NOW LIVE! Today's the day you meet your new best friend. You don’t have to leave Wolfy behind... In 'Pets & Sidekicks' your companions level up with you!

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Message: <blockquote data-quote="Crimson Longinus" data-source="post: 8286380" data-attributes="member: 7025508">Yes, exactly.I feel that you're using incredibly narrow definition of a story. There can be many different kinds of stories. East Asian kishōtenketsu story structure is rather differnt from the western dramatic structure, and other cultures have other patterns. And of course many stories from these cultures do not actually follow the pattern. Some stories are descriptions of real events, and thus cannot follow any specific structure, albeit the narrator may emphasise certain elements to create dramatic resonance (story is not just sequence of events, it is also how those events are described.) Story that doesn't follow a certain pattern doesn't stop being a story; it may be a boring or bad story, or perhaps it could be refreshingly surprising one. I feel the latter is what many of us want from RPGs. And there are many things that make 'a good story,' I feel that what [USER=16586]@Campbell[/USER] is talking about, living in the moment, creating a visceral real experience, it is still about creating a good story, because a story that has that is good.We cannot disconnect ourselves from our narrative preferences when running a game (nor should we try to.) It just is that differnt people do it differently, some are more like jazz players riffing on feels, whereas others think the story on more technical level, or more likely some vague mix of both. We have experienced various sorts of stories all our lives, the patterns, clichés, tropes are ingrained into us. And for a reason; they resonate. So whether you're planning to do so or just going with feels, this will affect you. When a GM invents things they're channelling their ambient understanding of stories. How many dungeons have series of weaker foes, with the big boss in the end? From rising action to the climax. And if we were to just improvise an adventure on spot, most people would probably improvise something closer to this pattern than first fighting the big boss, winning, then fighting some random unconnected kobolds. Even when Campbell is searching for 'what feels real at the moment' they're channelling certain sort of stories, albeit probably more the tone than the structure (not that these are completely unconnected either.)So what I am saying there is not some binary either or situation, it is a continuum, with improvised riffing on feels influenced by your general understanding of stories on the other end and a predestined railroady adventure path on the other, most games probably falling somewhere in the middle.</blockquote>

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