They should use "come at me bro!"
Real gamists play lax, brah.
They should use "come at me bro!"
That said, there has always been very little focus on the "game" aspects of RPGs. Especially in comparison to other fields (boardgames, videogames).
I think these things are related, and it’s not just Edwards who does this. While there is something special about RPGs, it seems common to forget or neglect that they’re also still games. Until that changes, it’s going to be difficult to bridge that gap and cross-pollinate ideas from other types of games.Oh, I also found Edward's thesis that there is some special kind of Gamism related appeal that's unique to TTRPGs and not other games quite weak. I don't necessarily disagree that there is such a unique appeal, but I don't think he actually makes a case for it and doesn't do any real work toward explicating how and why such a thing might exist uniquely in the TTRPG space.
Yes, and to take it a step further, I think there's a certain hostility to gameplay in TTRPGs in general, that tends to masquerade as either a disdain for complexity, or through an implicit argument that allowing players to gain advantage through their decision making prohibits certain narratives.I think these things are related, and it’s not just Edwards who does this. While there is something special about RPGs, it seems common to forget or neglect that they’re also still games. Until that changes, it’s going to be difficult to bridge that gap and cross-pollinate ideas from other types of games.
This is absolutely genius. I'm reminded of Fantasy Craft's simple solution to the opportunity attack problem: moving adjacent to a foe consumes all of your remaining movement for the action. You can leave, but doing so will cost your second action, thus preventing you from attacking. The rule is even more practical when combined with your model, because creatures can simply modify the movement cost to leave spaces inside their threatened zone, something that could further be changed through actions or other features.3: Middara handles movement by having you pay to leave the square. For grid-based play, this is an (obvious in hindsight) improvement over the common approach in RPGs of paying the cost to enter a square instead. Special cases are basically a non-issue. If you have 3m of movement left, and it costs 4m to exit, you don’t exit. I also use this for hex movement. Terrain type can increase the cost to leave. If you don’t have the movement to do it in one day, it takes multiple days. You can also pay movement to move about inside the hex (e.g., searching for things).
Yes, and to take it a step further, I think there's a certain hostility to gameplay in TTRPGs in general, that tends to masquerade as either a disdain for complexity, or through an implicit argument that allowing players to gain advantage through their decision making prohibits certain narratives.
I think your first post was accurate.
It's been well-documented that the "G" in GDS was an afterthought.
Arguably, the "GS" in GNS is relatively non-existent for those who enjoy those playstyles; I have often thought that "GNS" is best viewed as a critique of prevailing play culture in an attempt to put forward a better foundation for "N" than it is a real attempt at explaining or understanding the other aspects of play.
That said, there has always been very little focus on the "game" aspects of RPGs. Especially in comparison to other fields (boardgames, videogames).
This is a bit broad. I don't characterize the "what game do you want to play on Sunday?" text chain that happens before each of my board game days as a part of gameplay. While I appreciate the description of the TTRPG endeavor as a whole, I don't think it's reasonable to describe the person doing book layout as playing a game, nor particularly helpful to articulating how and why gameplay is appealing as a part of TTRPGs.What always confused me was that the "simulationist" parts felt like, "the mechanics that support the roleplaying narrative or theme or setting," while the "gamist" parts felt like "the dice rolling that would be unreasonably difficult to fairly turn into narrative."
I guess I don't like categorizing things that way.
The more I think about TTRPGs, the more I think of them in terms of all the different modes of play. Not just the roleplaying, tactical combat, or hybrid modes of play at the game table. Honestly, I think the game session at the table is vastly overrated for what even constitutes gameplay.
The character building subgame is a part of the game. Some people just sit and build characters for some games. And that's playing the TTRPG. And the worldbuilding subgame. Some people fabricate worlds and never run a campaign in them. That's still playing a TTRPG. And the monster/adversary creating subgame. And the magic item subgame. And the class designing subgame. And the combat rules making subgame. That means that everyone is on the player spectrum, from the core game developers, the artists making pictures for the books, the DMs building worlds, the players playing at the table, or even the players sitting at home and making up characters.
The whole thing really bridges the lines between game, art, craft, and storytelling. It all fabricating to a framework that the other players (if there are any) validate and agree upon and build on top of. That's really what TTRPGs are. Creation, expression, collaboration, and agreement. And then starting over again and creating more. And there is no part of creative endeavor that isn't allowed in. It just has to be agreed upon.
TTRPGs are then a collection of minigames designed to create an experience that everyone agrees is the goal. The actual game is about sequencing and selecting the mode of play just as much as it is about executing the mode of play appropriately for... whatever it is you want to create. And fabricating the bridges between those modes of play sometimes on-the-fly.
It's like making chili. No matter how vehemently some people insist there can't be any beans in there... they keep showing up at a lot of tables without any complaints.
Very much agree with all this.I like my narrativism to be "enjoying a roleplaying game because of the story it generates"
I like my simualtionism to be "enjoying a roleplaying game because I enjoy seeing events play out in a realistic fashion"
I like my gamism to "enjoying a roleplaying game because it challenges me to use the rules in creative ways"
Note however that all three of your points in the first bit I quoted are neutral as regards the presence or absence of competition.The forge model is old, and we've moved on; assuming that a "game" MUST be about competition is a bit old-fashioned and does not reflect a lot of people's enjoyment of crunchy systems and complex rulesets.
This is a bit broad. I don't characterize the "what game do you want to play on Sunday?" text chain that happens before each of my board game days as a part of gameplay. While I appreciate the description of the TTRPG endeavor as a whole, I don't think it's reasonable to describe the person doing book layout as playing a game, nor particularly helpful to articulating how and why gameplay is appealing as a part of TTRPGs.
I was reading some old Forge articles and came across this one. In it, I found a very interesting method of roughly identifying gamist playstyles:
I thought it might be fun to talk about these as they relate to our individual preferences.
I think I am generally a #1. I enjoy acknowledging the way play happens at the table more than in the world, and it is fun to try and out-do your fellow players and/or the GM.
What about you?