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Showing posts with label MMO. Show all posts
Showing posts with label MMO. Show all posts

Friday, 12 May 2023

GM in your pocket

When Jamie and I were trying to convince the Eidos execs to fund development of the Fabled Lands MMO way back in the late '90s, one of the features we talked up was a storytelling AI:

"The GamesMaster AI will have a library of partially scripted adventures and story elements that it can bring in to liven things up whenever your character is having too easy a ride. These adventures are templates with slots to accommodate friends and enemies you've picked up in the course of your travels.

"For example: you take a bounty hunter's job and go hunting bandits. You round up most of the horde but the leader, Black Nat Varley, escapes. Later, while implementing a random attempt on your life, the AI fills in the assassin's identity as being Black Nat. If Nat survives your second encounter, he'll eventually show up in another encounter and so on. (Maybe NPC adversaries who survive more than three encounters are classed as "dear foes" and have their own level increases tied to yours so as to always give you a good battle.) 

"And the GamesMaster AI will also take account of your character class, deity, etc, when introducing new missions and encounters. It can also randomly generate adventure locations as needed, spicing things up by adding special elements so that they never seem just random. This means that every campaign will be unique."

We looked at Vladimir Propp's Morphology of the Folktale for patterns the GamesMaster AI could draw on. The idea was that it would throw in plot twists and tropes, applying them with common sense. So having a storm at sea might be an interesting random event when you were setting out on a quest, but if you'd completed an adventure and were sailing home to deliver the princess back to her father (or vice versa) then it would realize that a potential shipwreck would just be an irritating distraction.

Fast-forward 25 years and the AI is nearly there. Game developer Hidden Door is working on a platform that effectively creates gamebook-style text adventures on the fly. So when I was talking a little while back about AI-generated covers for Fabled Lands books, I might have been a little too unimaginative. Pretty soon you could have endless open-world adventures whenever you want them, right there on your phone. Not just text, either. This is the current state of play with text-to-video: 

By the end of the year, who knows where we'll have got to. Nick Henfrey and I are using AI artwork for our boardgame A Thunder of Dragons (details on the Flat Earths gaming blog) and maybe by the time we've finished that it'll be time to think about a videogame.

Friday, 4 May 2018

"Elf-struck" (scenario)

This is an adventure seed rather than a scenario. I threw it into my campaign as a monster-of-the-week episode while the player-characters were making their way across Dark Ages France en route to Wessex. I make no claims for the scenario except that it could work in pretty much any setting right up to modern times. The presence of the ulembi, incidentally, connects it canonically to the lost continent of Abraxas that Jamie and I created for an MMO.


THE THING IN THE FOREST

On the way to Rouen, the characters pass through the forest villages of Ury, Fons Bliaudi (later Fontainebleau) and Barbizon. In each village they encounter a local idiot. The behaviour is the same: the man stares at them, points, and mouths inarticulate sounds.

Locals will say: “Don’t mind ‘e, ‘im be Hugo/Peter/Will, been like that fer years. The duende took ‘is wits, left ‘im cabbage-brained.”

The story is that these three were woodsmen, but each ventured too close to Oldtooth Dell where the fairies (duende) live and came home half-witted.

At Fons Bliaudi
The inn is run by a young woman, Tarqua (23) who is pensive and distracted. It turns out that her husband, Uril, went to Barbizon to sell a bay mare three days ago and has not come back – though the journey there and back could be done in a day.

Tarqua may try to bribe or seduce the characters into helping find out what has happened to her husband.

If they ask, locals tell them it’s unlikely he would have run off. Tarqua and Uril were sweethearts from the age of 5. They are even known as “Uril’s Tarqua” and “Tarqua’s Uril”.

Could he have fallen prey to bandits? The miller scoffs: “He had his cudgel with him. No dozen bandits could take on Uril with his cudgel.”

At the inn, they see one of the idiots hanging around under the eaves as if surreptitiously listening in on their conversation. (He’s actually making a recording.) Having already seen one in the previous village, they should now be wondering why there should be two such individuals in such a small area. If not, running into the third idiot in Barbizon will surely tip them off.

