Skill Checks and the Ability to Say No

As someone who got a very bad impression of CoG games in the beginning, I agree with the original poster about stat checks. Nothing sours me on an IF quicker than my MC being “killed” in one of these games because she made one choice that gave her stats in a different skill than her “strongest” one and now she can’t do a damned thing. Even more infuriating is that, sometimes, choices that affect stats make no sense.

A bit more explanation… your character chooses something that makes sense to them (and they are typically more geared to operate a certain way) but then it turns it upped some other stat they don’t normally use. That, in and of itself is fine–people aren’t one-dimensional and well-written characters aren’t either–but it quickly becomes a problem when there are stat checks before the character can become fully defined.

This relates, in part, to one of my problems with many RPG video games, in general. In ME1, you start out as Shepard, this kick-ass war hero (or lone wolf, whatever), yet you don’t know how to use a gun without shooting yourself in the foot. You’re a tech-based or “magic” based character who can only do a tiny little bit without sucking. It causes a disconnect in the story, one that is (supposedly) necessary, but it is still there. In a video game, it is less of a problem than in a text-based game, because player skill can’t mitigate any of the damage (i.e., if you’re a good shot, you’ll mow down everyone in ME1 fairly easily until you hit a boss who hands you your ass, making your lack of skill all too apparent).

Now, this was just an example, but it’s to make a point: having a MC who can’t find their way out of a cardboard box is a bit more palatable in a video game than in a text-based game. Of course, there are people who will complain if it’s too easy, the same way I’ve seen people on various boards whining over such things and wanting the ‘easy’ level to be too hard to get through without dying constantly and the insanity level to be damned impossible. But I think those people are few and far between. In a text-based game, the MC needs to be able to be a badass or be a complete buffoon who can’t do anything or be somewhere in the middle. Since they haven’t lived in a bubble their entire lives, failing to gain any skills or personality, they should have starting stats that reflect that.

In games where there will be stat checks deciding every bloody thing (and even those that don’t have this), let the player choose who the MC is in the beginning, using the text, and give enough of a stat bump to what they already are so that, if they make a “wrong” choice somewhere and accidentally boost some other stat, a strong, barbarian type won’t suddenly, out of the blue, have his ass handed to him by an opponent that weighs 90 lbs while he’s soaking wet and wearing plate mail. Also, instead of having stat choices decide everything, why not give MC character choices that can decide the fight? Good example: In Wayhaven book 1, when your MC fights Murphy at the end, they can freeze when he grabs them or fight back or dodge. The latter two rely on stat checks, but if it’s in character, the MC can fail by standing there and doing nothing. It’s one of the best choice/stat check/results combos I’ve seen thus far.

I agree with this. It is why, typically, you have a team that works with your MC in a game. There are others to pick up the slack, to do the stuff your MC may fail at. They’re there to watch the MC’s back and to pull their ass out of the fire if things get too rough. Or, perhaps, failure doesn’t result in a complete and utter loss and simply takes your MC down a different path.

Again, it’s something that Sera does well in Wayhaven–failing a stat check can often result in something amusing happening or it can result in a moment of closeness with a teammate. You don’t get a “YOU DIED” screen and have to start again.

And that’s where I draw the line in these games and in video games. I don’t like wasting hours of my life playing something and have to start all over again. I play to have fun, not to be tormented to death and waste my damned time. Either make playing worthwhile, and make damned sure that my MC’s screwups don’t result in me being forced to trudge through a redo of the game up to that point, or put in something that will put me back at the beginning of the chapter so I can get it over and done with. Playing a game shouldn’t become a chore. That defeats the purpose.

Edited to add one more thing:
I complimented Wayhaven twice here but there is something I’ve seen in it that bugs the hell out of me that I’ve also seen in other IF games, and that is when stat checks are used for things that anyone should be able to do.

Example: asking/telling a supernatural creature (or anyone, for that matter) who is part of your team to try using their inherent abilities to help achieve an end goal. This should not require a skill check! At worst, it should rely on a skill check if the relationship between the MC and said supernatural(s) is less than a certain level. Like, if your MC has a hate-mance going on with Asher (or just simply has an awful relationship, in general) in the Replica WIP, I could see him telling the MC to suck it. Otherwise, he’s trying to achieve something, too, and would be able to do it regardless of whether the MC has a high people skill.

In other words, make sure your stat checks make sense. Don’t just throw in stat checks for all skills just because a choice may rely on one. Other choices could just happen without the checks. There’s no shame in that and it’s something I think a lot of players would appreciate.

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I complimented Wayhaven twice here but there is something I’ve seen in it that bugs the hell out of me that I’ve also seen in other IF games, and that is when stat checks are used for things that anyone should be able to do.
Example: asking/telling a supernatural creature (or anyone, for that matter) who is part of your team to try using their inherent abilities to help achieve an end goal. This should not require a skill check!

