The Beautiful Road: A Writer’s Guide to Putting Gameplay First

Notes from a CGVW talk by Dave Kosak, a Blizzard quest designer, at UC Irvine on February 22nd 2012. Original talk called "The Beautiful Road: A Writer’s Guide to Putting Gameplay First" delivered at GDC Online 2011.
TLDR: When gameplay comes first, story-telling must make it beautiful, not suffocate it. There are different ways than text to convey story and characters.

The problem

Games can be story-driven (RPG or interactive fiction), gameplay-driven (Blizzard's "gameplay first"), technology-driven (early games on Kinect, or to show off a 3D engine like Crysis), or money-driven (Zynga). How can stories be included in gameplay-driven games?

Looking at other media, telling a story requires different amounts of time: books take 10 hours, movies 2 hours, sitcom episodes 20 min. Books are walls of text, movies have long scripts, and sitcon episodes have at most 3-page scripts.
In MMOs, it's hard to display walls of text: there's a limited amount of screen and UI real-estate, and players have a limited amount of attention. Players can pay attention to the story most in calm solo exploration, slightly less in group quests, even less in dungeon raids, and nearly not at all in intense PvP.

In Diablo, the core gameplay activity is kill -> loot -> sell -> repeat. Content designers should not obstruct the core activity, e.g. with cutscenes during game action. Instead, content designers should enhance the core gameplay activity. If gameplay is a road, content should be beautiful flowers on the side of the road.

Brevity is key. Example: the Red Dead Redemption mission called free the captured sheriff. When the player sees this line popping on the screen, and the minimap showing markers for sheriff, outlaws, and nearby weapons, she figures out herself what to do first: she could go save the sheriff, kill outlaws, or look for a powerful weapon. Moreover, the quest becomes an answer to the situation presented to the player: why has the sheriff been captured? Which kind of person is the sheriff?

Telling a story without a wall of text is possible through:

• dynamic level design
• dynamic environment aesthetics (changing to reflect quest progression/completion)
• events triggered when player arrives
• hints in NPC or enemy dialogues

Characters

Character geometry: balance between too few traits = cliche, and too many traits = too complicated + boring + harder to understand. Example: Sylvanas Windrunner is persistent, protective, and hard-hearted. When she becomes undead, all her traits are even more accentuated. Other example: Han Solo is cocky, scoundrel, and egocentric.

Interactions with other characters and the background of the character let us know, without the need for a wall of text, a character's traits. Ex: Han Solo leaves his friends when they need him, Luke meets him in a shady place, he owes money to Jabba.

Quirks are not traits: quirks are minor and only serve to further individualise a character. You can find a list of traits there.

• 1-dim characters: enemies or minor allies. Ex: Hungry ogre.
• 2-dim, with 1 expected and 1 unexpected = interesting: quest givers and companions. Ex: elf druid who is protective (expected) + violent (unexpected).
• 3-dim: franchise characters such as Arthas = cocky + practical + naive. Only and exactly those 3 traits make him pick Frostmourne. When he turns undead, naive becomes power-hungry.
• 4-dim: Freeman's character diamond. Often leads to contradictions between traits, also called masks, which can either be total pretense (clown pretends he's happy but is actually depressed), partially revealing, or representing a character's aspirations. Used in marketing personas and novels.

How to compel people to a character: Cf Writing screenplays that sell:

• sympathy
• jeopardy (we want Indiana Jones to survive)
• talent/good at what they're doing
• funny
• heroic/noble
• independent/do their own thing/own quirks
• artistic/admires beauty (ex: Sherlock Holmes plays the violin)

Cliches can be used as a shortcut to establish a character. When established, take the cliche, and throw it away: Her eyes were as blue as the sky can become Her eyes sparkled like saphires on black velvet (jewels give a refined connotation) or Her eyes were the same milky blue as my mother's eyes were before I killed her (surprise and suspense!).

Social status shows differences between high-class people (smooth movement, complete sentences, slow speech, direct eye contact) and lower-class people. Body language also works. Cf the movie 300. Changing status generates interesting dramatic situations. Ex: the boss has high status at work, but when he's back home, he's low status obeying his wife.

[Literature] Game Balance ch7 - Advancement, progression and pacing

My notes from course 7 of the Game Balance class of Summer 2010, by Ian Schreiber.

