This is a description of "simulationist" play, if that term is used in the sense that Edwards and Tuovinen use it: the GM invests their content (prepared for "story hour" and/or "substantial exploration") with significance. It is not talking about law vs chaos as a premise for "narrativist" play.
This seems to be a description of "substantial exploration".
The issue - of how play of a RPG encourages, or demands, addressing premise over appreciating a situation or a setting or a story - is I think fairly well known now. It's been widely discussed for over 20 years, and many RPGs have been written that exemplify it.
The scene framing rules, in combination with "intent and task" resolution and with the rules for player authorship of Beliefs and Instincts.
What feels like less travelled ground in the conversation to hand is
the way in which these games mechanics (rough as they were) helped to achieve a heightened understanding of characters' internal states
a legacy of embedding character mentality into the mechanics of the game to help us immerse into our characters those games brought to the table that inspired Narrativist designs [Campbell]
I look at how I play Aedhros and Thurgon, and the pleasure that I get from that inhabitation, and think about where it fits in this "simulationist"/"narrativist" contrast. I think I'm mostly on the "out of Sim" side of things, because of a degree of proactivity about emotional thematic issues, but I don't think it's a huge distance that we're talking about here. When it comes to Aedhros, I can almost pin it down to one moment of play [your good self]
To say "poof, you're out of Sim" of course implies that you were in Sim. So while suggesting that
One job of the game mechanics is to provoke and frame proactivity about an emotional issue
One job of the game mechanics is to represent and demand engagement faithful to the subject [me]
Narrativism seems to choose (or often choose) as its proper subjects problems of the human condition. The orientation looks like dramatic resolution of connected premises.
Simulationism can focus on human condition... but typically seems interested in something beyond that. Or perhaps is interested in the human condition only in the context of or how it plays out given something beyond it (Planescape could fall into that.) [also me]
I asked
Does narrativism wind up being a subset of simulationism? Simulationism in the dramatic mode, so to speak?
[and later, rhetorically] is there no way to recognise a set of rules that would support some set of interests above others? [ditto]
Other posters wrote
what is discussed on EnWorld generally as 'simulation(ism)' is at best unrelated to Narrativist play goals. Like in our 1KA game we use elements of historical Sengoku politics and whatnot as inputs, but they simply exist like any other fiction to structure play, to create constraints and obstacles, etc. And while our depiction of characters, RP, has authenticity as a constraint as well, we're not really interested in simulating people that might have actually existed in 16th Century Japan. [AbdulAlhazred]
If this (Tuovinen's] blog post is correctly describing the situation system doesn't matter.
That would explain why the system matters focus of forge failed to grasp the creative agenda, and the current difficulties with "classifying" existing systems.
The key issue - if this is right curiosity about the system is a valid creative agenda. As such any system is supporting the creative agenda of examining itself as the subject matter.
I realised that me being very into competative games, narative games and simulations isn't an expression of a split agenda. All of them are fueled by my completely dominating simulationist agenda. [Enrahim]
Using the terms for convenience, the notion that narrativist approaches to play might have been inspired by simulationist approaches, and that a group may segue from one to the other without changing ruleset or campaign, all seems to stand in confirmation of Baker's view that
every RPG, like every other kind of game, is its own. You can taxonomize them if you want, but then you're constructing artificial categories and cramming games into them, not learning or finding out something true about the games themselves.
you can, if you want, assign a given instance of gameplay to G, N or S more or less consistently, you do so by asserting false similarities and ignoring some true similarities between other instances of gameplay [Baker]