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So there's a beta going on right now that is really relevant to my interests. Yes, that does mean that there is an unofficial beta roleplaying server, also relevant to my interests. Long-time readers will know both what I'm talking about and why I don't have a whole lot of other things on my mind right now.

This actually dovetails nicely with an obvious topic, however: roleplaying in the beta for any given game. If you plan to roleplay when the game goes live, beta is a great time to get started, possibly building up character relationships and dynamics before the game has even launched. That's all good stuff.

The problem is that beta is not, in fact, a prequel to the live game. It's a test version of the real game. And even beside the obvious repercussions of rollbacks and the like, there are reasons why roleplaying in beta might not be a great idea.

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Aristocracy is not a job in one sense. You can't apply to be an aristocrat, nor can you get a degree that leads to becoming an aristocrat, and there's a marked lack of professional guilds and unions for the field. You can't even really hope to be one when you grow up, since you're usually born into it. But in the broader sense of roleplaying character professions, "aristocrat" certainly qualifies, as it answers the question of what your character does while on the road.

Some aristocrats might hit the road because they have a duty to those of lower status. Others might be out there because they want to be anywhere other than home. Some have tastes or curiosities that can be satisfied only in a more exotic location. Whatever the reason, many aristocrats pack up their elaborate and numerous bags and head off in search of adventure, or at least the various opportunities that adventure brings along.

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Roleplaying guilds, as I have mentioned before, have a lot of problems that more normal guilds just plain don't. The Guild Counsel discusses a lot of guild problems in detail every week, and if you haven't noticed that guilds make for a litany of major issues, well, it only gets worse when you consider that roleplaying adds a new slice of potential drama and hurt feelings. I do not envy those in charge of these organizations, especially when I think over my brief stints of leadership.

As a result, forming a new roleplaying guild seems like an activity best undertaken with great care and personal protection, like installing a beehive. But it's actually far simpler than that. You can start a roleplaying guild with minimal effort and have the foundations in place for it to work. Whether or not it will work in the long run isn't as obvious, but you knew that already.

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Long-time readers will remember that back around the end of this column's first year, I wrote a series of columns about character archetypes. It was a series I'm quite proud of as a whole, and one that I've wanted to follow up for a while, but I had to wait until I had an idea that fit. That was when I started thinking about how that series talked entirely about who a character is rather than what he or she actually does. In reality, the two can be miles apart.

Take my first choice of profession, the spy. A spy might believe that she's doing something for the greater good. She might see this simply as part of her duty and a necessary task. She might be doing this because she's fundamentally amoral, she might be hoping to find the answer to a puzzle she's long agonized about, or she might even be doing this because she just really wants to know secrets. But today I'm not going to talk about that. You want to make a spy; let's talk about what goes into that.

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One of the greatest moments of education I had in college was when a professor sat down to discuss a story I was writing with me. He said to me, "Eliot, this story is never going to be as good as it could be like this."

"Well, I'm learning. I mean, I could rewrite the --"

"No, it isn't that you're not good enough as a writer, it's that this story isn't a novel. You're writing the best novel out of it that you can, but this is a story for a graphic novel. No matter how well you write it, it's always going to be a novelization of a comic book."

That was the first moment that I really started to understand the idea of writing something for a medium instead of just writing a story in the form available to you. That there are some stories that just don't work in certain formats, whether that format is novels or comics or movies or even roleplaying. And it's why I'm talking specifically about the medium today, because it's an easy concept to miss but an important one to keep in mind.

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You and your group of roleplaying companions need something new to do. You've grown tired of sitting around talking about problems in the outside world or engaging in a non-stop soap opera drama wherein someone is always sleeping with someone else inappropriately. By complete coincidence, you and your companions all appear to be heavily armed and armored, leading to an excellent suggestion -- you should go out and get involved in a conflict! A fracas of some kind! What a concept!

Sarcasm aside, long-running conflicts are a lot of fun when handled right. While I've talked about them in brief before, today I want to look at a handful of common conflict types and offer some tips about how to run them without tears. If you think drama can spill over into OOC channels when it's just a matter of pretend romances being spurned, you don't even want to know what happens when the knives come out.

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Odds are good that you're going to be moving on from your current game of choice at some point. I'd even ramp those odds up to nearly absolute under certain circumstances (if you're the sort who claims newer games aren't engaging whilst hopping from game to game on a regular basis, for example). This leads to a bit of a problem with a lot of roleplaying stories because there's a very real possibility that your character's arc is going to be truncated as a result.

It's not intentional, but it happens just the same. You spend time building up character relationships at launch, and then as the three-month mark rolls around, people start leaving, playtimes drop off, you get tired of some of the game's systems... and the next thing you know, the people who cared about the character you've been building for some time have all evaporated, leaving you to either make your character relevant again to a whole new group of players or just stop bothering.

One of the things I've been both considering and playing with of late is the idea that maybe this can be embraced instead of feared. Rather than planning something of indeterminate length, you can try working with the assumption that you've got a more limited window to work within and pace yourself according to that.

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During the last several months of Final Fantasy XIV, my main character did the unthinkable: She went to work for her old mentor alongside the Garlean Empire. Everything she was doing outside of personal ventures, up to and including rejoining the mercenary company she had previously helped found, was based around collecting information. She had quite the dossier by the time she was finished, too, having flushed out a number of secrets regarding both Eorzea's defensive plans and the Ala Mhigan resistance.

Not that anyone knew this because it simply never came up.

