The emergence of RPGing from out of wargaming is pretty fundamental to how the genre has been received, and has developed. The work on RPG design that led to games like Prince Valiant, Maelstrom Storytelling, Hero Wars/Quest, Apocalypse World is all about taking some of the formal characteristics of a wargame (eg numerical ratings of attributes, a very tight correlation between game elements and in-fiction elements, etc) but adapting them to allow a radically different sort of game play. (Vampire, I think, illustrates an aspiration at the radically different game play that has failed to undertake the necessary development and adaptation.)
If improv theatre aficionados had invented something like RPGing back in the early 1970s, what would it have looked like? Maybe something closer to
A Penny for My Thoughts? Which I personally don't consider a RPG at all, because it has no action resolution.
This is connected to the wargaming origins - it's an individual avatar version of training your squad/battalion/whatever from raw recruits to elite guards. Separating that idea of advancement from the narrow military focus is clever design. Linking it, in a narrative sense, to things like the
actual story of Ged's growth from apprentice to wizard (in the Earthsea books), or the
implied story of Conan's growth from wandering thief to warband leader to self-proclaimed king (in REH's Conan stories) is also clever design.
The fact that the actual
play of D&D - especially in its classic form - doesn't actually produce fiction that resembles either Earthsea or REH Conan, and yet this does not seem to have hurt the game's popularity, is a curious thing to me. It suggests that, at least for many player, trappings of fiction matter more than the deeper content of fiction.
Social interaction is not being done "for real", though. No one is actually persuading anyone of anything. To take an extreme example, so as to clearly illustrate the point: the 3E module Bastion of Broken Souls includes, as part of its set-up, an angel who is a "living key" to a gate - that is, the gate can only be opened by killing the angel. Now the module itself has some good ideas but terrible follow through, and in this particular case it tells the GM that the only way to open the gate is for the PCs to kill the angel in combat. But when I adapted the module into a Rolemaster campaign, I ignored the bad advice. And one of the PCs in my game reasoned with the angel, explained to her what was at stake and why it was essential to open the gate, and as a result the angel willingly permitted the PC to kill her.
But this doesn't mean that the
player actually persuaded anyone to let him take her life! It's all just pretend. Someone who is not
actually moved or persuaded is making decisions about whether an imaginary person
is moved or persuaded. There are many ways to structure and guide that sort of decision-making procedure, and "I think it makes sense that this rather thinly-described person would be moved or persuaded by that" is one of them, but not the only one.
Well, yes, if you have rules that don't produce the outcome you are hoping for, they will be bad rules. Vincent Baker makes that point nicely
here:
your rules impose a structured causality upon your game's fiction. If they were a good match in design, then in play the game works the way you meant it to. If they were a bad match in design, then in play the game doesn't work how you intended. Bold barbarian warriors maximize their armor and when they go into battle it's a matter of grinding ablation, not decisive action; your grim & gritty noir detective has to carry an assault rifle because a .38 won't kill a dude; the team of morning-cartoon superheroes bicker, bean-count their resources, and wind up working for the highest bidder.
If you want players to portray and inhabit vibrant characters, and your "influence points" rule is producing a tactical obsession with managing and hoarding points, then your rule is a bad one! That doesn't show, however, that it is impossible to have any other system of rules for structuring and guiding how someone decides that an imaginary person is moved or persuaded, beyond the ones suggested by
@Lanefan.