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Message: <blockquote data-quote="pemerton" data-source="post: 7103499" data-attributes="member: 42582">It's more complicated than that.For instance, whether or not there is a vessel in the room and whether or not the villain is my PC's father are both matters of backstory and setting. But they have very different relationships to the dramatic trajectory of play: the first is about the availability of means (something to catch blood) to an end (brining the blood to my master), and the player is not the one who put that end into play (the decapitation was the result of failure by the PCs to outrace the assassin); the second is itself about the dramatic stakes of the situation.Different systems use different approaches for establishing the availability and significance of means. Eg MHRP says that players can just narrate their existence, but its resolution system is very abstract, and so (eg) the Thing punching you and the Thing hitting you over the head with a steel girder (a means narrated into existence by the player) won't matter to resolution unless other mechanical steps are take (eg to turn the girder into an asset).Whereas BW is more strict about players narrating means into existence, and is much more gritty in its expectations about the relationship between fiction and resolution: for instance, if a player wants an iron bar for his/her PC to hit things with this can't just be narrated into being; a check will be required. But hitting with a fist vs hitting with an iron bar is mechanically significant in itself.Narrativist play is generally going to be averse to the idea that the whole situation, and every ficitonal element within it (girders, iron bars, vessels, NPC motivations) has been established in total, in advance by the GM without regard to the dramatic purpose the situation is serving at some particular moment of play.And so there you have one reason why Edwards might be right!That's what "story now" play is aimed at: story NOW!</blockquote>

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