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It probably isn’t. Although I’m getting a bit stumped here because I feel like to explain further I’d have to just reiterate all the stuff I’ve already said.

Note that everything innerdude stated about stake setting is inimical to what I want from a role-playing game. There is a strand of Narrativist play born from those ideas and it’s usually this strand that people point to when they talk about a writers room approach and so on. I’ll illustrate...

So ultimately I think Narrativist play is more of an attitude and creative relationship between two people rather than a set of techniques, procedures or systems. I think this relationship will tend to gravitate toward selecting certain techniques and systems but not necessarily. This makes it...

To give an example of how this might play out if it was my group. So the guy who is captured refuses to escape because he’s taking some kind of principled stand. A trial happens and that guy speaks in his defence, addressing the subjugated crowd. He’s prepared to die fighting tyranny. Sounds...

I really like how incidental conversation stuff can subtly adjust and give more vibrancy to conflicts and sometimes be cool for it’s own sake. One common problem people have when they start running more Narrativist games is going too fast. In the worst case scenario it’s not really worth doing...

Here’s a simple scenario through which to analyse combat. Dead girl the Sorceress has the Amulet and three skeletons guarding her. She’s in some kind of ruined church. Sir Goodman and Happy Elf want the Amulet. Happy Elf also used to be Dead girls lover. Also if Dead girl dies the skeletons...

It’s not that it’s crunchy or tactical per say, I think if you’re going detailed you really need to add value given how much it ups the handling time. I think my base line for good combat is Sorcerer. It can do everything well and is reasonably light and so what am I actually getting when I add...

The main reason I wouldn’t is that I dislike a lot of the sub systems, I dislike the way magic is handled and it looks like it would be hard to give combat any kind of thematic weight. As opposed to say GURPS, which I could see working well, or HERO system, or cyberpunk 2020. To be ultra...

I’ve made multiple posts explaining the demarcation. I’ve done this on both on the level of intent, reward and how they’re facilitated by mechanics. If you’re still genuinely confused then I suspect we’re so far apart in out basic conceptualisations that nothing I say will satisfy you.

I mean I don’t think they’d phrase it that way but yeah. My pithy way of saying it is: In Narr you play to find out how it ends. In genre, you play to find out how we get to the end. Of course you don’t even need an actual end laid out. You can do it without a GM and no pre planned plot at...

Just for a fun, here’s an attack on Narrativism from a genre/oc play perspective. Art requires the artist to have a point, to make a statement about what it is to be human under these conditions. Having a statement isn’t something done by committee. There is no communal creation of art. Sure...

I know that I needed to do good genre play before I could consider the merits, or not, of Story Now. I think the big thing is that OC and Genre play provide wish fulfilment in a way that Story Now doesn't. Which is a really big deal because it changes the fundamental nature of the activity. So...

Well so the theory goes. Non dysfunction is treating the moral choices as open and consequential. Genre play treats them as set dressing because we all know your super hero isn’t going to kill anyone.

I think GM side constraint is one aspect. Fixed fictional positioning is another (which is a form of constraint). In fact constraint as a whole. The more constraint on what you can say, the more it feels like the fiction has it’s own causality. Anyway I think it works like that because...

The agenda part of the model is about social reward. So in theory you can’t discern what happens in the fiction, which is observable, with reward which is internal. In practice it’s more complicated because of course you can see what excites people and what they talk about and so on. Also, if...

Exactly. Now you just have to figure out why deep game play loops don't provide objective fun and you'll have got it. Remember that it's a social activity we're after, not 'just' story making.

You've got it wrong. Edwards is calling a particular agenda Narrativism. You're confusing an element of play for an agenda. Does that clear things up?

In modern GNS terms, where we get rid of the S and so are left with G and N. Then, let’s say about half of how of all play involves people trying to achieve an N agenda. Whether they know it or not and most of them don’t. So seen through a GNS lens, most groupings of play style are really just...

Thanks for the reply. Interesting response and not what I expected. This is full on no-myth play (at the scene framing level) and I personally wouldn’t think in these terms from about session three onwards. I mean I like ethical choices so they’re going to flavour the stuff I do but they...

I’ve got a thought experiment for you taken from the first session of an Apocalypse World game. So one of the characters is called Midnight, she’s like a sexy assassin type deal. As GM I want to know what her deal is as regards her priorities (you can read that as a mixture of world view and...