes for the character to take on behalf of the writer, which can leave them rather undefined.
But then thinking even further made me realize that seemingly ALL largely choice based games are like that. I can't really name any definite personality traits of POV characters in any TellTale games since Sam And Max aside from the ones the game forces upon you (i.e. you have to protective of Clementine in season 1 or she dies and your hit with a fail state). So either you get a lead that's as well defined as a missing dictionary page or you restrict player choice.
Although some games seem to have worked around this. Lee Everett, Commander Shepard, Geralt Of Rivia and what's-her-face from Discount TellTale, I mean Life Is Strange are all fondly remembered by their fanbases despite the wild variation you could impose on them (look me in the eye and talk about how great of a character Silent Lee is). I can't quite place what makes these characters stick. Is it their ability to overcome the challenges presented through the story? Is it a general familiarity with their more goofy moments by fanbases that they just ingrain into the character regardless of their own decisions? Is it small one liners thrown throughout without player input that give them enough character to latch onto? Do I even need a strong POV character, or will the player be able to reflect themselves onto the character and thus get attached via inner narcissism? If you guys have any thoughts or tips, please let me know. Happy writing!
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Bit of further thoughts I left out of the main post to avoid making it cluttered: Decision games CAN work with a main character flatter than a piece of paper. I love Fable 2 and Prey (2017), both decision based games, even though the main characters don't say a single word the ENTIRE game. I think they work due to being driven by their worlds (Bethesda games also follow this trope, just with more talkative main characters) rather than by characters or story. However the world of The Walking Dead is already well defined (not much special if I'm being honest) and the strength of the series lies within its characters. The series has never been about zombies, its always been about what a constant threat of danger and the collapse of society does to people. And because my artistic and computer animation skills are nonexistent I'd have to work off of a text-adventure format making the world even less tangible so being character driven is doubly important for me.
POV Characters in choice based games are always hard for the simple reason you do have to leave them a little blank so that the player can interject his or her own set of morals onto the character they are playing.
So what is a writer to do? Seemingly a POV character is blander than the others because of the need for player agency. The simple answer is there are no simple answers...so the writer needs to get a bit unfair.
In the following examples I will be using Lee Everet and Max Caulfield....from TWD and LiS respectively.
TWD
We meet Lee as he is on his way to prison for a crime we do not fully understand(Trope Redemption Arc)...at the point all we know is it was a senatorial mess and can infer that Lee's wife was involved.
So from the very start you have a sort of mystery for the first time player...just what did the player do to get sent the big house?
Lee meets Clem...now sure...the act of caring for Clem is forced on the player...but to their credit they did not make her as useless as oh say Duck...she is an interesting little person and written so that the player does care for her.
LiS
We meet Max Caulfield in a storm...she has no idea where the hell she is or even how she got there....soon she recognizes the light house and heads to it(Trope Light Houses are often symbols of safe harbor) Massive tornado going to destroy the town of Arcadia Bay
Max wakes up she is in class....Life is Stereo types...You have the class bitch...you have the cool teacher...you re the outcast that no one understands...which for a game is perfect as this gives the writer a chance to interject things at a slower pace to interest the player
Social Anxiety and a Murder...did I mention time manipulation powers? Later in the game if you are the type to snoop everywhere you will find Max's school File...there it is inferred she suffers from High functioning Autism or Aspergers...it is never fully revealed.
Both games take different paths to get a PoV character's back story out...TWD does it in 1 episode..which works as there is this zombie apocalypse...LiS goes for the slow burn which works as the game has a more social and detective feel to it.
Now Let's take a look at an important moment in defining the character that the writer can control
TWD THE MEAT LOCKER
The Meat Locker scene is a clever way for the writer's to add a bit of nuance to a PoV character that while not "GAME CHANGIN"...is "CHARACTER DEFINING"
It all comes down to a choice...do you help Kenny kill Larry...or try and help Lilly save Larry
No matter where you sit on the choice...it does not change the game...Larry is going to become a block head...but your choice does add spice to your relationship with Kenny and Lilly. It maybe a small thing as it does not change things except to seemingly go twards whether Kenny helps you with Clem or not...and oh yeah not lifting a finger to help you in the pharmacy in episode 3.
I have to admit I took a bit of anger out on Kenny when we fought in ep. 3
LiS KATE MARSH FALL DOWN AND GO SPLAT
Ahh Kate Marsh...a very likable character that will die unless you are able to talk her down off the roof of the girls dorm. This is not as strait forward as it sounds.because earlier in the episode and even the episode before...you need to have paid attention and explored her room like the little snoop you are.
Proper exploration prepares you for this situation which was admittedly Hella Awesome(Watch Jacksepticeye's playthrough as his guilt is made worse when he finds out at the end you CAN indeed save her). The writer not only lets you feel like a hero but it helps drive home the importance of reading everything and taking the time to explore everywhere.
As an added bonus you actually get to go visit her and she helps you find some importantish info. Goes toward the idea that choices have consequences and people will regard you as a hero.
PoV characters...yeah it is hard because you do have to leave so much up to the player...but you can control the situation by making these choices that while they will not change the game in a big way...there are very real payoffs in the form of character interactions and maybe an addition quest line that adds to the story.
Remember...the choices you make tailor the story...they do not define the story...the story is very much up to you the writer...but you can add these things in that help make the character a more sympathetic and real person.