Genre and the Centralization of Character

What is a genre? Does character serve genre? Or is it the other way around?

GURPS takes a unique approach, placing the character at the core of the game. Everything in GURPS, including the genre itself, revolves around the character sheet. The core of GURPS is character creation, which is the game's heart.

But aren't other games centered around character creation? Not really. I like GURPS because of the moment when the movie is blurry and the director focuses the lens on the main character in the film—the character. GURPS gives this "deep focus" where the hero is the most important element of the game. Experience, genre, and even the rules of "life" serve the central character concept.

Some games that use a generic-style character creation system tightly tie themselves to the genre and game world. Examples include Runequest, Traveller, and other games that tightly tie the experience to a setting.

GURPS's design has an almost "old school Hollywood" feel. The player is an actor taking a role, and the character on the sheet is the role being played. It doesn't matter if James Earl Jones is playing an evil sorcerer in Conan or a government official in a Tom Clancy movie; he is the player and brings everything he can to each role he takes on. Those two characters are so different, showing the actor's grasp of the role, character, depth, and range of this actor's profession.

Contrast this with modern games, which assume "you are the character" and the rules never allow you to live beyond yourself. Or they enable you to cosplay an internal identity, but it still is you under that face paint and foam rubber facade.

There is a massive difference between costume and make-up, who the character is on the inside, and their life experiences. Many players will say, "A dwarf is someone with a Scottish accent," and stop there. There isn't a life experience; you aren't acting; it is just a silly voice.

In GURPS, the character sheet is the "actor's notes" on who this person is. A part of the experience is living "outside the genre," and the character and how that character is played define the role and go beyond genre. An actor brings so much more to a role than a face and a voice, but the character the actor plays is also "not the actor."

In GURPS, I give myself a kleptomaniac or greedy disadvantage. I may not have a greedy or thieving bone in my body, but as an actor, I need to figure that out and use my life experiences to make this "role" come alive at the table.

That dwarf in GURPS will have a list of advantages and disadvantages outside of that silly accent. He may feel guilt over a loss in his past life. He may hold a grudge. He may have dreams. He likely has deep flaws.

Another troubling part about today's games is that they "sell a life experience" as the game. Life experiences happen outside the game, and they are what you bring to it to enjoy the game better. You end up playing every game with yourself as a character actor, playing yourself. You don't have range; if someone hands you a character sheet with something outside your life experience, you can't play that character.

Even if a game is about a list or a subsystem experience, you still need to bring your "acting chops" to a table and not let the game - or even your own self - define the character you play. That character sheet is the heart of the game; in GURPS, this focus is built into the game.

It's interesting how some games prioritize different elements over the character, like most generic fantasy games, many sci-fi genres, and even some modern Euro-style fantasy games. In these games, the 'lists' they provide are the core experience, and the collection of things 'is' the experience. D&D has embraced this approach, with licensed IPs taking precedence over generic fantasy elements. Mind flayers, beholders, and copyrighted content are featured as the 'bad guys' rather than generic villains like dragons or evil sorcerers. This caters to the players' preferences, but it's important to note that not all list games' are 'generic fantasy.'

This also covers Star Wars, Star Trek, and other sci-fi games that feel more like the 'list' of licensed IP gets put before the character. You play those games to experience the genre simulation. Understanding this variety of game elements can make you a more knowledgeable RPG player or designer. Many GURPS games fail since referees need to convert everything to have a complete experience.

Some games are such vast lists of stuff that it would take decades to convert them all over. Yes, you do not need to convert for a great experience, but there is still that feeling that a phonebook's content needs to be converted to have "all the options."

A mechanical system is built and placed before the characters in some games. In a game like Forbidden Lands, this fantastic "world generation engine" is mixed with preset encounters in the book, creating a dynamic game experience. The characters are the impetus of action and change, but the character sheet is not the "center of the world." You can still bring your "acting gravitas" to a game like this, but the natural appeal of the game is experiencing the "random systems" inside of it and seeing what world it creates for you.

These games aren't bad or wrong; they are just different. Games like The Walking Dead or Twilight: 2000 are incredibly fun, like a hybrid role-playing wargame and board game. They are the closest we can get to having a video game of the experience, and they give us resource subsystems and abstracted mechanics and deliver a more extensive simulation than "just a character."

You can play Twilight: 2000 with GURPS, sure. But the game delivers so much more than just one character. Again, this is a focus thing. Are we more focused on a character or the entire event around them? For some, playing through the whole event without the "character as focus" delivers the experience they want.

We can also borrow these generation systems and play the game using GURPS rules. This works as long as you can define where one game stops and the other begins. You still lose something, but you gain what you like about GURPS.

But there are times when I want my experience to center on that character and how I bring them alive with my ability to translate what is on that sheet, through my life experiences, to a character in the game who is not me.

Most of what is in GURPS, the advantage and disadvantage lists, are things outside my experience, the "not me" things I need to translate to make a character come alive.

This is why when I play a genre with GURPS, I focus more on the character than a generic list of stuff I need to convert over. I drill down on a character; the world and "junk in it" are secondary. I have books with stuff in them that I can use, and all the GURPS sourcebooks provide 90% of what I need. Most of the other 10% is something reskinned and "flavored" as something else. Converting things becomes an impediment to the fun of the game and also does not play into the strength of the system.

GURPS is a system that puts a character sheet first in an infinite plane of blank hexes. How those hexes appear, what is in them, and how you interact with them is the lens that genre and worldbuilding create.

But the character sheet is the pivot point in which everything else revolves.