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Is RPGing a *literary* endeavour?
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<blockquote data-quote="pemerton" data-source="post: 7603730" data-attributes="member: 42582"><p>Clear enough, but it doesn't capture what I'm talking about, because - for instance - it renders ordinary conversation a species of performance.</p><p></p><p>That usage is fine enough for a certain sort of cultural studies or communication theory seminar, but doesn't map onto what I'm saying in this thread.</p><p></p><p>Correct. Evard's tower is in the game because there is a character - Aramina - who wants spell books, and specualted that Evard's tower is in the neighbourhood. (At the table, this is player introuced content, confirmed by a successful Great Masters-wise check.)</p><p></p><p>No one is interested in Evard's tower except as a site to meet Evard and (perhaps) find his magic. The tower, itself, is just a plot device.</p><p></p><p>When Thurgon and Aramina were in an abandoned chapel of the Iron Tower the architecture got more attention, although even then it wasn't a principal focus of play. </p><p></p><p>When we play 4e, and therefore have to use tokens, I pull out my bags of old plastic coloured children's boardgame counters. <em>The green ones are orcs</em>, <em>the big yellow one is an ogre</em>, etc. When I needed bigger tokens for T-Rexes, purple worms etc I cut out cardboard of the appropriate size and did my best (= not very good) sketch of a dinosaur, worm, etc. The fanciest token I ever made was copying and reducing a picture of Orcus from the MM to paste onto my 4x4 cardboard counter for Orcus.</p><p></p><p>The players's sense of why orcs can't just be ignored doesn't derive from the counters, but from their knowledge of the system (fighting orcs can hurt) and of the fiction (the orcs aren't their friends).</p></blockquote><p></p>
[QUOTE="pemerton, post: 7603730, member: 42582"] Clear enough, but it doesn't capture what I'm talking about, because - for instance - it renders ordinary conversation a species of performance. That usage is fine enough for a certain sort of cultural studies or communication theory seminar, but doesn't map onto what I'm saying in this thread. Correct. Evard's tower is in the game because there is a character - Aramina - who wants spell books, and specualted that Evard's tower is in the neighbourhood. (At the table, this is player introuced content, confirmed by a successful Great Masters-wise check.) No one is interested in Evard's tower except as a site to meet Evard and (perhaps) find his magic. The tower, itself, is just a plot device. When Thurgon and Aramina were in an abandoned chapel of the Iron Tower the architecture got more attention, although even then it wasn't a principal focus of play. When we play 4e, and therefore have to use tokens, I pull out my bags of old plastic coloured children's boardgame counters. [I]The green ones are orcs[/I], [I]the big yellow one is an ogre[/I], etc. When I needed bigger tokens for T-Rexes, purple worms etc I cut out cardboard of the appropriate size and did my best (= not very good) sketch of a dinosaur, worm, etc. The fanciest token I ever made was copying and reducing a picture of Orcus from the MM to paste onto my 4x4 cardboard counter for Orcus. The players's sense of why orcs can't just be ignored doesn't derive from the counters, but from their knowledge of the system (fighting orcs can hurt) and of the fiction (the orcs aren't their friends). [/QUOTE]
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