If it’s the one I’m thinking of (sewer scene in book 2?) then yeah, I agree. I think it’s a people/psych check to ask one of UB to use their senses? Which is weird, since part of the MC’s character arc is trying to prove not only to UB but to Rebecca as well that they are able to handle themself in their own way as a human, and that they don’t need to be protected or coddled all the time.

That option feels weird to me then, since in that situation, a people/psych skilled MC isn’t really able to prove themself using their own strengths and abilities like a combat oriented or deductive MC (perhaps, using what they have learned about psychology and the way people behave to analyze where the trappers would likely have their base?), instead needing to rely on UB to find their way around the sewer?

I feel like that option in particular should have maybe been a neutral option or worked in as a fail state for that stat check, reinforcing a hurdle in their overall character arc.

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More specifically, for me at least, it’s kind of silly that I have to tell the vampires how to use their own talents, and if I happen to be not well-read enough (as in, I choose to focus combat instead of learning), they respond to my suggestion like I’m a moron. Like, hello? Nat? You’re the brains of this group, how do you not know this information already? And why are you acting like it makes no sense when I bring it up? If there’s enough evidence of it to wind up in a book I can read, then you should’ve read that book front to back ages before I ever came along!

Yeah, those kinds of skill checks are a big gripe for me too, I’m with you there.

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Yeah, I see which moments you’re talking about, and I was bothered by that choice as well. With that being said, it’s the only thing that bothered me in the two finished games combined, so I can live with that.
I think the issue of that choice stems from the fact the game had to offer the option to solve that situation for all of the skills. As in, any skill had to be able to make the MC solve the problem. Otherwise, some players wouldn’t be able “succeed” during that check at all, depending on their builds. And obviously, a skill like charisma is a bit more ill-suited for a smooth sewer maze scene :rofl:

All in all though, I do think this is a serious conondrum for authors. In some situations, you can make a challenge that only one specific skill can help overcome, and that’s fine, as long as other skills get the opportunity to shine at a different time, to keep it balanced.
But in some situations, you HAVE to have a choice where any MC should be able to succeed since it’s part of the climax or whatever. And with that, the author may be forced to add some a bit less believable trains of action for skills that shouldn’t be suited for the situation at hand.
I’m generally lenient towards that since it’s a hard situation to deal with, and I think it’s better to have one a bit less believable “win” option than discriminate “against” one skill and make it the only one that can’t make the player “win” the challenge. Because THAT is truly frustrating.

I guess they were too distracted by the smell? :rofl:
I’m a human and I’m sensitive to smells, and a bad smell kills my brain cells and I’m unable to concentrate on even the most basic things, so eeh… I can understand a vampire may be distracted by that :woman_shrugging:

On a more general note though, I do agree that games that open new “branches” in case of a failed skill check are better than MC just sucking and failing whatever mission they’re on. Especially when they have companions to help them.
I’ll repeat myself AGAIN, but “Relics of the Lost Age” does that well. That game has more stat checks than what I usually like, but more often than not the MC is not alone, and their companions will help them. And that is very cool!

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I mean, fair, it is the sewers.

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See, that was my point. There was no need for that. In that instance, the MC could’ve succeeded with no skill checks simply by choosing a different way to deal with the issue. Like someone said above, the whole point of those types of situations is to prove that the MC is a help to the team, and sometimes it’s the human way of looking at things that can help instead of a skill.

Really, every choice in that instance was forced. Any idiot could’ve said that you shouldn’t split up to search because you don’t know what you’re walking into or if it was a trap (and, if you remember, in the beginning of bk2, when the MC comes across the sick supernatural, M came right out and said you weren’t splitting up if your MC told him to wait there and she’d search, so this is also something M knows). That one makes only slightly more sense than the “people” choice (which is just stupid, really).

But even if you wanted to say that you needed combat skill to recognize that, okay fine. It’s less in your face than the “use your innate abilities” thing, abilities every MC knows the vampires have at this point, even if they didn’t read a book. There was no need for a skill check. Furthermore, just because you’re checking one skill for an option, doesn’t mean you have to have an option for every skill. Yes, there should be other options that result in success, but they not everything is skill-related. Having some options that lead to success that don’t require skills is a good thing.

In that particular scene, I honestly believe the only reason the check was in there was to have the LI compliment the MC on their skill. If your MC is combat-oriented and says not to split up, the LI is impressed. If the MC tells them to use their abilities, then they get an actual romance moment of “I can’t sense anything but you!” That moment could’ve easily been added without using the skill checks, and everyone could’ve gotten it–the vampires could’ve entered the sewers, started to sniff around, come close to barfing at the smell, then use their other senses and have them make the sweet romance comment before the other one figures it out. No need for skill checks there… let them come in later before busting the door down (where it would’ve made more sense to have a different approach then “BAH! WE’RE HERE!” But Sera likes rewarding certain characteristics with those moments like the “people” skill check gave, so there it is.