Progression is ...	in games that are ...
absolute	PvE/single player
relative to other players	PvP/multiplayer

Flow has two problems: different player audiences have different skills, and players learn throughout the game.
Balance = overall game difficulty, does not solve these problems. Balance only matches audience expectation.
Progression/Pacing = keeping the player in the flow zone. As player skill increases, so do challenges. Progression ensures the game ends in the time frame said by the box (1min for arcade, 40h for RPG, etc.). If the game is endless, then progression = end-game rewarding structure(s).

When transitioning from mid- to end- or elder game, the objectives change from progressing to something else. Game designer has to find something for the player to do. Ex: WoW guild raiding or making your house cute in Farmville/Sims. Problems: some players may like the progression game but not the elder game. The power gathered during progression game should be available and enjoyable during elder game.
Tips:

• As playtesters test the game, they become experts => the game gets tuned harder => make the game easier at the end, and/or keep some playtesters for the end.
• Let players adjust the difficulty themselves (more challenging but also more rewarding levels or adjusting the difficulty level at any time). In PVP, difficulty adjustment should be voluntary (handicap, resources at the beginning, ...).

PVE

Perceived difficulty = (game power challenge + game skill challenge) - (player power + player skill), with:

• Game power challenge = stats (doubling opponents HP makes the game harder)
• Game skill challenge = new enemies or better AI, direct challenge to the player's skill (you need to play better) and not a player's power (you need more hit points to win). A game designer can control power-related, but not skill-related components of difficulty.

Large luck component or shallow mechanics: a short increase in player skill as the player masters what little they can at the beginning. Then skill plateau (player is as good as she can ever be). A minute to learn, a minute to master. This is the design of educational games (where skill is not the priority).

Giving practice zones where new weapons or powers are acquired makes players learn/increase their skill faster. Skill gating = progressively harder challenges, guarantee that if players complete a challenge, then they are ready for the next. Skill gating != practice zones.

Psychology: “reward schedule” or “risk/reward cycle”: you don’t just want the players to progress, you want them to feel like they are being rewarded for playing well. Reward not too rarely and not too often. Many small rewards are more efficient than a single big reward. Regular rewards = bad. Reward for something players were looking for (otherwise the game seems too easy) and not for a random event (eg "inflict exactly 123 dmg"). 3 kinds of rewards related to progression: increasing player power, level transitions, and story progression.

Increasing player power

If the most fun toy in your game is only discovered 2/3rds of the way through, that’s a lot of time the player doesn’t get to have fun. How do you actually keep the player engaged when you've given away all the cool toys early in the game? One way is if your mechanics have a lot of depth, you can just present unique combinations of things to the player to keep them challenged and engaged. Warning: this is really hard to do in practice. You can also use other rewards more liberally after you shut off the new toys: more story, more stat increases, more frequent boss fights or level transitions. Also, toy upgrades.
Better shorten the game than have it too long and boring.

Level transitions

Each level takes a little bit longer than the last: fast progression at start engages player into the game, later levels can be longer because player wants to know the end of the plot.

Story progression

Story really IS a reward. There should be a match between story complication/climax curve and the difficulty curve. Ex: tutorial = exposition scene, miniboss = rising action, final boss = final climax. Final boss should not be as demanding on player skill as kill 10 rats.

Pattern: do not reveal the story only during level transition; instead, revealing additional background story immediately after a fight (even an easy one) makes players feel like they earned it. (But do not do that all the time otherwise it becomes predictble!)

PvP

Acquiring more power than opponents = primary reward. PvP has more options to play with than PVE because everything is relative, there's no defined level/stats to reach to be "strong".

negative feedback loops => more power when behind and less power when ahead => best player alternates => depends on opponents, no one is left behind (ex: Mario Kart with dynamic difficulty adjustment).
positive feedback loop => more power brings more power => best stays best => independent of the opponents, game ends faster, bad start is deadly (ex: League of Legends).

	positive sum	negative sum	zero sum
Definition	sum of all player resources increases over time	players lose power over time. Goal = lose power more slowly than opponents.	fixed amount of resources on the table
Example	Catan, Agricola	Chess	Poker
Positive feedback
Negative feedback			Solution: Each player spends time in the lead before one player's final blow ends the game.

When both players have realized who is going to win, the game should end quickly.

Flair, learning and visuals in Wario Land and Wario Land II

Wario Land and Wario Land II are two Gameboy (and/or Gameboy Color) games from 1994 and 1998 respectively. They have a few features I found worth an article.

