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Regardless of whether other people are onboard with it, it requires an understanding of the game. You can't make a good DooM mod, unless you know what makes DooM tick, and if you start smuggling stuff like regenerating health, ADS, cover peeking and all that into it, you'll end up with a way...

I studied as a software engineer and met tons of this type at university. Mine generalization would also include complete lack of actual technical skills despite the inflated ego.

I've recently played in a Cortex game that strived to capture the feeling of Honk Kong action cinema (and, I think, Lucha Libre, but that flew right over my head), which I think, is relevant to beat'em ups. Each scene was chock-full of aspects describing the environment and the bulk of the...

Eh? PbtA and FitD aren't even remotely similar to Fate? Maybe I'm lost at what you mean by "metagaming" here, but neither Blades in the Dark, nor Apocalypse World don't require any. That's the reason I like them: I can just play the damn game and it works, while in D&D and its ilk I basically...

I'm not entirely sure I understand your point here. Yes, a particular person can learn about something included in E from a particular role-playing system that includes it in its S, but this something exists irrespective of the system and could be learned from another source (including, for...

Eh, kinda? Like, first, the "standards of quality" are inherently lower, as you by default have higher investment in the process (and the characters, and the Premise), and, second, while guaranteeing that every single story will be great, it is possible to guarantee that the moment it will start...

Well, the rules themselves are rarely static too! Sometimes directly like DCC with it's dedicated funnel, sometimes indirectly, like picking a playbook, and then moves, and then advancements in AW. The way I see it, venturing into dangerous territory outside of consensus necessitates...

I'm not entirely sure if countability here even applies, as we are not operating with numbers. I'd say the set of all possible transcripts from an RPG campaign is a countable infinity, as, say, representing each as Unicode chars is an injecture function that would map transcripts to natural...

It's a proof by contradiction, the point is that o cannot belong to S, but not to E, it's impossible, so S is a subset of E.

To put a discussion of simulationism aside (maybe it should be moved to another thread?), I have this theory that I've jokingly called it Super Theory of Super Everything, and I keep postponing putting it to paper. So. There's an infinite set E, that contains everything, everything, Super...

Aside VII (I think?): on immersion and abstractions Immersing oneself in the fictional world is the job of the player. It takes conscious effort to "forget" that you are actually not in a trap-riddled tomb, but here in the real world, with a cigarette in one hand and a half-eaten slice of pizza...

It wasn't directed at me, but I think that fear has zero to do with the reality. Both the position and the effect are almost always just plain obvious from the narration, and when they aren't, confusion is cleared in less than a sentence.

I do not dispute that. I don't really want to get into discussing what "real" means, but I'd say Tolkien's orcs are "real" (OK, I haven't read anything of Tolkien, so this is my assumption), in a sense that it's possible to verify a particular depiction for integrity and do research about them...

I've had in mind something closer to "GM invented this deep setting with tons of lore hidden in the depths of her google docs" rather than "we play in a setting that everybody can just look up and call the GM out if what she says contradicts the lore".

Can we call the drama "emergent" if it is consciously engineered? It's not like the character just happened to be a person that would be interesting to watch interacting with these world facts, no, the character was grown in a lab. (and then, if it is a completely fictional world, those facts...

Would creating characters that will milk the world facts for maximum drama not be dramatism?

I'm running a Fate game set right before 1986 Jeltoqsan events, and is planned to culminate in, well, Jeltoqsan, when a student demonstration of Qazaq people was violently suppressed by the soviet regime. It is a dramatic game, things that happen to the characters are engineered to deal with...

As someone who likes, among other things, down to earth games set in real world, precisely because I can do research about the place and time, I find the idea of realism when it comes to orcs, goblins and trap-riddled tombs inherently silly.

I'm certain this game exist already and I'm going to look for it. In the meantime: There are three Blades-like phases: Exploration Downtime Pathfinding each session is played in this order, regardless of the events of the previous one: treat each session as a standalone episode — characters...

I'd say "dramatic needs" is a misnomer in this discussion. Creating things for the purposes of them being interesting is also decidedly non-sim, while being unbothered with the characters. Consider this hypothetical game: World is composed of hexes, about 1-mile in diagonal. When you lead the...