I don't really follow this. Are you able to give an illustrative example?The deeply problematic part come if you start making claims of the form that the set of interests that do not match with two distinct techniques are the same. And this seemed to be what the forge project was about - abstracting interests, under the assumption that there was a one to one correspondence between the (very few) interest categories it found and a sizable set of various techniques.
Yes. And that it - as per Tuovinen's essay, which follows Ron Edwards pretty straightforwardly - a mode of simulationism. Which is what I posted.In this example the GM has prepared a major piece of lore, and have several ideas for things they would like to express. Curiosity for what the other players are bringing to the table is not part of the prime motivation.
Huh? I haven't done that. If you want to do what you've just described, you need a system with strong GM powers.Could you imagine it might be possible for me to state "I really like to make up good stories as a form of self expression. It is so nice to have the other players as an audience!" without you reflexively pointing out that "then you might want to consider a system with reduced GM powers compared to trad"?
I don't follow this at all. An "allmighty GM" approach is pretty handy for the GM to engage in self-expression.In this context I would say that the key observation they had was that if a GM is primarily interested in self expression, this particular interest is poorly compatible with the standard system used in RPGs everywhere of an "allmighty GM".
Setting-based narrativist play is not as widely discussed as character and situation-based play, but Edwards gives examples here: The Forge :: Narrativism: Story Now. At the time he was writing, the standout example was HeroWars. I think 4e D&D is another example. The point of the setting is to establish the theme/premise/moral line that play is concerned with. As well as some fun colour.I challenge you to find a way to formulate a motivation that would describe why someone would prepare an elaborate setting like this for a narrative game?
Edwards had a fuller essay on setting-based narrativism 10 to 15 years ago, but it doesn't seem to be online anymore.