I agree that it’s frustrating, but some skills don’t really come into play in certain situations. And that was one of them. Without the skill check, and only using the “use your senses” as an option could’ve still resulted in a win. And unless you code dive, you would never know it wasn’t a skill check while the others were. So not a big deal.

That does sound cool. I’ll have to check it out. I never played that game.

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When I am playing the game I have no problem with the option. This is a stressful and dangerous mission, and they are working with vampires, not human colleagues. it takes people skill to identity your colleagues’ strength so you can suggest the best way they use their sense in an overwhelming environment.

Back to the topic. I think the ability to say no should be meaningful. If your character must go down to the dungeon, don’t provide false hope for them to refuse. It breaks immersion when my MC refuses, but the games behaves as if they volunteered.

I think the Fields of Astophels wip does a great job with that. The arrangement marriage is obligatory, but you can choose to fight it to the end, telling everyone how you hate about it, and try to escape. This will have consequence, but it’s one the player voluntarily chooses

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1)I do enjoy skill checks though they seem a bit unpopular here. I personally feel a game where you can just keep on “winning” regardless of in-game skill or circumstance takes away any form of tension or thrill and simply makes it rather dull. The possibility of failure afterall is makes success meaningful.
2)I do not enjoy stat check fails where I have to restart from the beginning, I rather fail and see the consequences played out. For example in the Lost Heir Series failure might result in you losing a war, or not being able to find a dragon egg, but the game continues.
3) I like stat checks that blend in well with the story. For example a game in a war torn world with armies and fighting, regardless of whether you decide to build a leisurely scholar,it should be expected that you might find yourself in a fight at some point which you probably lose. While player freedom should be encouraged, there should also be consequences. For example In Magium(One of the best IFs ever and the reason I started playing IFs and discovered COG) "improper"character building might result in simply failing to impress your love interest or a major character dieing.

There are games where each scenario you either “strength and win, talk and win or logic and win” regardless of character skill, either ways you just pick what flavor you go through with. The Lost Heir Series is not so much like that but you can get by pretty successfully with sticking to your strengths so I’m really surprised as to why a Combat focused Mage was trying to sneak around.

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I apologise, that was actually a non-story example I was using, I just failed to identify it as such.

During my first time playing COG games, I did exactly similar thing, I mean, why not? Gandalf is a powerful mage but also very good at slashing, right? :rofl: Though I learnt my lesson rather quickly by restarting the games quite often.

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I just wanna do magic without getting breathed on for all my HP, is that so wrong?

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I enjoy stat check when the stats are roughly equally useful. The stats can shape players expectation about their game strategy, so they should be relevant to the challenge characters face in the game.

For example, the MC in I, Forgotten One wip is a war commander, which is well reflected in the skill choice: tactics, weapon fighting and leadership. The Royal Affairs wip is a very social and relationship focused game, so your skill options are different style of persuasion. Just looking at the stats, players can have a good idea of the game and plan their strategy beforehand.

For me, the options to choose/build stat should be meaningful. Take the example of a social focus character as an military officer. People have built truce and talked their enemy into surrender in RL. If a character can’t at least try to use their skill that way, it will be quite annoying.

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I tend not to play games with “win spectacularly or lose spectacularly” skill checks, though I don’t mind the situation differing or negative consequences if your skill isn’t quite high enough to pull it off without a hitch. (It’s not a Choicescript game – it’s Twine – but Wayfarer does this really well.) What bothers me more is “pick the correct choice” puzzles, because the correct option may run counter to your character’s personality. You may even know it’s correct, but not want to select it because your character wouldn’t. (Unless it’s like, a detective game or something similar. In that case, I know my job is literally to find the right answer. In fact, the first time I played Evertree Inn I wondered why I wasn’t told that the MC is a detective. Then I realized, they aren’t. So I literally stopped trying to solve anything and just ignored the mystery aspect.)

I don’t have as much of a problem with not being able to say no as I do with an option to say no that… has literally zero impact on the game because it just happens anyway. I don’t like illusion of choice, at all.

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Incidentally, I played Evertree the first time around as a character who was utterly clueless as to what was going on. Shockingly, most everybody died, the survivors thought I was useless, and the story ended horribly for me. I just don’t understand how everything went so wrong!