Their Perception vs the idiot’s Holdout of 13 to spot the box he’s carrying. He won’t want to show them what it does, but if forced it plays back sounds that may be recognizable (IQ-5) as the rhythms of their own words from a few minutes earlier, only with unfamiliar substituted sounds at a deeper frequency than speech.

The idiot follows them along the road to Barbizon.

Oldtooth Dell
A steep wooded valley. A stream runs down to a pool that you have to wade through to enter a cave. They could be guided here by Podraig and his truffle-sniffing pig “Trimmer”. Along the way, if very observant, they might spot birds and animals watching them more intently than usual. (The Ulembi is looking through the animals’ eyes, though Podraig would of course attribute it to faerie influence.)

Inside, the cave smells musty and lair-like, but with a faint ammoniac trace behind that. It narrows to a cleft in the rock about forty feet back from the entrance – a high, sharp-roofed tunnel that narrows to about six feet wide.

After about forty feet, the tunnel turns and there are paintings visible on the walls. Hand-prints on the right (made by blowing dye around the right hand) and on the left a procession of animals, then of men in hide clothing, and finally something that looks like a huge inverted tree (or perhaps roots of a tree) that dwarfs the human figures. This is a prehistoric depiction of the Ulembi.

By now the ammonia stench is sharper, and characters should roll IQ to notice a very faint headache (located in the forehead, if anyone asks).

Approach to the innermost cave
The tunnel narrows to what at first looks like a fire-blacked chimney. From here, a low passage stretches up. It requires characters to crouch, and they can only proceed by discarding armour. (Characters of Lifting ST 16 and up must discard under-armour too.)

As they move on, they start to experience a greater pressure in the head, accompanied by flashes of visions – or memories. They can fight this with Will-5. Anyone who succumbs or willingly allows the memories to flow will get the flashback.

The flashback
In our Immortal Spartans campaign the characters remembered themselves as 16-17 year-olds patrolling in the Krypteia, and learned something they had all been made to forget over a thousand years earlier. The idea is that the ulembi’s ESP set off something in their minds that allowed them to penetrate the mind-block that had been placed on them then. Substitute whatever important flashback or psychic insight will enhance your campaign – or disregard the flashback entirely if you prefer.

The cave
At first just see the device. Uril is here, with wires leading into his head. He rolls his eyes if spoken to, but seems not to understand them.

The ulembi is splayed low, and therefore at first unseen by the characters (assuming it makes its Stealth roll) then rises up amid the rocks – possibly getting surprise.

This creature has been here for thousands of years, periodically hibernating while trying to build a transmat device to return home. This device, only about three-quarters finished, is an array of wires, crystals and silica panels salvaged from its crashed ship.

The recordings it has the idiots make are played into the device in order to tune it to human brainwave frequencies. When complete, the device will draw on energy from everyone within fifty miles, mind-wiping them in the process.

Ulembi
Creatures from a star cluster beyond the Coal Sack, who came to Earth millennia ago by psychically broadcasting themselves through outer space to escape their own dying world.

Ulembi have large heads whose hard ridged integument resembles a walnut. This skull protects the creature's huge brain. A ring of dark globular eyes protected by deep recesses allow the ulembi to see in all directions at once. There is a short neck and then the ulembi's trunk bifurcates, the two stout limbs resembling large serpents. At the end, each limb divides into four tentacular fingers. The ulembi can balance on one limb or on its "elbows" while holding something in the fingers, but rarely needs to do so because all ulembi are able to manipulate small objects by telekinesis.

When fully reared up on its limbs, an adult ulembi's head can be as high as eight feet off the ground. But it can also splay its limbs out low, moving with ghastly stealth through undergrowth no more than a few feet high. In combat the ulembi is able to bristle its scales, giving the limbs a rough jagged surface like pineapple skin. This allows it to flay the skin off an unarmored opponent. Young adults sometimes wear bronze vambraces on the lower limbs, with which they can deliver powerful whip-like blows. Older ulembi disdain physical combat altogether, preferring to use their psionic power to instill a feeling of dread and despair in a foe.

