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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...

I mean... If one purposefully avoids interesting dramatic developments and strives to them only ever happening on accident, a longer campaign obviously has more opportunities for cool dramatic interactions to happen randomly.

MUJIK IS DEAD is Innovative and different, with all players controlling the same character Thematically distant from traditional gung-ho adventuring, instead focusing on terrifying, down to earth, horrors of life like domestic violence, drug addiction, soul-crushing job and mounting medical...

This reeks of "no true scotsman" stuff. Oh, yeah, it's always the GM's fault, only if you had a good GM... I've had good GMs who don't waste my time with pointless drek. The problem is that they all ran their games as if it was Apocalypse World, and at that point, why not just play Apocalypse...

As of granularity, the most granular game I've ever had was on Fate. Like, there were separate statblocks created using Fate Bronze Rule for the character, their weapon, the calibre of their weapon, their body armour and each piece of cover at the battlefield. Granted, yeah, it was done for two...

That heavily depends on what you view as "rules light system" here. If it's something like "lol, roll dice and the GM will decide", yeah, it's false economy. If it does have a structure, though, even if it's not written for a damn computer to parse, then I disagree. Like, vehemently disagree.

I honestly can't comprehend why authoring things can possibly contradict immersion. I'd say the ability to bring the things you want to see up without having to resort to purely meta-game talk is a prerequisite for immersion.

Eh, I don't think so. I'm actively playtesting my game that involves exactly that: two people tell a story using a prompt until the moment they disagree, then they play a fighting mini-game and the winner narrates how the scene ends, no restrictions. I bring it to parties and it works alright...

Заколдованная Страна has a text adventure PC version that more or less captures the entirety of the game. There's also Эра Водолея (Age of Aquarius), anime occult detective game that is basically WEG Star Wars, but reskinned.