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Is RPGing a *literary* endeavour?
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<blockquote data-quote="Aldarc" data-source="post: 7615475" data-attributes="member: 5142"><p>Yes, it is just like pemerton said in the OP: </p><p><img src="data:image/gif;base64,R0lGODlhAQABAIAAAAAAAP///yH5BAEAAAAALAAAAAABAAEAAAIBRAA7" class="smilie smilie--sprite smilie--sprite2" alt=";)" title="Wink ;)" loading="lazy" data-shortname=";)" /> </p><p></p><p>But the literary quality of a description that compares a horse to a Lamborghini would be wasted on someone who lacks the appropriate cognitive context to contextualize the utterance. The literary quality of the narration is unimportant in comparison with the GM's ability to describe a situation that engages the players' ability to motivate the players as players. I'm glad that you agree with pemerton. </p><p></p><p>Which is not being argued. Instead, I will suggest that pemerton would argue that "the GM's wordcraft was made for the player and not the player for the GM's wordcraft." The wordcraft is kinda immaterial (i.e., unimportant) if it fails to engage player participation and the creation of new fiction through play. I think that is his underyling point: what function does this wordcraft serve for the primary principles of gameplay? In other words, the wordcraft should not exist for its own sake - a manner that makes the players "an audience to a performance" rather than players - but for the sake of contextualizing the ability of players to act as players. </p><p></p><p>I again think that you are confusing a component with the whole. I don't think that it's necessarily the literary context that we need, but, rather, it's the cognitive context. Our sense for "vampire" is not purely literary by any means. It's cultural. It's oral folk stories. It's transmitted to us through play. It's imaginative. It's visual. It can even be audial. Our cognitive context with RPGs extends far beyond its literature but extends to a wide variety of cultural clues that can become mentally triggered through the play experience. </p><p></p><p>I don't think that it is necessarily about skipping over the source material but providing narration that serves the participitory functions of the GM and player in creating the fiction through play. Pemerton, for example, says that the player should not be treated as a passive audience member to the GM's narration.</p></blockquote><p></p>
[QUOTE="Aldarc, post: 7615475, member: 5142"] Yes, it is just like pemerton said in the OP: ;) But the literary quality of a description that compares a horse to a Lamborghini would be wasted on someone who lacks the appropriate cognitive context to contextualize the utterance. The literary quality of the narration is unimportant in comparison with the GM's ability to describe a situation that engages the players' ability to motivate the players as players. I'm glad that you agree with pemerton. Which is not being argued. Instead, I will suggest that pemerton would argue that "the GM's wordcraft was made for the player and not the player for the GM's wordcraft." The wordcraft is kinda immaterial (i.e., unimportant) if it fails to engage player participation and the creation of new fiction through play. I think that is his underyling point: what function does this wordcraft serve for the primary principles of gameplay? In other words, the wordcraft should not exist for its own sake - a manner that makes the players "an audience to a performance" rather than players - but for the sake of contextualizing the ability of players to act as players. I again think that you are confusing a component with the whole. I don't think that it's necessarily the literary context that we need, but, rather, it's the cognitive context. Our sense for "vampire" is not purely literary by any means. It's cultural. It's oral folk stories. It's transmitted to us through play. It's imaginative. It's visual. It can even be audial. Our cognitive context with RPGs extends far beyond its literature but extends to a wide variety of cultural clues that can become mentally triggered through the play experience. I don't think that it is necessarily about skipping over the source material but providing narration that serves the participitory functions of the GM and player in creating the fiction through play. Pemerton, for example, says that the player should not be treated as a passive audience member to the GM's narration. [/QUOTE]
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