Where’s The Conflict?

10 Mar
March 10, 2015

Stories are, at their core, all about conflict.

And by ‘conflict’, I don’t mean just dudes biffing each other. I mean conflict in the more general meaning of the word – Struggle, opposition, friction.

Whether internal to the characters or external, ratcheting conflict is what builds tension in a narrative, pulling the audience along through the story. Building up the pressure until it peaks, then releasing it in a final, (hopefully) satisfying climax.

So a lot like sex, then. And like sex, fumbling the beginning can kill the mood.

This feedback on the SC beta leads me to suspect that the latest version of SC’s storyline is a bit of a failure to launch. Luckily, like sex, writing is a skill that can be practiced, and stories can be refined.

Now, that forum comment is just one person’s opinion, I know. And you can’t necessarily take any single individual’s feedback as objective truth, everyone brings their own subjective tastes to the mix. But this comment rang true, down in my gut. And I’ve learned to trust that feeling, it’s rarely led me wrong.

As Maximillion says, he found it odd because the previous iteration of the story hooked him. Not that strange, if you examine both intros with an eye toward the underlying conflict. Here’s the last beta’s intro:

In the aftermath of The Great Collapse, the world teetered on the verge of chaos.

Starvation and rioting spread across the globe like wildfire, nation-states dissolved into anarchy, and militaries clashed over ever-dwindling resources.

The spectre of global war loomed once again.

Strained to breaking-point and facing populations in open revolt, western governments took desperate measures.

New legislation was passed outsourcing the management and security of entire cities to private corporations.

Though politically controversial, the transfer of city governance into corporate hands was extremely successful.

Armies of privately-funded security contractors re-established control of troubled urban centres, putting down rebellion with ruthless efficiency.

The new corporate enclaves were beacons of stability and prosperity in a world wracked by turmoil, and other nations soon followed suite.

Order was restored, but the balance of power had shifted permanently.

Megacorporations are the new global Superpowers.

There are some who reject the new corporate order.

Operating in the shadows cast by the gleaming towers of glass and steel, they follow their own code, surviving by taking on the dangerous, illegal jobs that the rich and powerful cannot be seen to be involved in.

They call themselves Runners.

I took inspiration from the opening of Blade Runner there, introducing the dystopian futuristic setting in a little text sequence, trying to squeeze the maximum amount of expository and thematic efficiency out of those few lines. If you’re unfamiliar with cyberpunk genre tropes, that was intended to get you up to speed.

But where’s the conflict?

Sure, it suggests some larger themes of conflict in the overall setting. But where is the direct, personal conflict for the player? There isn’t any. Not good, not good. You have to touch your audience in the right places, if you want to get them excited. 😉

(Try not to picture these sexual metaphors, you’ll creep yourself out. Or, perhaps, get yourself excited. You pervert.)

Now, I’m not going to replicate the old intro for comparison, because it was 7 pages long, a lot to read before getting into the game proper. One of the things I’ve had to practice is brevity. But I will share the new intro I’ve been working on, or at least what I have at the moment (it may get a few more edits). It cannibalizes and repurposes plot elements from the old intro, which some of you may recognize. No use wasting good words, after all.

The sprawling San Angeles Metroplex rises around you, brightly lit towers thrusting up through the smog to rake the sky, neon ad boards jostling for your attention.

You take a deep breath, almost smiling at the foul, familiar taste of the air. It’s been more than a year since you were on the West Coast. You’re glad to be done with Europe and its miserable winters. The assassins didn’t help, either.

The job in Berlin, the one Jackson promised would be a piece of cake, was anything but. Things had gotten real messy, real fast, and you’d had to leave Berlin in a hurry, hired assassins hot on your trail. If you’d known you would be tangling with the Syndicate, you’d never have accepted Jackson’s offer.

No use holding a grudge, now. Jackson died in Amsterdam when the hunters ambushed your team in a small cafe. He and Summers were torn apart in the initial burst of gunfire, you barely made it out of there alive. You had to pay a black market body shop a small fortune to graft you a new hand to replace the one you lost to a grenade. A rush job, the colour doesn’t quite match.

The team split up after Amsterdam, those that were left figuring that travelling alone would be less conspicuous than in a group.

Six months you traveled the globe, staying one step ahead of the killers looking to collect the Syndicate’s bounty. Six months before you were convinced they’d lost your trail.

And now you’re back in San Angeles. Your first order of business was getting a new deck, you’d had to abandon your old rig in Amsterdam. And the kind of deck you need, they don’t sell those at the mall. Black market cyberware is expensive and you’d burned most of your credits getting out of Berlin. A bank loan was out of the question, the background check would poke holes in the fake ID you’re using.

That had left only one option – a loan shark.

Miriam had a reputation for ruthlessness, but she was the only one whose terms you’d found even slightly palatable. She’d agreed to lend you the 25 thousand credits you needed for a new Hijati, on condition that you paid her back 50. You’d had little choice but to accept her terms. You can’t buy a deck without credits, and without a deck you can’t work to earn the creds.

You have 3 months to pay back the debt. After that, Miriam will send her goons to collect your organs.

That’s better. Gives you a nice, clear conflict for the player character, a reason to be doing the game’s missions. And I’m introducing a some scripting and missions involving Miriam, the loan shark, in the early game. The push to earn enough money to pay her back before she comes to collect your kidneys will carry players through into the primary storyline involving…well, you’ll have to wait and see. 😉


So that’s what I’m currently doing on System Crash. Painting Miriam, prepping her dialogue and scripting, cutting and chopping the mission flow and storyline a bit to accommodate that. If I do it well enough, new players won’t even be able to see the stitches where I performed my script surgery. 😉

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  1. […] I mentioned in a previous post, I’m busy spicing up the beginning sequence of System Crash, making sure there is an early […]

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