General News - Chris Avellone Interview

@Glixel they interviewed Chris Avellone about his career and what he thinks about various rpg things.

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But when I sit down to play Planescape: Torment, I know I'm going to be reading a ton. I don't think that game is any weaker for it.
Well, Planescape's probably an example I'd point to where we never could have done what we wanted to do - like, showing characters' expressions - with the animation budget that we had. Nor could you actually even see it on the scale those characters were [drawn].

Ultimately, we had to describe a lot [using words], and that was a lot of fun. I think Planescape got a little bit of a pass because every NPC you talked to generally knew something about your character. That ended up motivating you to play through it. You're like, "I'll discover something powerful about myself if I keep talking to this person."

So you think the dialogue kept you going by making you feel grand and important?
Yeah. I think Planescape is perhaps one of the most selfish power fantasies I've ever written. Everything revolves around the player character.

Planescape: Torment is often cited as one of the best-written games ever made. How do you feel about the place it occupies in the canon?
Speaking as someone that thought they were going to get fired over that game, I'm extremely gratified by the reception. QA thought it was a very strange game, which is something you really never want to hear from QA. I wasn't sure what the reception was going to be. It was a lot of long hours with a small team. It's really cool that people responded strongly to it.

When did you realize that you would not, in fact, get fired?
Six months later, I'm like, "Oh wow, now I have some breathing room. It seems like I bought some time."

A lot of the games that you've ended up working on as a freelancer are isometric RPGs in that vein.
Actually, very few of the freelance projects I'm on are isometric RPGs. Divinity: Original Sin 2 is the only one that comes close. I don't know how much more I have to add to the genre right now. I spent the last 10, maybe 15 years working on that style of game. What I'd like to do is see what other genres have done with storytelling and then, when I go back to isometric RPGs - which I eventually will - see how can I take the elements those other genres have figured out about story, and bring that into the isometric RPG, to make the experience even stronger.

So you're certain that you'll go back to isometric RPGs? Is that stuff in your bones?
Yeah. I may just go back to the pen-and-paper route. The idea of gazing down at a battle mat and moving your miniatures around - that's something I've always really enjoyed. As long as that's not the only thing I'm ever doing, as long as I'm trying to learn in other ways. That's what makes me happy.

I think the advantage of different genres is that, as a designer, you end up creating mechanics and systems that are designed to enforce that genre.

We as an audience fetishize choice in games - we love being able to choose what our characters are going to say. Do you think that propagating that has come with any negative side effects?

I almost worry it's a technical limitation. Sometimes, it's hard to decide why a player is doing something, and that's why dialogue is important. It gives the player character an opportunity to go, "Here is why I'm doing this." It's otherwise almost impossible to tell.

When we were doing Alpha Protocol, for example - it was an espionage RPG - we didn't focus on a morality meter. We just focused on what the outside world would think of your actions, and then we'd use that as consequences despite why you're really doing it. Because that felt more "secret agent-y." I think that applies to a lot of games. You [as a player] have to make an internal choice. You know why you're doing it. The world may not understand, but that's why you have to make the hard decisions - because you know more than the outside world does.

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