Given a short time with a subdued victim, the most powerful adepts of the ulembi can psionically rewire his brain so that he will serve as their agent. This can even take the form of subliminal commands, so that the victim does not know he has been affected. Eventually tumors form in the brain of the victim, however, and madness and death soon follow.
The transmat device is sufficiently functional to create a levitation effect within the cave. It takes three rounds to power up, then suddenly gravity seems to cut out. Initially roll HT to avoid nausea; fail means -2 skills, -1 active defence. Every round while weightless, Free Fall (default DX-5) sets an upper level on your skills (except block/parry).

Afterwards
Uril can be freed if the wires are broken, but his mind is too far gone to be saved. He has become like one of the idiots they met earlier.

Friday, 16 October 2015

The first glimmer of the Fabled Lands MMO

I was talking recently about the RTS game Plague that I worked on with Sam Kerbeck and Richard Fletcher at Domark (later Eidos). Around the same time, Jamie Thomson and I were trying to convince the Domark/Eidos management to start development on a multiplayer CRPG based on our Fabled Lands gamebooks.

This was around May/June of 1996. The Fabled Lands Otherworld Game, as we called it, was destined to mutate considerably over the next couple of years as the technology advanced by leaps and bounds. We changed to an all-new setting, the continent of Abraxas, which you can read about here. We massively expanded the scale of the game into a true MMO and we abandoned the top-down isometric view for true 3D. We began to use Propprian theory to develop the idea of a "referee AI".

It was all too ambitious for the Eidos senior management, who by then may have spotted that they didn't need to develop games to make money. Many internal teams were hived off into private companies like Black Cactus, the FL team was laid off, and the Fabled Lands MMO never happened. But, for no better reason than historical curiosity, here is the original pitch document that Jamie and I showed to Ian Livingstone in mid-1996.


Fabled Lands "Otherworld" Gaming

We say "role-playing" when we're talking about solo explore-and-level-up games, and "adventure gaming" when we really mean boring old crate-stacking and puzzles, which means that when it comes to real role-playing for the PC games market we don't have a term left. So let's call this "otherworlding": realtime multi-player role-playing, given a new lease of life by the medium of software to create a new kind of gaming experience.

The Fabled Lands Otherworld Game anticipates the gaming styles that will have become current two years from now, while not abandoning traditional gaming forms. I'll start by describing how the game would play in its solo form and then go on to cover future innovations.

The Solo Game

On the surface FL won’t look much different from a traditional CRPG. You choose a character from a gallery of races, classes and clothing styles and assign starting skills. (These are mix-&-match to allow multiple options, eg in favourite weapon.) Then you set out on your adventures, your adventuring persona represented by an animated sprite on isometric city streets and landscapes. Dotted around the world are many lost ruins, wizard's towers, haunted castles and other areas where you can gamble risk against reward. In the cities you can spend your treasure on new equipment and magic, resurrection deals, buy a townhouse or castle – or even ships to go trading and privateering across the sea.

Where it differs from ordinary CRPGs is in having a number of special partially-scripted adventures that a campaign "referee" (in the form of the game's AI) can bring in to liven things up whenever your character is having too easy a ride. These adventures are templates with slots to accommodate friends and enemies you've picked up in the course of your travels.

For example: you take a bounty hunter's job and go hunting bandits. You round up most of the horde but the leader, Black Nat Varley, escapes. Later, while implementing a random attempt on your life, the AI fills in the assassin's identity as being Black Nat. If Nat survives your second encounter, he'll eventually show up in another encounter and so on. (Adversaries who survive more than three encounters are classed as "dear foes" and have their own level increases tied to yours so as to always give you a good battle.)

And the referee AI will also take account of your character class, deity, etc, when introducing new missions and encounters. It can also randomly generate adventure locations as needed. This means that every campaign will be unique.

The Home Campaign

A bunch of friends arrange to get together and play a Fabled Lands Otherworld campaign on a regular basis. Say I'm the campaign manager; this means the campaign data is kept on my machine. Players come round once a week with their laptops, or maybe they dial in – or the campaign might be run on an office network a couple of evenings a week.

