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Baby Spirit Tulip
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Well, it depends on what effect you're going for. I can't read your mind to tell what your intent is, but from what I can guess, you're going for a kind of broad spectrum of what the suggesters are supposed to do. Zack has a personality, and you as author theoretically have the power to display that personality by presenting us with a list of options to choose from (thereby selecting out options Zack would never choose or wouldn't come up with himself), but I don't know if you're actually using that guidance power, since there's usually a free suggestion option, and the range of suggestions offered generally covers a wide range, so the lists don't seem to have been displaying that personality bias so much. Which means that you're leaving that more up to us, which leaves us with a sort of split focus, where we not only have to decide what way Zack's should accomplish his goals, but also what those goals are in the first place. Like, how and why.
Which is actually a little unusual, I think. Most quest protagonists, we get a very strong idea what their goals are and then it's just our job to tell them how to do it. Like, their goals don't normally remain static, but generally their character arc is a result of the story and other characters and the consequences of what we have them do, more than the suggesters being asked more directly to decide what those goals will be themselves. When we are asked directly to decide goals, usually it's in its own "moment" sort of set aside from other decisions. With Zack, though, the feeling I get is that a lot of the time we're not only being asked what Zack should do, but also what we want to see. Which creates a sort of a muddle, where you have (for example) one set of suggesters who want Zack to Solve Problems and help people, and another set who want to see cute romance, and another set who want porn, and the voting for what to do now becomes disjointed due to people having different ideas of what those votes are supposed to lead to.
Zack's kind of different from your other protagonists, you see. I think. With Strela, for example, or Sev, they have much stronger personalities of their own, and what we were voting on was usually "how should I do this", not "what do I want". I mean sometimes we did make choices like that but, again, those choices were sort of separated from the others, usually in some sort of reflective or climactic moment. Zack's not like that, he seems to take direction on what he wants or is aiming for more often, and blended in more with his other choices.
Have you considered maybe doing the Dragon Romance thing, where sometimes you divide the vote out into two lists of options? Like, one for "what are we trying to do" and the other for "how should we try do that". Or like, having an aside every now and then, where you have a vote like "for this scene, Zack's motivation is to ____". Or something like that?
There are other options for how to take suggestions, besides voting. A lot of authors don't really sit down and set in stone what their suggestion rules are, but a lot of them use what we might call protagonist persuasion suggesting, where the protagonist selects among the suggestions given to them based on what makes the most sense to them personally. However, that's generally for protagonists who have more of their own personality and desires than Zack does. That one's suited for more strongly protagonost-character-focused quests.
For more problem solving quests, if you want to emphasize finding things out and solving mysteries and so on, I think usually it goes best to use a "best of" selection system for suggestions, where if someone manages to find the right or best option then you follow it. However, that tends to produce very competent protagonists, since the only way mistakes are made is if no-one manages to be smart enough, so it lowers the probability. And of course it presumes that there is a "right" answer in the first place, so again it works best in cases where a goal or motivation has already been set.
If on the other hand you just want the audience to choose where they want the story to go, then you go for a "branching novel" arrangement, where the choices basically boil down to a sort of, "here we are at the theme park what ride do you want to go on next" arrangement. Like you're sort of there just as an entertainer and the audience is calling out what tricks they want you to do. In that case, though, mystery and problem solving is shelved, and you do seem to want to have those elements there, rather than just asking people what kind of story they want to see you draw/write? There are mysteries and clues and such in Enemy Quest, that create a sense that we're supposed to be trying to piece them together and find out or solve things.
If you're very confident in your writing abilities, you could also just pick whichever options you, as an author, think will make for the best story. In that case you basically just use the suggestions to give you ideas. That can be frustrating for the suggesters during the stretches where they can't see the payoff to what they're seeing yet, and they might give up and stop suggesting because they don't see what effect they're having, so it's really risky.
Thing is, I think often what's being asked of us as suggesters, in Enemy Quest, changes? Like we're not always being asked to vote on the same kind of choice. Sometimes we're being asked "what do", sometimes "why do", sometimes "who do", and the thing is that it's not always clear which of those is the case, and that maybe sometimes we're being asked all of them, mixed up into one list of choices? So, perhaps that could be more clear.
So, I think my best answer to your question just there, what voting system to use, is "one which makes a clearer distinction between the types of choices we are making".
But the more complete answer I'd like to give is that maybe you should consider a non-vote-based system? If you want to keep Zack as a less personally driven protagonist.
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