Part of how I screwed this one up came down to both my choice of roleplaying groups and my own work-based schedule in the game. But another part of this was the simple fact that I didn't make it clear quickly enough just what she was up to. I dropped some hints here and there, but they were lost in a rush of other events, and as a result that whole subplot never got explored, which is a shame, especially because I like to think I'm usually pretty good at dropping hints and getting others to catch on. So as I reflect on what I did wrong, let's talk about how to do it right.

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I've talked many times about the pitfalls of playing a jerk. What I haven't done is mention the benefits of playing one, starting with the fact that playing a jerk can be all kinds of fun. You've got your garden-variety jerks, you've got jerks who are stunningly competent and who treat everyone else as a lesser person because of that, you've got jerks who just don't care about other people, you've got jerks clinging to antiquated beliefs that don't line up with reality... so many jerks, so many ways to make mistakes.

But also so many ways to play one correctly. Heck, you can play a character who takes pretty awful actions from time to time without issue -- why not a character for whom "awful" is the default setting? There has to be a way to make a jerk who works, right?

The answer is yes, most definitely. Jerks are playable. But you have to be a bit more careful about it because as I've mentioned in previous weeks, if your first impression is "pointless jerk," no one will want to hang out with you. So let's talk about playing one in such a way that your character comes across correctly while still being worth a closer look.

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Odds are good that you went through a stage as a teenager convinced that no one really got you. Sure, your parents told you that they understood, but they never experienced a love like what you felt or pain like you felt or ennui like you felt, and so on and so forth. You were the first person to ever feel certain things so acutely, and it was a tragedy that others thought they understood.

It's also likely that you realized a few years later that none of the above was true, and if you were lucky, your parents were polite enough to point out that you thought you had the purest love of all time simply because you had no basis for comparison. (If you haven't gotten there yet, it's cool; we'll be here when you have.) Those around you understood better than you thought; it was more a matter of your not getting something.

There are many roleplayers who seem to believe that their chief problem is that no one understands their characters. All of the drama and poor roleplaying is a result of other people not getting something crucial. I invite readers to draw the obvious comparison.

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A lot of character mistakes come down to experimentation, essentially. You have what seems like a good idea, but it turns out in play that it's messy or annoying or unfun or whatever. There's nothing in the world wrong with that; you try something out and it either does or doesn't work. While good concept work does a lot to help you catch these things, sometimes good ideas won't work.

But then there are problems that come up time and again based on a fundamentally bad assumption. Something goes wrong right from the point that you click "New Character" because you're making an assumption that can immediately be recognized as a bad idea. So I'm going to go ahead and list a handful of these problems that are bad ways to start off so that hopefully we can all stop making these mistakes in the future and make some exciting new ones.

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It's kind of fitting that my character most prone to wandering has wound up in several different games now. She's existed in one form or another for years now, and while she's hardly the only recurring character I've used, she's certainly the one most prone to hopping into another game. While the are always setting-appropriate changes to her backstory, core elements of her personality and history remain, so that by this point it's quite easy to figure out how she fits into a new game even if I have to hammer out the specifics.

This leads to an obvious question: Why?

It's not as if I can't come up with other characters, nor is it that she's always the best fit for the game. For that matter, she's not even suited to every possible setting. So why keep playing the same character? There are a few different reasons, all of which show off the advantage to playing the same character across several games instead of starting fresh every time you step into a new world.

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We all have our delusions. Some of them are very conscious decisions, like ignoring the fact that Superman Returns is a thing that actually exists. Others are more unconscious, like people who genuinely believe that the ancient Mayans put together a calendar predicting the end of the world in a few weeks. But they're always there, and all of us have a full set of them bred into us from years of social interactions and peer groups. We ignore, we obfuscate, and we reject facts that do not line up with our opinions.

Make your own joke there about gamers declaring a game is or was a failure.

Our characters often see the world with a lot more clarity. It's not that they're devoid of opinions; it's that they tend to base those opinions on the real story instead of what they saw or felt or thought. That's all well and good, but perhaps it's time for reasonable things like facts to take a hike in favor of some good old-fashioned delusions. After all, if we're all deluding ourselves in real life, shouldn't our characters get to occasionally stick their fingers in their ears and declare they can't hear anything?

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I had a lot of stuff to talk about on the subject of madness. As it happens, I had so much to talk about that I elected to split it up into two columns instead of writing one monster, scratching and crawling about in a lone column's space. And as I sat down to write this column, I realized that I have an entire column's worth of things to say about a single facet of madness: acting mad.

Herein we come to the meat of what bothers me about madness as most players use it: It winds up getting used as something wacky. It's an excuse to do things that are wild and unpredictable because your character is so crazy. That bothers me because there's so much to be done with madness and so many ways to make it an interesting character trait. It's not something for casual or shallow use.

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I am not a private person. I have a job that requires me to put my name on things, so that right there is a layer off the privacy shield. But beyond even that, I like to give shout-outs to people I think are cool and make my presence in a game known. It's no secret that I work here, it's no secret that I write columns here, and in most games that I play and write about regularly, my character names are kind of open secrets anyhow. Hence why I can walk around in Final Fantasy XIV and bump into people who tell me that they really liked an article I wrote, which is kind of a surreal yet awesome experience.

All of this means that my reputation precedes me... which is not necessarily a good thing. While I'm all about keeping up the OOC communication, there comes a point for some players when their characters stop being Sven Ergunsdottir (played by Paul) and start being Paul's Norn guy with the name. There are challenges to playing alongside someone you know better in real life either because you know one another or because the person in question is a jerk who writes a bunch of readily available articles. So how do you handle roleplaying with people who know you very well?

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