Within the game, players can get together for adventures or split up and go their separate ways. Some magical objects allow you to spy on the progress of other players, possibly with a view to ambushing them and grabbing their treasure. The magic level is high, permitting frequent teleportation and communication at a distance. Alliances and rivalries are equally possible. The game moves more swiftly than old style pnp RPGs like Dungeons and Dragons. This allows players to move around the world quickly and have plenty of adventures every session. (The best way to explain this is as a combination of an RPG and an adventure boardgame like Eric Goldberg's Tales of the Arabian Nights.)

The Open Campaign

Almost a Multi-User Dungeon, except with the AI referee throwing in plenty of plotlines to keep the adventure fizzing. The way this would work is with a company picking up the licence to run a commercial Fabled Lands campaign. Such companies might have a couple of hundred participants in one game, all paying-to-play with a percentage coming back to Domark. (Distributed processing through the network would prevent the game from being frustratingly slow.)

The character-to-character interface will mean that when two adventurers meet they cannot immediately start typing messages to each other. To start with they have to go through a menu of greetings and responses, which will be decided by factors such as class, race and deity. For example, an elf meets a human. They're given possible messages and responses that, if followed appropriately, allow both players to reach a point where direct messages can be typed in. However, a human meeting a goblin would not be able to do this (the two races being mutually hostile) unless one or both was accompanied by a dwarf or other "neutral" race. This effectively provides a kind of "Turing Test" interface when first meeting a character whereby you cannot know if you're talking to another human player or a computer-controlled character.

What happens if you can't turn up (on-line or in person) for a game? This is the bane of the old-style roleplayers life, because his character misses out on treasure and experience awards. The way Fabled Lands solves this is to get every player to choose a Downtime Mode for his character when logging off. If you opt for "Sanctuary" then your character is retired from the game world until the next time you play. He gets no awards but cannot be attacked while you're off-line. "Training" means your character is in the arena or library. He gets some experience for any campaign time that passes when you're absent, but there is a chance of other players stealing from or assassinating him. "Adventuring" makes your character available for dungeon expeditions or other endeavours, making him an AI-run NPC for the duration, but although this means you can get your share of treasure and experience you also run the risk of logging on next time to discover your character has been killed in action.

Game mechanics

By basing the game on our Fabled Lands world – which we have developed over several years for radio plays, gamebooks and role-playing adventures – we make sure to avoid the cobbled-together warmed-over fantasy typical of the usual CRPG output. Fabled Lands is as detailed and unique a setting as you will find in any fantasy novel.

Begin by choosing your race (human, trau, merfolk, mannikyn people or whatever), country of origin (the four continents and many islands of the Fabled Lands world all have their own character), deity (there are over a dozen with a complex interplay of antagonisms and associations), and a name for your adventuring alter-ego.

Next the player sets his expertise in the five abilities: Combat, Magic, Charisma, Wayfaring, and Agility. Each of these governs your potential scores in the skills which are sub-groups of that ability. (For example, Wayfaring devolves to Sailing, Riding, Scouting, Survival and Streetwise.) By focussing in one field you can make yourself a master, but at the expense of your other abilities.

Higher ability scores bring in hero-level skills and spells that the player had no idea were possible, maintaining the excitement of discovery that is at the heart of the real role-playing experience.

The display is isometric and characters move in real time. A whole gallery of animated figures can be custom-coloured in the way that tabletop gamers like to paint their own figurines. In combat you can preset your fighting mode (ie, how much is put into attack and defence) or key in manoeuvres on the fly. More experienced adventurers can perform more effective fighting manoeuvres with just one keystroke, or unleash more devastating spells.

Expansion disks would introduce new quests, encounter areas, and characters while extending the map and including additional storylines for the referee AI to use.

Whereas CRPGs up till now have copied the sillier and more tedious aspects of early DnD (one dungeon level full of orcs, another full of lizard men, and so on...and on), Fabled Lands will emulate and expand on the things that made role-playing popular to start with. This means building up a character history: exploring exotic worlds, encountering friends and deadly foes, discovering magical artefacts and the excitement of researching ever more powerful spells. At the highest levels players can occupy their own castles, hire armies, wage wars or create their own "pocket universes" using the mightiest magic.

It will be a journey to a whole other world.