While I'm not smart enough to keep up on the current terminology and buzz words, I have observed that there are generally two types of player, story-focused and character-focused. Story-focused players are a GM's dream; they want to see an interesting story unfold at the gaming table, a story that their characters can play a constructive role in telling. They can also be a GM's nightmare; they are zealous in pointing out plot holes and inconsistencies. They get upset if a clue, even if handed to them, requires a leap of faith to get from Point A to Point B.

Character-focused players require no explanation. These players always seem to outnumber the story-focused players at the table. For character-focused players, the overall story being told is not nearly as important as their characters. At best, the story ranks a distant second. Character-focused players don't mind the story dragging to a screeching halt as long as the time is filled the spotlighting their characters. In many cases, these players have trouble remembering what the plot is about, often expecting the GM or other players to get them back on track after they've had their fun.

It's easy to differentiate between story-focused players and character-focused players. Simply announce a new campaign. The story-focused players will ask you all kinds of questions about the nature of the campaign, what kinds of abilities would be useful were relevant, and what types of character should like to see. The character-focused players just start grabbing books and drawing up their characters.

Based on the above three paragraphs, you might get the idea that I'm not fond of character-focused players. You'd be right to a point. I've never understood the mentality of some of my players who purchase a new game book and draw up a character, fully expecting that character to be inserted into any new campaign that a GM announces. By example, I have one player who's been begging for a superhero campaign over the last two years. Whenever a possible superhero campaign is announced, this player gets excited. His excitement only lasts however, until the GM announces the character generation guidelines. This player's enthusiasm is sapped as soon as he realizes that the guidelines will not allow for the character concept he already has drawn up for three separate superhero systems. It doesn't matter how interesting the campaign sounds, he has no interest in playing it unless this character can be a part of it (no matter how inappropriate that may be).

What I've discovered is that most character-focused players are interested in "the journey." This journey is as old as the first incarnation of Dungeons & Dragons. Character-focused players wish to create characters that are strong as entry-level allows, and then take those characters on a journey to become more and more powerful, enabling them to overcome greater and greater challenges. Most class and level systems operate under this presumption. Character-focused players are annoyed when they can barely take on a pack of one armed kobolds. They want to play the invincible, katana-wielding swordsman that can stare down a dragon. Unfortunately, they realize that they need a boatload of experience points to get there. It is difficult for a GM's story to compete with "the journey."

Unfortunately, many modern role-playing games are ill-suited for "the journey." GURPS, for example, assumes that characters are created to be competent right out of the gate. It is possible to build a master swordsman, impressive wizard, or lightning fast gunslinger right out of the book. As long as the character is only called upon to do what he was designed to do, the player rarely feels the need to spend experience points.

The challenge for a GM is to get his players invested in the story. Unless the GM truly is altruistic enough to sacrifice a few hours to watch his friends develop characters (or is running a standard dungeon crawl), he probably wants some affirmation that he didn't waste his time creating an interesting adventure. If the GM is lucky enough to have a roomful of story-focused players, then this challenge has already been overcome. If not, but the GM is going to have to deal with "the journey."

Many modern RPGs are equated with television series. Most ongoing television series, however, don't deal with "the journey." By example, the first season of an average cop show usually doesn't include the main characters displaying the level of incompetence assumed in low-level characters. They don't have trouble shooting the broad side of a barn, they don't overlook half the evidence at a crime scene, and they don't regularly bungle the questioning of witnesses. Above all, they don't need an NPC to pop in on a regular basis and push them back on the right track. In contrast, a police investigator usually maintains the same level of confidence from season one to season seven. To use a more fanciful example, Buffy the Vampire Slayer doesn't spend her first two seasons getting beaten up by vampires in the hopes that she'll finally be strong enough to take them on in season five. While there certainly is growth, it's not as pronounced as in the typical RPG.

Now it's time for my Zen moment. As in all things, the key is to strike the proper balance. Character-focused players generally want to have competent characters. They also want to be able to play their character concepts.

To take the latter first, GM's considering a new campaign should ask the players what types of characters they would like to play and attempt to design a campaign around them. Sometimes this approach will work better than others. In tougher cases, it is very important to sit down with a player and explain what parts of the character don't mesh with the campaign. Sometimes, you may be able to brainstorm with the player and make the character concept work, even if it doesn't seem to at first.

For example, the player wants to create a katana-wielding swordsman. Unfortunately, your fantasy campaign is based on a European medieval environment, and you had no intention of introducing East Asian elements to it. At first glance, this character is out of bounds. After some brainstorming, you determine that there once was an elvish sword master who crafted elegant curved swords. The player's character once aided an elf who, in gratitude, taught the character how to use one of these rare Elvish blades. For all intents and purposes, this weapon is a katana in all but name, with the exception that it now fits into your campaign.

Dealing with "the journey" is a two-part process. First, you have to eliminate the journey by allowing the players to create competent characters out of the gate. This is the easier of the two-part process. The harder part is to reinforce the fact that the players have competent characters. All too often, I've seen players who’ve felt that they had competent characters, only to bungle the first crime scene or get sent to the hospital after the first shoot-out. When this happens, the distinction between story-focused players and character-focused players tends to blur. Character-focused players will find themselves back on "the journey," hoping to use experience to rectify the obvious deficiencies on their character sheets. Story-focused players will simply chew you out for lying to them about how to design their characters to fit in with your campaign.

Keeping Kosher

If you want to focus to be on the story, then you have to allow for the characters to be competent. Don't call for dice rolls for routine uses of abilities that they're supposed to be competent at. Have NPCs treat them with the respect their competency calls for. Henchmen won't fight to death. They'll fire a few shots, realize they're outclassed, and try to flee. Make the challenging part of your story involve discovering the main villain and dealing with him.

Character-focused players also tend to have concepts that they want to play. Work with them and accommodate them when possible. It will make the campaign a more satisfying experience for all involved.

Good gaming!