Hard agree on the “fake option to say no” thing. Like, I’m fine if saying no leads to a game over, or if saying no leads me back around to the plot via a different path than the one the story wanted me to take, but dangling it in front of my face like a carrot and swiping it out of my reach when I try and take it? Yeah, not cool.

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I’ve actually only played the demo of Evertree Inn (though I’ve played it multiple times), so my worst performance was underestimating the thing in the cellar. (The demo ends when Tobin leaves the inn, for reference)

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Ah, well, all I can say without spoilers is that the full game has a few more branches on the tree.

There’s a very pissed off tree involved.

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I’m going to start with your second topic, because the answer to that is going to be shorter:

While I like the ability to say no, I feel this shouldn’t apply to the basic premise of the story. It’s just too much effort on the part of the author to constantly counteract you not wanting to engage in that. It’s not like CoG/HG games are shy about telling you what they’re about. Playing a game about you being a spy with a character that actively doesn’t want to be a spy takes too much work time and effort from the author that could be better applied into more content for the premise and, let’s face it, it’s going to come off super forced in any case.

I mean, I don’t want to play a villain (heavens know I got queasy enough checking out Wayhaven’s love triangle route, let alone if I tried to engage in any actual villainy) so I immediately skip any game where the premise is “you’re a villain.”

As for your first point:

I think the CoG/HG catalog has two types of products.
1 - There’s stuff like, say, Relics of the Lost Age, which are true games. Your skill checks really matter. Failing or succeeding a check impacts the story in relevant manners. It’s ok to test different stuff including complete choices that some characters will not be able to pass, providing these don’t lead to an early end. Some times there’s narrative points in which your sucks-at-fighting character (i.e., basically all of mine) find themselves in a fight, and you can’t win (because you suck at fighting), and there’s bad stuff resulting from you not winning and, again, that’s ok.
2 - Then there’s stuff like Wayhaven, which aren’t true games but interactive novels. You have skill checks, and you can fail them, but these don’t have a significant impact on the progress of the story itself. Unit Bravo’s relationship with you doesn’t change if Murphy gets away, because what’s important to them is that you tried. Sure, Murphy might get away, but that doesn’t really impact the story development - either way he gets removed from the narrative (until he inevitably comes back; I’m on to you, Sera). Maybe him getting away makes you play the MC as more affected by the nightmares in Book 2, whereas if he’s imprisoned you make the MC just shrug off the nightmares because they realise (by which I mean, think; again, Sera, I’m on to you) Murphy’s no longer a threat. The narrative impact isn’t meaningful.

As long as a product is clear on which of those two it is, I feel it’s ok to treat skill checks with the due importance to the genre.

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My opinion on being allowed to say no has evolved in the (six, running on seven?) months since I first posted this topic. Nowadays, instead of being allowed to say no, PERIOD, I’m more of a mind that players should be allowed to say no so long as it doesn’t totally wreck the story to do so.

For example: in The Fog Knows Your Name, there are several subplots you can focus on. Or you could choose not to, and the story is none the worse for wear for this decision.

By contrast, Witchcraft U also has several subplots for the player to focus on, but you really don’t have any say in whether your character is concerned with, say, the family mob business, versus blowing the whistle on their employer’s scummy business practices. That’s a story that would have benefitted from players having the option to say no to some plot aspects, especially considering how mutually exclusive many options seem to be towards one another - choosing to reveal the existence of magic seems to lock you out of being able to save Poppy from possession, for example.

Fair call regarding how skill checks are treated in stories versus games. I agree, so long as it’s made clear from the outset that I should be focusing more on the game than the story, then the onus is on me to understand what I’ve gotten myself into. Unfortunately, not a lot of CoG or HGs are so clear about it, which probably has played some hand in why I dislike them as much as I do, if I’m totally honest with myself.

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I’m not sure what you mean here? You can certainly not care about the family business, and there’s pretty much every possibility accounted for in how you deal with the tea shop.

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What I mean is that, even if you play your character to just utterly entirely not care about one versus the other, the plot still tried to drag you into the middle of the one you’re trying to ignore.

Family business: your character chases a cat around who’s determined to show you what goes on behind closed doors, even if your character’s only interest in the business is not being a part of it.

Tea shop: even if you’re loyal to the point of purposefully ignoring the shady stuff your boss is doing, their competition will still try and headhunt you away from the place, when - if they really pay as much attention as they claim - they should recognize that you’re a lost cause and not waste their time trying.

In the previously mentioned Fog Knows Your Name, one of the major subplots involves your character’s enemy getting up to suspicious business. You can choose to ignore it, and at worst, your character will be caught off-guard by the consequences later, but you can survive those consequences, and still largely get the ending of the game that you want regardless. In Witchcraft U, choosing not to engage with some subplots (as much as I could) resulted in me getting the worst possible end game, and there was no way for me to recover from it.

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