The topic of this thread is well-trodden ground, but there doesn't seem to be an active thread about it. And I have some things I want to say about it.
I'm going to speak from the GM side, because I mostly GM although I do have an active PC in an active campaign that I wish I could play more of.
Generally, as a GM I want to present the fiction of the game in such a way that the players - in declaring actions for their PCs - engage the fiction rather than me. This means that (i) I want the fiction to be reasonably compelling, and (ii) I want the fiction to have obvious available "points of contact", and (iii) I want the fiction to be laden with evident possibility.
For me, (i) is about establishing situations (and the setting behind it) with an eye to the themes established by (a) the game and (b) the players. Example from my current Classic Traveller campaign: the situations should evoke sci-fi tropes and ideas (and so eg not just be D&D dungeons repainted); and one of the PCs is a former Imperial Marines cutlass champion, and so I want situations to come up that make being a former Marine, and a champion with the cutlass, matter.
This means that when the players "look through the eyes" of their PCs they see a fictional situation that speaks to them - and so they engage with it.
(ii) follows from these approaches to (i). Situations that speak to the players as players of their PCs will tend to have things that the players want to change or interact with. As a GM, I try to maximise rather than minimise this feature of situations. Because minimising them tends to produce thinking about me - eg along the lines of what does the GM expect us to do here - whereas providing clear and plentiful points of contact leads the players to inhabit their PCs and use them to engage the fiction on the fiction's own terms.
(iii) follows, in turn, from the approach to (ii). If the players can see lots of ways to engage the fiction, then they can see all sorts of possibilities open to them, which they can push towards with their action declarations. This makes the fiction seem worth engaging with on its own terms, rather than making it like a crossword puzzle or sudoku with only one correct answer or predefined path which the players know is located in my mind (or notes) as GM.
Some final comments/reflections: I don't run a game that is completely devoid of "metagame thinking" or reflecting on the game as a shared social experience. In our 4e game one of the players always tries to keep something in reserve in the first few rounds of a combat encounter because he thinks "pemerton always has something up his sleeve - a twist, or a new opponent - and so I want to be ready for it". In our current Prince Valiant campaign I hit one of the players with a fiat effect that makes him long for a lady he rescued from danger although he is married to a different woman. After the resolution of one particular situation where this came into play I cheekily described myself to this player as a fair GM - he disputed that, but said "It's fun." That's a judgement about the fiction and the play of the game from outside, not from within.
Given that we play these games as games, for fun, I think it would be silly to try and eliminate that sort of thing. But still I want the players' first thoughts, when they decide what their PCs do, to be about the fiction - what is this that we're confronted with? - and not me - what is the GM doing to us?
And at least from my experience I think it's completely hopeless to try and do that by enforcing a "no metagame" rule at the table (which seems almost self-defeating), or to try to encourage immersion by layering on the rich descriptions etc. As I've tried to explain, it's about the way I as GM offer up the fiction as something for the players to engage with in their play.
Thoughts?
I'm going to speak from the GM side, because I mostly GM although I do have an active PC in an active campaign that I wish I could play more of.
Generally, as a GM I want to present the fiction of the game in such a way that the players - in declaring actions for their PCs - engage the fiction rather than me. This means that (i) I want the fiction to be reasonably compelling, and (ii) I want the fiction to have obvious available "points of contact", and (iii) I want the fiction to be laden with evident possibility.
For me, (i) is about establishing situations (and the setting behind it) with an eye to the themes established by (a) the game and (b) the players. Example from my current Classic Traveller campaign: the situations should evoke sci-fi tropes and ideas (and so eg not just be D&D dungeons repainted); and one of the PCs is a former Imperial Marines cutlass champion, and so I want situations to come up that make being a former Marine, and a champion with the cutlass, matter.
This means that when the players "look through the eyes" of their PCs they see a fictional situation that speaks to them - and so they engage with it.
(ii) follows from these approaches to (i). Situations that speak to the players as players of their PCs will tend to have things that the players want to change or interact with. As a GM, I try to maximise rather than minimise this feature of situations. Because minimising them tends to produce thinking about me - eg along the lines of what does the GM expect us to do here - whereas providing clear and plentiful points of contact leads the players to inhabit their PCs and use them to engage the fiction on the fiction's own terms.
(iii) follows, in turn, from the approach to (ii). If the players can see lots of ways to engage the fiction, then they can see all sorts of possibilities open to them, which they can push towards with their action declarations. This makes the fiction seem worth engaging with on its own terms, rather than making it like a crossword puzzle or sudoku with only one correct answer or predefined path which the players know is located in my mind (or notes) as GM.
Some final comments/reflections: I don't run a game that is completely devoid of "metagame thinking" or reflecting on the game as a shared social experience. In our 4e game one of the players always tries to keep something in reserve in the first few rounds of a combat encounter because he thinks "pemerton always has something up his sleeve - a twist, or a new opponent - and so I want to be ready for it". In our current Prince Valiant campaign I hit one of the players with a fiat effect that makes him long for a lady he rescued from danger although he is married to a different woman. After the resolution of one particular situation where this came into play I cheekily described myself to this player as a fair GM - he disputed that, but said "It's fun." That's a judgement about the fiction and the play of the game from outside, not from within.
Given that we play these games as games, for fun, I think it would be silly to try and eliminate that sort of thing. But still I want the players' first thoughts, when they decide what their PCs do, to be about the fiction - what is this that we're confronted with? - and not me - what is the GM doing to us?
And at least from my experience I think it's completely hopeless to try and do that by enforcing a "no metagame" rule at the table (which seems almost self-defeating), or to try to encourage immersion by layering on the rich descriptions etc. As I've tried to explain, it's about the way I as GM offer up the fiction as something for the players to engage with in their play.
Thoughts?