I vote 2 & 5!
P.s the whole ‘face your fears’ thing only applies to the irrational ones…
@Shoelip @JossieE
That “face your fear” is one of the normal brain reactions. You either escape or fight. But if you escape once, your brain will know that by doing this your life is easier, because you didn’t had to pick up something heavy (just an example without real meaning). The real meaning of that, is that you don’t have to escape something just because it’s difficult. Face it. Going with your example Shoelip. You want to pick up that hot pan? Find a way to do it without burning your hand to ash. It doesn’t mean that you have to be all Rambo about it and destroy 50% of your house to pick it up. Just find an other solution, to get what you want.
@CJW
Any progress with your choice?
I want to enter the bathroom but the door is closed. Don’t turn the knob! Face your fear of doors! 
@Shoelip Ok, now you’re just getting off topic :-/
@Polonium - Thanks for asking 
I’ve been trying - as some of you suggested - to mix elements of the various ideas and try to come up with one solid and coherent design.
I was toying with taking the setting of the 5th idea, a futuristic world where knights, kings, swords and castles never went out of fashion, persay.
You’ll start the game as a mercenary, an assassin specifically, and undertake a variety of “missions”, make a lot of moral choices and build impacting relationships with a number of different characters. Like Siri’s Choice I want to design it so the characters make just as many decisions as you do, I feel it adds depth, suspense and a very high level of replayability.
For example if we take Character A (who you pick up in Chapter 1) has a sibling (Character B) who they hold a grudge against, they may or may not decide to kill them when they meet, but rather than relying on one or two previous choices I was thinking of having an overrall score, making a bigger number of choices and dialouge affect a character and in turn the story.
So if Character A is a queen and feels like she has failed her people, she’ll be in a state of depression and have a stat, that goes up, just a tiny bit everytime you talk to her, kill one of the enemy soldiers or save a civilian - Then if her mood /stat is above a certain amount she’ll be hopeful and forgiving towards her sibling, else in a depressed rage she kills her and then takes her own life. A depressing example but hopefully it gets the idea across.
The reason I want to do this is because of something a friend of mine said:
“It sucks when you die in those games just because the author has a different idea to you”
Despite his apparent bluntness, he has a point. I want people - at some extent - to be able to get the story they want, the way they want to get it.
Perhaps an impossible speculation, but it can’t hurt to try hey?
@CJW
As master Yoda would say: “Very demanding way, you chose”.
If you were to finish a prologue of a small part of it, upload it as fast as you can. Idea is really interesting and yea, i is just something way more different than any other CYOA game i saw.
I don’t think it’s overly complex not in comparison to something like Vendetta’s game (whose ambition I highly admire).
The hardest bit is the variable scenes, as depending on your actions, character deaths etc it’ll change dramatically and the writing needs to reflect that. I can’t just -10 to a character’s sanity because her sister died and leave it at that. I need to make the character acknowledge that death and act upon it, the impact shouldn’t end there - yet - if the sibling survives, the following scenes will be very much reversed, at least from a certain perspective.
@Polonium
So say i have a fear of falling, are you saying i should find a way to jump off say a cliff and not die? Facing your fears isnt always a good thing because once you have faced all your fears your just gunna get cocky and be a smart ass really. A little fear is a good thing 'cause then you’re less likely to behave like you were invinsible.
I really didn’t intend to start a discussion about this 
Everyone feel free to interpret it how you will, but please let’s not openly debate, not here at least.
I prefer the assassin story. Broadsides never appealed to me too much and I feel like choicescript could be used for more than just action so one and three are out for me. I wouldn’t mind the fifth option, but the husk needs to be defined more.
For choice two, I like character development, but the story has to stay cohesive and give you more to work with than honor. The family, who made you an orphan in the first place, has to have a worthy reason for you to return to them-maybe the assassins aren’t as noble as they seem?
If the story started off with small glimpses of multiple flashbacks-You have been an assassin for as long as you can remember and on your first mission your father stops you and shows you the family of your victim and begins the first pings of regret about your lifestyle and you let the man go free, In the next vision, the man returns and kills your sensei unleashing new beliefs- the stage could be set for different interactions. But mainly, I’d like the option to be a stealthy, yet bold killer-the servants not knowing that I had killed their king for a week, or trying to assassinate a ruler with a blow dart in the middle of a conference and the attendants not knowing for some time.
Siri’s Choice seems like it would be too hard to make and four different stories would have to be created each with different branches. For the sibling path, the way you wrote it seems like the parents have been dead for a while and this and the parent route would be aimed more for independence, and there seems to be no real reason yet to interact with the other members of the group.
As for mixing all the plots together, it could work, but it would probably be more text heavy with character development. I need a reason to care whether the Queen or her sibling dies or not. It would probably turn out like a non-romance based CofIntrigues with trying to manipulate people to think your way.
Thank you for that very insightful input (really), I think you’ve hit the nail on the head with the assassin story, that’s roughly what I was aiming for and I like the flashbacks a lot.
I have actually made a decision to progress with a mix of #2 and #5 - So it’ll be set in a futuristic/final-fantasy-esque setting but pull heavily on the concept of morals (including assassination), right and wrong and of course the dreaded ‘lesser of two evils’.
Simultaneously I’ll also try and work on a more humouring title, I think it’s nice to - depending on my mood - sit down and pour my heart out or chuckle to myself as I write each one.
The funny one will be a standard OTT job, stereotyping emphasis, cliches so cliche they’re funny etc. If anyone has played Overlord, while not exactly what I’m going for it will give you a fairly good idea what I’m aiming for in terms of atmosphere.
I do actually have a LOT more fleshed out now for the serious design and will probably start working on that during the next month or so after I leave College for the summer.
@CJW
“Rub some acid in his eyes. It should refresh him!” How i love these little, annoying minions .
Oh god yes, I do envy the script-writer something awful
@CJW,
Which idea have you decided on?
The one where everybody dies.
Hah…Hah…Hah-hah…hah…
Alright, no. Seriously?
The last idea, something big, dark and epic.
More story driven than choice driven, though there will obviously be a measure of choice, they’ll tend to be bigger and more meaningful.
The best way to think of it is probably a PS1 Final Fantasy (VII / VIII / IX) with Mass Effect scale choices (as opposed to: Do you want to go left or right?). I’m not saying that in a fan-boy-ish way either, I’m not going to have racing chickens or massive summons. It’ll just have that that “kind” of setting and vibe.
Hopefully I’ll be able to get started soon!
I liked the second idea 
@CJW hey there. it seems to me that #4 is almost more of a system and a style of coding than necessarily a game in itself. therefore, i’d say, once you’ve found the most efficient way to start coding #4 as a tester (and potentially a game if you can see it coming through too), then perhaps apply that standard in some way into your other ideas to create a rich tapestry of flowing narrative.