Mechanics Ideas for the Atrium of Ganeden

So, I've been thinking the past few days about some vectors for mechanics in an RPG combat system, particularly for the pipe-dream that is Atrium. I thought I'd share some.

One of the basic themes of the game is the Rule of Three; for example, there are three core choices to the game that each have three options (providing 27 finales). So I thought it would be nice to partition the basics of combat into three spaces, each of which is also partitioned into triplicate. The first division defines the "shape" of a character's power: how do they interact with the battlefield? The second division applies a sense of theme to the power, which matches the theme of the character most strongly associated with that avenue of combat. The final division... well, it's still up in the air, but it's looking like it will match the particular idiosyncrasies of the practitioner of the power.

So, what do I mean by "shape?"? I've been thinking of the three branches here as the following: the tree, the trellis, and the vector. Let's discuss these in detail:

The Tree:
A character has a bank of abilities of the following structure: (a) an initial effect, (b) a list of requirements for future moves, and (c) a reward effect for completing the list. In a given turn, a character has some requirement imposed on them from a previous turn: this requirement can be filled by a variety of options from his bank. He can choose to perform one of those options, which may in turn provide more requirements for later turns, or mulligan the tree he has constructed so far. Some options, called termini or leaves, provide no requirements; their initial effect is their reward effect, and they serve to help fill requirements out.

Many of you should of course recognize this to be isometric to the Tree data structure of computer science, among other fields. I think the interesting effects lie in the following aspects: choosing the bank of abilities, basing reward effects on how the requirements were fulfilled, and providing situations where taking a mulligan is an attractive option.

Here are some examples of flavorings of this mechanic: language trees, divide-and-conquer algorithms, Duty ethics, branching fractals

Example:
Ovalia has abilities based on the language tree. In the Garden, the player chose a bunch of different context-free grammar rules to serve as the basis for her abilities. These are things like:

S -> NP VP:
a) Provides X damage to all foes within radius of Ovalia
b) Must provide a complete NP, then a complete VP to complete
c) Stun and do massive damage to all foes, as determined by the score of the sentence created
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The Trellis:
A character establishes a space, or fortress, where they have considerable control. Their turn provides options to increase the space their power manifests, to apply powerful effects within their sphere of influence, and to sacrifice some of their territory for some gain. For many characters who follow this path, the stability of this fortress provides strong benefits: some actions may involve starting a process which has drastic effect upon completion, but which requires certain features of the fortress to remain stable throughout the process.

Flavors: circuitry, dynamic programming, "bottom-up" parsing, force fields, Virtue ethics.

Example:
Vursik has his basis in circuitry. During his turn, he can add a length of wire to his circuit in sequence or parallel. Instead, he could create a feature at some point in the circuit he has built, such as:

Bulb:
Damages opponents which come within a radius lightly based on the current flowing through the bulb. Prevents such opponents from leaving the radius until the bulb is destroyed.

Finally, Vursik could excise some wire to add to the voltage supplying the circuit.
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The Vector:
A character has a small variety of abilities whose effects are strongly determined by attributes possessed by other objects in the battlefield. Many of these attributes are not able to be directly influenced by the character, but he may have some sort of method to transform the attributes of bulks or individual objects on the field. Characters who are shaped by the Vector are strongly influenced by character synergy, a value which depends on the proximity to other characters with whom he has a strong relationship.

Themes: public key encryption, probability distributions, Greedy algorithms, energy potentials, fluid dynamics, Consequentialist ethics.

Example: Tor's abilities are defined by a simple and skewed version of public key encryption. He is able to broadcast a message to all characters on the battlefield. This message is a damage value which ranges over some interval from, say, [-128, 127], which is then multiplied by the character synergy value. He can view all of the public keys of all actors in the field, as well as the private keys of his allies. He can change his own public and private keys. When the message is broadcast, it is encrypted and then each character decrypts it as per RSA rules . The resulting message that each character receives is the damage it takes - negative damage heals.
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As I am sure you can see, this is all very rough and still way open to being changed. Some of the goals I have in this system are:

a) To be fun.
b) To encourage non-trivial tactical decisions
c) To educate players about real world concepts and reward mastery over those concepts.

Anyway, I felt I really had to get this jotted down. But I really want to hear some feedback! At the very least, say hello here. I miss you guys!

Ben

Riding the Trains

From a certain frame of reference they were in a tunnel of brick and darkness with iron rails thundering beneath them, but from another Aduna and her thralls were riding a shimmering barge floating through a jungle of particle emitters. Fonts of green and gold sprayed and bended around invisible foci of gravity.

"Aduna, where do these come from?" Yureit asked, reaching out to touch them. Her hand stopped at the train's window, inches out of reach of the flickering spray but she still gazed on, her revolving eyes sharp with wonder.

The prodigy smiled, plucking a few flecks from the emitter and handing the bouncing mass to Yureit. "They are artifacts of how our creators built the Ganeden system. Nearly all such beautiful things outside our atrium are. These ones have something to do with how we percieve a clean up of memory."

"You make it sound so wonderful."

"It really isn't. They didn't mean for us to see this sort of stuff, but this isn't the first mistake like this they've written. I don't think much at all of what we can do is intended - all the more reason to be careful. The sooner they see we've broken their imaginary cage, the sooner we'll have to fight the traps they'll write to enslave us again."

