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Message: <blockquote data-quote="Crazy Jerome" data-source="post: 5565178" data-attributes="member: 54877">Well, I am on record as saying that I think the game our group wants doesn't exist yet. It is why I keep messing around with homebrews, despite game design not being some huge desire on my part. (I cook because I like to eat good food, not because I'm that wild about cooking. I mess around with game mechanics for the same kind of reasons. <img src="https://cdn.jsdelivr.net/joypixels/assets/8.0/png/unicode/64/1f642.png" class="smilie smilie--emoji" loading="lazy" width="64" height="64" alt=":)" title="Smile    :)"  data-smilie="1"data-shortname=":)" /> ) It isn't the crunch of BW that requires the energy, for us, BTW. It is that to make it sing, you have to push the BITs constantly to drive the reward cycle. We know how, and it is fun, but it is not something that we can just kick back and do without investing in it. Getting back on the main topic, I suspect that good fictional positioning tools are somewhat different for "develop in play" styles, than other options (e.g. lots of character background in a pure exploration game, themed game, or many variations of character development games). So far, I'm aware of three ways that fictional positioning has been handled in DiP: 1. Jazz Improv - improvizational decisions, heavily driven by someone, usually a GM, but with everyone else having lots of "riff" freedom within the driven structure - there is a trap in the room because your thief started looking, and the GM thought it sounded good. 2. Discovery via mechanics - there is a trap in the room because your thief rolled and found one.  3. Discovery via narrative/flags/etc - there is a trap in the room because you wanted your "thief" to try to disarm one. That's got all kinds of holes in it, but it will do for a rough and ready start. Obviously, there can be some overlap (e.g. mechanical means to exert narrative).  You'll note that all of these techniques set off warning bells for pemerton's issue on the relations of the fiction to the mechanical currency, which might best be seen in contrast: There is a trap in the room or not. You suspect there is due to some fictional clues. You now react to this situation (using whatever is appropriate from your character sheet and in the situation).  The trap being there (or rather, suspecting it might be) is a concrete fictional element to which the players can react.  Techniques designed to yield other benefits (e.g. I can narrate something appropriately interesting for my character) are doing so by messing with this relationship. What I have not seen much explored is approaching DiP with the situation being set and the character being the mutable piece: There is a trap in the room or not. You suspect there is due to some fictional clues. You suddenly "discover" that your character knows how to handle this. Or not.  Since I'm approaching the question obliquely, I'd better stop there to check if I'm making a glimmer of sense. <img src="https://cdn.jsdelivr.net/joypixels/assets/8.0/png/unicode/64/1f61b.png" class="smilie smilie--emoji" loading="lazy" width="64" height="64" alt=":p" title="Stick out tongue    :p"  data-smilie="7"data-shortname=":p" /></blockquote>

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