Menu
News
All News
Dungeons & Dragons
Level Up: Advanced 5th Edition
Pathfinder
Starfinder
Warhammer
2d20 System
Year Zero Engine
Industry News
Reviews
Dragon Reflections
Columns
Weekly Digests
Weekly News Digest
Freebies, Sales & Bundles
RPG Print News
RPG Crowdfunding News
Game Content
ENterplanetary DimENsions
Mythological Figures
Opinion
Worlds of Design
Peregrine's Next
RPG Evolution
Other Columns
From the Freelancing Frontline
Monster ENcyclopedia
WotC/TSR Alumni Look Back
4 Hours w/RSD (Ryan Dancey)
The Road to 3E (Jonathan Tweet)
Greenwood's Realms (Ed Greenwood)
Drawmij's TSR (Jim Ward)
Community
Forums & Topics
Forum List
Latest Posts
Forum list
*Dungeons & Dragons
Level Up: Advanced 5th Edition
D&D Older Editions
*TTRPGs General
*Pathfinder & Starfinder
EN Publishing
*Geek Talk & Media
Search forums
Chat/Discord
Resources
Wiki
Pages
Latest activity
Media
New media
New comments
Search media
Downloads
Latest reviews
Search resources
EN Publishing
Store
EN5ider
Adventures in ZEITGEIST
Awfully Cheerful Engine
What's OLD is NEW
Judge Dredd & The Worlds Of 2000AD
War of the Burning Sky
Level Up: Advanced 5E
Events & Releases
Upcoming Events
Private Events
Featured Events
Socials!
Twitch
YouTube
Facebook (EN Publishing)
Facebook (EN World)
Twitter
Instagram
TikTok
Podcast
Features
Top 5 RPGs Compiled Charts 2004-Present
Adventure Game Industry Market Research Summary (RPGs) V1.0
Ryan Dancey: Acquiring TSR
Q&A With Gary Gygax
D&D Rules FAQs
TSR, WotC, & Paizo: A Comparative History
D&D Pronunciation Guide
Million Dollar TTRPG Kickstarters
Tabletop RPG Podcast Hall of Fame
Eric Noah's Unofficial D&D 3rd Edition News
D&D in the Mainstream
D&D & RPG History
About Morrus
Log in
Register
What's new
Search
Search
Search titles only
By:
Forums & Topics
Forum List
Latest Posts
Forum list
*Dungeons & Dragons
Level Up: Advanced 5th Edition
D&D Older Editions
*TTRPGs General
*Pathfinder & Starfinder
EN Publishing
*Geek Talk & Media
Search forums
Chat/Discord
Menu
Log in
Register
Install the app
Install
Community
General Tabletop Discussion
*Dungeons & Dragons
With Respect to the Door and Expectations....The REAL Reason 5e Can't Unite the Base
JavaScript is disabled. For a better experience, please enable JavaScript in your browser before proceeding.
You are using an out of date browser. It may not display this or other websites correctly.
You should upgrade or use an
alternative browser
.
Reply to thread
Message
<blockquote data-quote="Crazy Jerome" data-source="post: 5999866" data-attributes="member: 54877"><p>I quibble over "blames" as what is done to the person here, but that is just a quibble ...</p><p> </p><p>I'm not sure that you can apply one word to this phenomenon, because I'm not sure that it is one thing that causes it, when it is caused, or that it is consistent. Plus, no doubt there are elements of human psychology, brain patterns, etc. here that we aren't equipped to answer.</p><p> </p><p>Consider the esoteric case of metre in poetry, for example. It's known that iambic pentameter (five pairs of stressed/unstressed sounds) generally is perceived by most English-speaking natives to have a richer/stronger/better/pleasing sound compared to iambic tetrameter (four pairs of stressed/unstressed sounds). It's an objective fact that if you do a controlled survey of native English-speaking natives, you will find this strong preference. You'll get a non-trivial number of people who will report that iambic tetrameter is "sing-songy" or something similar.</p><p> </p><p>Why this is so? I don't think anyone really knows, though I'm sure people have written guesses on it. The why is very subjective. Someone might be tempted to think that humans just like one better than the other. Yet, this isn't true, either. Reportedly, it does not hold for medieval French verse, which is often in iambic tetrameter, and does not generally produce a sing-songy vibe. Reportedly, there are similar differences in other languages. So the observation is something specific to those fluent in English--and usually adults, as children often like the sing-songy stuff.</p><p> </p><p>So we can easily contrive fictional examples that will be more or less jarring, implausible, etc. to a wide swath of people, but trying to understand why is difficult. My objection to the (non-ranting, non-edition warring) parts of the TA essay has never been that it wasn't after something worth seeking, but that it settles for a too simplistic answer. Why does X rip Bob out of immersion completely, Larry a little, and Shemp not at all? That's a good question.</p><p> </p><p>Edit: What I'm talking about here is the difference between characterizing a thing versus a tighter, more explanatory definition. If you want to characterize what this thing is in a word or phase, I think you can't beat "immersion breaking" or "breaks immersion". It's true, unobjectionable, clear, etc. If you want a word or phrase that explains why it happens concisely and objectively, I don't think there is any such animal.</p></blockquote><p></p>
[QUOTE="Crazy Jerome, post: 5999866, member: 54877"] I quibble over "blames" as what is done to the person here, but that is just a quibble ... I'm not sure that you can apply one word to this phenomenon, because I'm not sure that it is one thing that causes it, when it is caused, or that it is consistent. Plus, no doubt there are elements of human psychology, brain patterns, etc. here that we aren't equipped to answer. Consider the esoteric case of metre in poetry, for example. It's known that iambic pentameter (five pairs of stressed/unstressed sounds) generally is perceived by most English-speaking natives to have a richer/stronger/better/pleasing sound compared to iambic tetrameter (four pairs of stressed/unstressed sounds). It's an objective fact that if you do a controlled survey of native English-speaking natives, you will find this strong preference. You'll get a non-trivial number of people who will report that iambic tetrameter is "sing-songy" or something similar. Why this is so? I don't think anyone really knows, though I'm sure people have written guesses on it. The why is very subjective. Someone might be tempted to think that humans just like one better than the other. Yet, this isn't true, either. Reportedly, it does not hold for medieval French verse, which is often in iambic tetrameter, and does not generally produce a sing-songy vibe. Reportedly, there are similar differences in other languages. So the observation is something specific to those fluent in English--and usually adults, as children often like the sing-songy stuff. So we can easily contrive fictional examples that will be more or less jarring, implausible, etc. to a wide swath of people, but trying to understand why is difficult. My objection to the (non-ranting, non-edition warring) parts of the TA essay has never been that it wasn't after something worth seeking, but that it settles for a too simplistic answer. Why does X rip Bob out of immersion completely, Larry a little, and Shemp not at all? That's a good question. Edit: What I'm talking about here is the difference between characterizing a thing versus a tighter, more explanatory definition. If you want to characterize what this thing is in a word or phase, I think you can't beat "immersion breaking" or "breaks immersion". It's true, unobjectionable, clear, etc. If you want a word or phrase that explains why it happens concisely and objectively, I don't think there is any such animal. [/QUOTE]
Insert quotes…
Verification
Post reply
Community
General Tabletop Discussion
*Dungeons & Dragons
With Respect to the Door and Expectations....The REAL Reason 5e Can't Unite the Base
Top