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Improvisation vs "code-breaking" in D&D
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<blockquote data-quote="pemerton" data-source="post: 6743952" data-attributes="member: 42582"><p>I don't see how your reiteration of a preference for playing alignment in what Edwards calls the GURPS/simulationist style, and your expressed distaste for what Edwards calls the Sorcerer/narrativist style, shows that he is wrong to distinguish those two styles as reflecting significant differences of play approach within the RPGing community. To me it seems to reinforce the point that he has identified and relatively accurately described an important difference in play approaches.</p><p></p><p>I also think you have misunderstood Edwards comment about bushido (or chivalry, or whatever) in Sorcerer et al.</p><p></p><p>The point is not that any moral code must be shown to be false. The point of the sort of play approach he points to is that characters are subject to stress, and hence change. Your example of <em>suffering</em> for a code could easily be incorporated into that approach - the initial descriptor, which is expected to be placed under stress by play, might be something along the lines of <em>keeping to my oaths is no problem for <u>me</u></em>.</p><p></p><p>This also reinforces the point I made upthread, in response to [MENTION=3192]howandwhy99[/MENTION], that Ron Edwards is not any sort of post-modernist. His conception of <em>story</em>, and of the role of <em>character</em> within a story, is thoroughly modernist: the character has some sort of dramatic need, circumstances conspire to thwart the straightforward satisfaction of that need, and in overcoming those circumstances the character comes to realise that his/her initial conception of what s/he needed, and what his/her situation was, was in some sense incomplete or deficient. So at the resolution of the story, when the character has reached some sort of resolution in relation to the initial need, that resolution may be something which - at the beginning - the character would not even have recognised as speaking to his/her situation and his/her need. (In the more tragic version, the character ends up in a situation which s/he might - at the start - have counted as resolution, but in light of the changes to the character is now deeply inadequate or unsatisfying in some fashion.)</p></blockquote><p></p>
[QUOTE="pemerton, post: 6743952, member: 42582"] I don't see how your reiteration of a preference for playing alignment in what Edwards calls the GURPS/simulationist style, and your expressed distaste for what Edwards calls the Sorcerer/narrativist style, shows that he is wrong to distinguish those two styles as reflecting significant differences of play approach within the RPGing community. To me it seems to reinforce the point that he has identified and relatively accurately described an important difference in play approaches. I also think you have misunderstood Edwards comment about bushido (or chivalry, or whatever) in Sorcerer et al. The point is not that any moral code must be shown to be false. The point of the sort of play approach he points to is that characters are subject to stress, and hence change. Your example of [I]suffering[/I] for a code could easily be incorporated into that approach - the initial descriptor, which is expected to be placed under stress by play, might be something along the lines of [I]keeping to my oaths is no problem for [U]me[/U][/I]. This also reinforces the point I made upthread, in response to [MENTION=3192]howandwhy99[/MENTION], that Ron Edwards is not any sort of post-modernist. His conception of [I]story[/I], and of the role of [I]character[/I] within a story, is thoroughly modernist: the character has some sort of dramatic need, circumstances conspire to thwart the straightforward satisfaction of that need, and in overcoming those circumstances the character comes to realise that his/her initial conception of what s/he needed, and what his/her situation was, was in some sense incomplete or deficient. So at the resolution of the story, when the character has reached some sort of resolution in relation to the initial need, that resolution may be something which - at the beginning - the character would not even have recognised as speaking to his/her situation and his/her need. (In the more tragic version, the character ends up in a situation which s/he might - at the start - have counted as resolution, but in light of the changes to the character is now deeply inadequate or unsatisfying in some fashion.) [/QUOTE]
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