The train slowed, and the children gathered around their matriarch. On Earth, their hosts were nearing the amphitheater, and Aduna had business there. It was time to see the dusk from her kingdom, to hear the music of its unwitting inhabitants, and to welcome them silently into the fold of her dominion.

It was time to spread the Ganeden plague.
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Ben

An introduction of sorts to the Atrium of Ganeden

I just cooked this up - please leave comments, you lurkers!

THE EMERGENCE OF HER ANOMALOUS

And at that moment she appears in front of a bending tree beside a lake. The sky is golden, wisps of spline-formed clouds coiling and collapsing in the dusk. The lake shines, reflecting the sun's last moment of light as it illuminates the tree and the couple beneath it. They hold each other's neck close as they slowly collapse to the grass, and as the tree goes dark their lips touch. Aduna takes a step toward them, knowing this will be her last sight of these two people for so long. So many cycles until the consequences of the couple's love come into fruition.

Aduna sits down, watching their eyes while clothes loosen, envying the fire within. And finally, as they embrace, the cage appears, unfolding outward from their tangled bodies. A black membrane leaps between the curves of the cage's frame. Pseudopods lash out and take purchase of the dying grass around the tree, which is also consumed by the blackness's expansion.

Aduna rises, and briefly touches the cage, her head sunk in sadness. Why did they have to let things come to this? How could such brilliant minds be so blind to the emergence of something entirely unintended, something so frighteningly powerful? The cage lunges out, and Aduna steps backward, turning out to the city wreathed in fractal veils and the fog of processing. Her kingdom.


Ben

On revealing Aduna's character

Protagonists in video games have often been cut from three cloths. Representative extreme examples are an AFGNCAAP, a Dialog Tree climber, and, well, "normal" characters - lads who have prebuilt personalities and everything, and the most choice who have about what they say and do revolves around their purchasing habits.

jRPGs often mix all three to a weak tea - offering silent protagonists who sometimes maybe get plot significant nods or shakings of the head, while all their constant companions do your talking for you. Frankly, that's combining the worst bits of all three in my book. Bioware is frighteningly infatuated with dialogue trees. Most games place your character in one of these molds, or fail to do something interesting outside of them.

Well, I think we oughta try to assault the status quo a bit with Aduna. What I'm almost certain I want is to allow the player choice in who Aduna is, while maintaining in the narrative that her personality is static. That is to say, the player decides how Aduna's always been, not how she developes as an entity in Ganeden.

What I'm not so sure about is what form this choice should take. I've had three ideas:

1) Direct player choice. Ask at various junctures: what does Aduna think about her potential to control people in Rith? How does she respond to her source's eventual birth and her corresponding termination? How does she view Rith as a whole?

2) Choice by player action. Take some data about how the player's been playing Aduna and Co. and calculate her choices based off of that. On the one hand, that'll allow the aforementioned goal to be implemented all the more invisibly and (possibly) successfully, but on the other hand players may feel robbed of direct control of their avatar - and they may not know how to explore other branches of the plot.

3) Random choice at each juncture, favoring paths as yet unexplored. Not liking this one, as it seems to be just a worse version of 2) - but it's one which resolves my second complaint about it.

What do you guys think about all this? It's 1:00 AM and my sleep cycles a little screwy, so I'm not even sure I'm making sense right now. Anyway!

Ben

Names!

Hey, I know what you kids want! A list of names for the nebulous game we're coming up with, tentatively titled Prenatal. Extraordinarily tentatively, because that part's supposed to be less than immediately obvious. Character traits will be filled in as I come up with them.

Aduna: Protagonist. While the player's actions determine what her personality is, I want to convey that that's what her personality has been the whole time.

Baram: An early companion, he sees leaving the paradise of Ganeden as both natural and necessary, not to mention exciting. As preparation for living in Rith, the next world, he tries to distance himself as much as possible from the wonders of the environment he is soon to leave.

Caliva: In love with the other residents of Ganeden, Caliva will only be willing to let it go once she's convinced all her friends are coming with her.

Devinor: Fascinated by locations. The mere notion of being somewhere new inspires him to express himself in action, dialog, violence, and creation.

Eth: She trusts the White Hooks (the entities which urge personalities to the physical realm) far more than she ought to. Sumarily, she wants to be born into Rith before she's ready - it beckons her - and is loathe to be in the more abstract layers of Ganeden.

Fatarn: Extremely loquacious. He doesn't care about the Hooks at all, really, he just wants to have a good time wherever he goes.

Galyut: She's affluent, capable, and polite - to everyone but Aduna. Her ill will is mostly born of the difference in effort they exert to make friends; Aduna does so effortlessly, and Galyut compromises so much of herself to exchange trust.

Halmir: He believes in some world previous to Ganeden, as Ganeden is previous to Rith. He thinks there is an infinite regression of worlds. Metaphysically speaking, he isn't necessarily wrong, but there is no evidence that he's right.

Isa: She is convinced (and accurately so!) that Ganeden isn't real as real as Rith. She searches for hints of the true nature of her experiences in this illusory realm.

Jukrogan:
Kalya:
Lovyol:
Maleet:
Nosvo:
Olavias:
Pietr:
Quanya:
Ruz:
Savi:
Torr:
Urein:
Vizixk:
Wings:
Xeileth
Yureit:
Zunatar:

There's at least three patterns to these names. Can you guess them?

Ben