Flair, or Get smart

Think outside the box

Very fancy mechanics such as breaking the fourth wall happen during boss fights, such as the one with Psycho Mantis. In Wario Land and Wario Land II, the player has to break the wall of the level very often in order to collect coins or find a path to the end of the level. At first sight, this breaking the level could have a negative influence on the magic circle. But in practice, it just rewarded the player for thinking harder about exploration. It certainly did not give the level an impression of open-sandbox-world because the breaking could only happen once in a while, and not everywhere. But it added fun and rewarded the searching player nicely.

In fact, the feeling of a destroyable world was nearly never felt in the two games, except a few times such as during the Wario Land battle with boss Funfun.

In the first level of Wario Land II, the player can choose to stay asleep in doing nothing. This lets Wario sleep and opens a branching in the story. It took me quite much time to figure the way to unlock the alternate story branch, because doing nothing was not an intuitive way to solve a problem. But I found it very funny when I saw Wario concluding the level still sleeping (middle screenshot), while he is usually congratulating the player for the money and treasures he gathered (right screenshot). So it was not frustrating and somewhat rewarding to see this scene happen.

Monster infighting

Monster infighting is tricking enemy monsters into fighting each other. It happens in Doom and (apparently) 70 other games. There is also a little trace of monster infighting in Wario Land, but it is more rewarded than in Doom. Mostly only Pouncers (heavy falling spiked cubes) and Pikkarikun (a cloud throwing lightning bolts) could turn other enemies (such as the small Pirate Gooms) into gold coins. Unlike Doom, there was a strategy for each of Pouncer and Pikkarikun to use them as "infighters". For Pouncer, the Gooms had to be thrown under it when it was up. For Pikkarikun, Wario had to be protected under a floor and a Goom had to pass between Wario and Pikkarikun.

Learning design

The game design = learning design talk by Gee at FDG2010 is illustrated very often in the two games, but particularly well in Wario Land II. The Big Kamukamu (a fish) boss encounter, for instance, is a check that the player can make his/her avatar swim well enough to kill the boss.

As usual, most bosses strategies deal with dodging their attacks, finding their weak point(s) and attacking at the good time. Most have three phases, the third one killing the boss being the hardest and the most intense. However, there is a learning-by-the-example phase before two bosses: Awabo (a bubble) and Ghost. Before those two encounters, Wario sees Captain Syrup, the final boss, being imprisoned by the boss. It ignites a bit of schadenfreude from the player towards the Captain. However, the player is warned: the way Syrup is kicked out is what Wario must avoid when he fights.

Visuals

Except throwing enemies, burping is the only ranged-attack (first on the left). Japanese version of Crazy Wario is actually Drunk Wario, and Penguins throw beer mugs (second). Surrealism (third). Typical Japanese TV entertainment color shades? (fourth)

Drop systems

Traditional

In MMORPGs, monsters have a list of items they can drop when they are killed. A player can get 0, 1 or more items from the same monster, but a dice is rolled for EACH of the dropable items.

WoW: To get Zod's Repeating Longbow, one knows Lady Deathwhisper is the only one monster to be killed. The game rolls a 1000-sided dice, and if 136 or below comes out, the bow is dropped. However, one can also drop the Nibelung from Lady Deathwhisper at 15.6%. Hence, approximately 2.1% of the time, the dragon will drop both the Longbow and the Nibelung, and maybe other things as well.

RO: To get an Ice Pick, one has to kill Eremes, LoD or RSX, but they drop it at respectively 15%, 0.1% and 0.05%. But Eremes also drops Glittering Jacket at 90% or Exorciser at 35%. So 4.7% of the time, Eremes will drop at least these 3 items.

Procedural

Roguelikes generate a lot of their content procedurally. Unlike MMORPGs, roguelike drops are most of the time randomly-generated: monsters do not drop specific items at certain percentage, they drop classes of items.

