Guest Speakers: Richard Dansky, Sean Hillman, Chris A. Jackson
Track Director (Geek Horror): L. Marie Wood
Assistant Director: Michelle LeBlanc
What is it about Horror that makes it more fun to play, rather than reading or watching? There are elements of the unknown which are present on a more personal level. Who is the monster? Is it another player? It could be anyone or anything. There is also the inversion of the trope which can be explored. You can be the monster, either giving into base instincts, or attempting to maintain your humanity.
Why write for Horror RPG’s? Well first, there is the element of enjoyment that comes from entertaining others. Additionally, there is the appeal of being self-employed and receiving paychecks for one’s creative work. The pacing for Horror is very different from Sci-Fi or Fantasy, making it a unique genre to experiment with.
What is it about the pacing of Horror that separates it from other genres? You want to build the tension slowly, and you don’t want the heroes to be too heroic. The difference between horror and terror is the hopelessness of not being able to fight back against whatever is assailing you. You don’t know what you’re up against, which makes it worse. If you can understand what you’re dealing with, you can formulate a plan to fight it. As long as ‘the monster’ remains shrouded in the unknown, this makes your task of defeating it all the more unreachable. You’re unable to escape, and there’s the dreadful sensation that it’s too late. It’s different than being in a flashy battle, because of the slow build-up.
An example of how the genres compare would be Alien and Alien 2. Alien is basically a haunted house scenario in outer space, trapped within a box. Alien 2 exhibits more of a Sci-Fi battle against monsters.
If you’re writing for an IP (Intellectual Property), the challenge is figuring out what they want. In working with White Wolf, their goal was to build a world in which people could expand upon. There had to be a hook in every single paragraph, so the audience could make the story their own. In Wraith: The Oblivion, the idea was that you were dead, but had unfinished business. By allowing players to expand as little or as much as they wanted, the game became as broad and inclusive as it was popular. Arkham Horror focused on Lovecraftian themes and individualized characters. However, you had to ask the IP to know which characters you could write about, since not all were available for the project(s) you were working on. One of the interesting features from Arkham Horror is that they also sold novellas, which would include limited edition trading cards.
Are there elements in novels which clue you in to incorporate in game-play? With Alien, it was the ship full of eggs. A Horror story on rails isn’t great for game potential. However, if there’s a large variety of opportunities or room for expansion, it’ll make good game content.
What would you focus on if you were going to start your own Horror RPG? Marine biology, due to the cold, slimy, creepy, and the fact that it is underexplored. Stranger Things for the same reason – the fact that there’s a whole world that is left unexplored, even though it contains D&D undertones. Someone must know the answers of these Horror-based worlds. As a game-maker, you must be able to draw the full picture, color in the lines – even if you never reveal the answers to the players. In fact, it’s usually better if you don’t tell them.
How would someone get started in this industry from scratch, with no experience? Writing for games is very different than anything else. You’re not writing what the character does, you’re writing for the potential of what the player can do. Otherwise, it’s just a novel where you occasionally roll dice. Many authors don’t play a lot of games, so play more games. Develop a deeper understanding of the Horror genre itself (see The Philosophy of Horror by Noel Carroll.)
When you’re working with an IP, and going into an already existing world, you’ll want to get a good sample and demonstrate familiarity with the world. Read their requirements. You must have a willingness to follow directions, show that you respond well to others, and can cooperate with the editors. DriveThruRPG.com is a great place to start, where you can get paid for writing adventures. There is also an Origins Game Fair in Ohio, where you can learn more and network with others.
How do you write Horror when the antagonist is not a monster, but an environment? Use all five of your senses – hell, even use a sixth sense. There can be the smell of sulfur in a room. You can feel a chill, but when you rub your arms for warmth, the chill is still there. What makes a good villain (not game-stats related)? Seeming invulnerability – when you first meet the villain, there should be no way to defeat it. You want an increasing sense of pressure or urgency, mounting inevitability. An alternative is for the player to think they killed it–and no they didn’t! Watch as it re-corporealizes before them. An additional aspect is for the villain to have a personal interest or connection to the main character (such as in Devil May Cry 5.)
What are some other great Horror RPG’s? Deep Madness is a chilling one, so is House on the Hill. Mothership is a Sci-Fi Horror blend. Another great one (can’t remember the name) features waking up in an asylum, where you know you’re not crazy, but everyone else thinks you are. It features lots of puzzles to solve, and requires a well-rounded group.
Thoughts on Silent Hill or Resident Evil? They are great, forcing players to utilize limited resources, and the storytelling supports them. By always keeping a close camera angle, this prevents players from sniping dangers at a distance. Don’t give your characters only stupid options – that’s lazy writing.
Final thoughts? Writing Horror is super-fun! If you want to write for IP’s, go for it. You won’t get rich doing it, but the audience is ready and willing – they are a great community. Find what scares you and write for that. Look for a good franchise, editor, etc. Writing for Horror doesn’t mean that you have to write for slashers or gory content – the mind itself can be the scariest thing. Ultimately, control of knowledge is crucial in Horror – keep it limited, and only give it out in gradual increments.
What are some of your favorite Horror RPG’s? Which Intellectual Property would you be most interested in writing for? What are you favorite elements of a Horror game, and why? Let us know in the Comments Section below!
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