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<blockquote data-quote="pawsplay" data-source="post: 4260599" data-attributes="member: 15538"><p>Something that did not go in my OP is a concept I usually call "meaningful choices." A meaningful choice is when you get to decide, and that decision affects something in the game. It doesn't have to an exciting choice. Just as an example, most games offer meaningful choices for character names; you can pick anything you like, within the constraints of the game world. </p><p></p><p>Now, as to what choices to offer, strategically that is folded under Design in the OP, and the goal is the fulfillment of expectations of excitement. </p><p></p><p></p><p></p><p>To me, that means certain kinds of challenging, exciting, emotionally acticating events occur. The first basic task is pretty obvious; until you get people imagining the game world, nothing happens. The second is when you draw people in. But it's possible to be drawn into a game and be disappointed. The third basic tasks is essentially "try not to disappoint people," or to put it in a positive light, "give the people what they want." Task 2, engaging the players, addresses their meta-game wants. They are now goal-seeking. Task 3, fulfill their expectations of excitement, essentially means to provide tasks, challenges, drama, excitement and so on. That's where "interesting choices" would go, more or less.</p><p></p><p></p><p></p><p>I think my answer would be to say I use the phrase "meaningful choice" because you can make a lot of choices that are yours to make which are not, per se, interesting in and of themselves. They might be quite minor, or they might add interest only in concert with other choices. What is important to me is that, within the framework of the rules, each player is free to make the choice they prefer.</p><p></p><p></p><p></p><p>That is the meta-game, what I call design. The immersion in Monopoly takes the form of accepting the Monopoly money as having value, viewing the game events as acquisition, and striving competitively against the other players. Some D&D players don't get much beyond that level of immersion, either, but they are still playing the same game as the next guy. That's where I get my idea of story as a feedback between interpretation and decision-making. To me, an RPG story does not have to be like a story in literature. </p><p></p><p>I agree, different strokes for different folks. I reject the idea of "incoherence" in meta-game goals. The meta-game can have very complex goals. Or very simple ones. GNS describes a lot of the "how" in design, but I reject is as a model of "why". I don't think G, N, or S, is the primary goal. Those are just facets of the mega-game, and not mutually exlclusive ones, either. I don't know if a game can be "all things to all people" but some come close, and many of those are very successful. I think D&D has more going for it than brand recognition. I think one of those things is a very solid immersive experience, and many opportunities to play all sorts of meta-games.</p></blockquote><p></p>
[QUOTE="pawsplay, post: 4260599, member: 15538"] Something that did not go in my OP is a concept I usually call "meaningful choices." A meaningful choice is when you get to decide, and that decision affects something in the game. It doesn't have to an exciting choice. Just as an example, most games offer meaningful choices for character names; you can pick anything you like, within the constraints of the game world. Now, as to what choices to offer, strategically that is folded under Design in the OP, and the goal is the fulfillment of expectations of excitement. To me, that means certain kinds of challenging, exciting, emotionally acticating events occur. The first basic task is pretty obvious; until you get people imagining the game world, nothing happens. The second is when you draw people in. But it's possible to be drawn into a game and be disappointed. The third basic tasks is essentially "try not to disappoint people," or to put it in a positive light, "give the people what they want." Task 2, engaging the players, addresses their meta-game wants. They are now goal-seeking. Task 3, fulfill their expectations of excitement, essentially means to provide tasks, challenges, drama, excitement and so on. That's where "interesting choices" would go, more or less. I think my answer would be to say I use the phrase "meaningful choice" because you can make a lot of choices that are yours to make which are not, per se, interesting in and of themselves. They might be quite minor, or they might add interest only in concert with other choices. What is important to me is that, within the framework of the rules, each player is free to make the choice they prefer. That is the meta-game, what I call design. The immersion in Monopoly takes the form of accepting the Monopoly money as having value, viewing the game events as acquisition, and striving competitively against the other players. Some D&D players don't get much beyond that level of immersion, either, but they are still playing the same game as the next guy. That's where I get my idea of story as a feedback between interpretation and decision-making. To me, an RPG story does not have to be like a story in literature. I agree, different strokes for different folks. I reject the idea of "incoherence" in meta-game goals. The meta-game can have very complex goals. Or very simple ones. GNS describes a lot of the "how" in design, but I reject is as a model of "why". I don't think G, N, or S, is the primary goal. Those are just facets of the mega-game, and not mutually exlclusive ones, either. I don't know if a game can be "all things to all people" but some come close, and many of those are very successful. I think D&D has more going for it than brand recognition. I think one of those things is a very solid immersive experience, and many opportunities to play all sorts of meta-games. [/QUOTE]
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