Diablo (and Diablo II): the drop system consists of Treasure Classes (sets of items) and a drop process. When a player kills a monster, a first random number is used to determine which TC will be dropped. For Andariel, some of these TC are armo18 (1.02%), weap69 (0.017%) or nothing (28.35%). All monsters have the sum of their TC = 100%. In other words, 28.35% of the time Andariel will drop nothing, and the rest of the time, it will drop one item. Once the TC has been chosen, another random number comes out for "the odds". "The odds" is the chance a particular item is chosen from a TC. For the weap69 TC, the Eldritch Orb has 1/15 chance to be selected. In the end, a player has around 0.001% chance to drop exactly the Eldritch Orb from Andariel. But Baal also drops the weap69 TC at 0.54%, so Baal can drop Eldritch Orb at 0.54% * 1/15 = 0.036%. Finally, various elements such as the item property (fire, ice, ...), name prefixes/suffixes or durability are generated.

Scheduled

Team Fortress 2: the Item Drop System used to give (at 25% chance) a weapon to the player every 25 minutes of game. To avoid unlucky streaks that players complained about, Valve changed it: every time an item drops, the time of the next drop is determined.

RO bosses

Appearances and atmospheres

The Mummies series follow the same principle seen with Doom II monsters. A Mummy can first be encountered on the second and third floors of Pyramid dungeon. Then, on the fourth floor of Pyramid dungeon, Ancient Mummies appear, along with Osiris, a MVP. The higher the pyramid floor, the more difficult the Mummies, until Osiris at the fourth floor of the Pyramid. In my opinion, putting in parallel a spatial feeling of "going up the floors" and increasing the monster difficulty makes the player excited about "what's next floor?" and "will I be strong enough to kill them?".

As I described before, the atmosphere really matters to introduce the boss. In a video from Doddler fighting one of the last boss, Nidhoggur Shadow, a particular importance is given to the NPC broadcast in the area. Naght Siegel, the MVP standing at the top of Endless Tower required to empty all the floors of the tower during 2 hours and a half.

The game evolves

RO Vanilla

Golden Thief Bug is one of the first bosses of RO. It has always been in the game since its first launch in August 2002, along with Baphomet or Eddga. But after 7 years for kRO and 6 years for iRO, the players have started to kill these MVP very fast: less than 15 seconds for Eddga, 40 seconds for Baphomet and Golden Thief Bug in 50s.

And even without being totally "overpowered", some players find ways to exploit/use the system to kill MVP, such as this wizard using the warp as a protection to kill GTB, or this wizard killing Turtle General in 5 minutes with Ice Wall. I am obviously not talking about high-rate-server no-cast Creators inflicting ridiculously big damage to any monster (but "Hakuna Matata" in Portuguese is really cool!).

Episode 10 and after

However, Gravity game designers have realized their 200,000-HP 3k-attack MVP were not a challenge for high-level players anymore, and they progressively increased the difficulty of the MVP they released such as Lord Knight Seyren (1.6M HP, 10k attack) in the Episode 10.2 of March 2006, Gloom Under Night (2.3M HP, 7k attack) in the Episode 11.1 of May 2007, or Satan Morocc (20M+15M HP, 32k attack) in the Episode 12 of December 2008. At the same time, Gravity game designers also increased previous MVP such as Orc Lord which was granted the Earthquake skill, inflicting ridiculous damage. As Doddler writes:

Basically, earthquake is an extremely powerful attack that strikes all players on screen. Its based on the monsters physical attack power, though it is calculated as a magical attack. The key feature of earthquake is that the damage it deals is split across all players on screen. The more people who are within range of the boss monster when it casts the skill, the less damage the player takes.

But groups in RO are limited to 12 players, and as Doddler wrote when commenting (look for the "Orc Lord on Valkyrie" post) a video he recorded while fighting Orc Lord,

Like many earthquake MVPs, Orc Lord basically doesn't do anything that can be seen as a challenge other than earthquake. Unfortunately, earthquake is really a bad thing to deal with when you have no cranials, immunes, and limited access to assumptio. As you can see, our strategy generally involved simply falling over when it did end up using earthquake. More than that, the plan was to burn it down in a way that it would never use earthquake while in power up. We were successful in that, though just barely. Another 2 seconds and we would have been toast.

However, RO game designers also tried to innovate and create group strategies to beat MVP. MVP are no longer solo-able but require highly-organized players to group together. This new MVP design provided a challenging non-PvP activity for guilds. As Doddler writes,

The MVP's that I think gravity has done a 'good' job in making fun requiring interesting strategies to beat are:

Beelzebub - For reasons mentioned above [even though it is hard to coordinate the group, his attacks can be countered and his hellflys should be tanked as well, see Doddler's post for a full description]

Fallen Bishop - Same as beelzebub really but scaled down to be easier. Pneuma blocks hells judgement, sanctuary blocks evil land, magnetic earth stops dark/holy grand cross. Tank holds the whole crowd with evil armor... Holy cross will hurt but its managable (crusaders have 50% resist to holy so they're the best tanks). You can counter critical wounds with sacrifice if you need to but its not required here. If you can kill the banshees with an AoE (like focus arrow strike), its even easier. Could probably be done in a killer/priest/bard/scholar/tank combo.

Ktullanux - Textbook boss control. Split mob/boss on different tanks, counter stormgust knockback by using the terrain, block physical hits with safety wall. Ever use magic rod to counter his waterball? Its pretty cool.

Gloom Under Night - Very powerful physically but his abnormally slow attack speed and reaction time highlight defensive skills.

Atroce - Throws around some hefty attack power at high speeds. Pulse strike keeps you watching where you're standing but can be blocked, and you have to watch out for his magnum break counter to being attacked by multiple melee attackers. His two hand quick is scary, but it can be dispelled.

Kiel-D-01 - High powered melee attack, a powerful fire attack and a deadly dark blessing make Kiel tough, but his mob can be reduced drastically, and constant safety wall will keep the tank safe from his relatively slow attacks. Don't forget green potions.

Memory of Thanatos - Weaker than most people give him credit for. His main strength is in his mob, which can be mostly removed without problem. Exile really means you need two people that can take his hits, but otherwise its a simple exercise in monster control. If you can dispel his two hand quicken, its easier to just tank him on a magnetic earth than to use safety walls, as the magic is more destructive than his melee.

This might seem a blunt copy/pasting of Doddler's post, but I could not formulate it better and with more details.

Complaints

As Doddler explains in a RO's MVP System and it's Flaws post in April 2008, weaker MVP's can be killed in a very small group, some are even easy enough to take solo, with the high tier bosses taking a sizable party with many player roles and coordination, and the higher tier MVPs are harder to deal with, usually requiring anywhere from 5-10 people to properly fight. This system of weak, medium and strong MVP seems to provide an appropriate challenge to lower-, medium- and higher-skilled players. However, bosses are free for all, that is to say bosses are what would be referred to as world bosses in other MMORPG's, bosses that appear within the game world where any other players in the game world can attack, influence and interfere with bosses as you fight them. Except for Endless Tower and Orc Recollection, there is no instance.

As a result, some players often stay "camping" on a map, they wait for the monster's re-appearance to kill it first and get the drops. While Heimdallr, a community manager on iRO's forums, wrote he was sure that instancing will become more common in RO as time continues, MVPs are still wandering freely outside instances and are still being camped. A very common strategy consists of sending the same Monk character, capable of inflicting much of damage in one shot, in suicide missions. A player writes Champ solo Atroce really, /memo, fist, inn regen, buff, warp back rince and repeat. I actually mention this problem in my paper about RO private servers. As one of the main activities for high-level players is hunting MVP (along with WoE), camping Champions are spoilsports. A potential solution could be to let many MVPs use the Full Heal skill: this skill can only be used in an idle state (ie not in combat) and regenerates the all the HP of a monster. This happens naturally for all monsters in other MMOGs such as WoW.

Doddler also complained about MVPs. He listed 4 major points to fix:

• A too big contrast between frequently dropped mudflated useless items, and valuable rare (less than 1% drop chance) drops
• Players should play by the boss set of rules, not the opposite (RO game designers tried to address this with the post Episode 10 MVPs, see previous section)
• Ankle Snare, a Hunter skill used to trap monsters, works on MVP
• Earthquake, especially when MVP are in Power Up mode (attack and def multiplied by 3, cf Episode 10.3 monsters), deals ridiculously big damage to players

Even though I have played RO, I am not a RO expert as much as Doddler. However, I think that Earthquake requires really good gears and can be tanked by a party. Bosses in WoW sometimes require weeks to understand, see for instance Yogg-Saron's world first by Ensidia. Not all monsters can use Earthquake, and maybe those who can use Earthquake require the group to follow specific strategies yet undiscovered? Nevertheless, I perfectly understand how frustrating it can be to keep facing failure when trying to kill a boss because not everyone in the group has godly equipments such as Asprika (reduces 30% of elemental attacks, ie 30% of the damage received from Earthquake!). But these god equipments require items (only collectible in very coveted guild castles) to unlock painful long quests to accomplish, such as The Seals or Fallacious Okolnir.

Furcadia

From wikipedia

To know what Furcadia is, simply read wikipedia. Among other things :

• up since 1996, that makes it the oldest still up MMO
• MMOSG
• F2P, bonus items can be bought IG or on a special website
• users create content (integrated in what is called a "dream")
• anthropomorphic (cat, ferret, cow, bug, ...) avatars
• only 1 server, 4K player-peaks, current average of 2K
• player-brought content called Dreams

Experience

What follows is what I experimented, it is definitely subjective (that's what I felt) and biased (the current "context" I experimented this game is maybe very different from yours, were you to experiment this game by yourself).
Since it's free to play, let's try it.

Avatars

Arriving in the world, as usual, I have to create my avatar. Multiple avatars are possible on an account. Considering the possible character customizations (animal, gender, colors ...), everyone tends to look the same IG. Maybe is it because this game is quite old. Also in Ultima Online I found players looked quite the same, and these games use comparable graphisms. Moreover, almost all avatars' gender I met where "unspecified" (between male and female). Except me, I found no male avatar. Failry normal : "Women are social beings, like men, but social" (DB, June 2009).

Meeting people

Obviously, what do people do in MMOSG? They socialize. Actually, I found more people AFK than really present. Lots had a profile "currently at work". During my 20 minutes IG, no one talked to me. Some people were busy talking privately, surely in private channels or somewhere hidden from me. A few people publicly talked, in a slave language with weird characters - that could have been Russian.
After a while, I found a character asleep on cushions. Her name was Natial and she was, like many, from an undetermined gender. What was most striking was the description of her avatar displayed in my dialog bar (click on the screenshot to see it). Following the link written in her description, I felt on a website displaying her sexual, Furcadia-animal and some little other tastes. Obviously, this must be written to RP, but when people have to choose a background for their avatar, they quite often put sexual content. Maybe is it because they hardly dare mention such things IRL?

Dreams

Dreams are a very good idea. World areas brought by players can be a very valuable addition to the game experience. In Second Life, some players/inhabitants have carved or drawn wonderful artworks. But in Furcadia, the Dreams are actually pretty ugly (see the 2 screenshots). Maybe I went inside the worst dreams of the server?
Dreams are scripted by players. The interface is a basic notepad with a window containing triggers and effects. trigers, conditions and effects available remind me of Age Of Empires 2 scenario editor triggers. This tool is definitely not made for expert developers (compared to WoW LUA macros and add-ons for instance). Dream content is uploaded by players who have created the dream. An avatar enters a dream through a "warp", a white grid-cell on which he walks. When a player enters a dream, the content is downloaded. I hope for the server that the content is sometimes stored somewhere on player's computer, and not reloaded from the server each time the player access the dream. It is possible for player to access URL through the game. Websites can be displayed through the player default web browser automatically when going into a dream, when clicking on a link in an avatar description, and maybe in other ways I do not know.

Ergonomy

The interface for walking is not very friendly : mouse left-click on an adjoining grid-cell or arrow keys to move, but the "pavement grid" is diagonal/in staggered rows, so pushing "up" makes your avatar go top-right ... Pretty bad, but I think players can get used to that in less than a few hours playing.

Business Model

Considering the current dragon-avatar prices and the amount of people having a permanent dragon avatar, I understand how the game can survive. I honestly do not know if Furcadia owners are getting rich with their game, but I can believe this business model works sufficiently well.
Also, I have seen IG quite many avatars having a customized portrait. The cost is between $5 and $10 depending on the amount of slots bought at the same time. Furcadia is certainly old, but looking at the amount of virtual items they offer through their real shop, I believe their Business Model must have worked well. And I do not understand why the wikipedia page concerning micropayment still mentions MMOs use micropayment : $5 is way too much to be considered as micro (according to wikipedia thousands of micropayments are needed to reach a dollar scale).

My feelings

• soppy, mushy : after having read a lot of avatar descriptions such as "[Single, not looking]", "Heart-shaped face of seductress, or "if there's anything, just ask me [I might not be around]". Moreover, the game owners have had sufficient funds (through their real shop) to have their game still up. That means many people have bought goodies. And I dont like goodies ...
• small-range socialness : definitely an MMOSG, if you want to know new people, you have to move on. But that's a game, so it is easy to dare do something.