clearstream
(He, Him)
I don't takeNot to nit-pick the example, but it seems to me that this would be a violation of both simulationism and narrativism.
For simulationism, the GM acts as the PC's senses (this is also the case outside of simulationism, but not strictly relevant) and so they should have established the ambient noise as part of simulating the world when setting the scene.
to necessarily breach Sorensen's principles for neosim just so long as they were designed as abstractions to secure that something true of the imagined world is afforded for play. How they should achieve that isn't prescribed.That background noise is established as a part of the fiction now to explain something that happened in the fiction back then.
@pemerton I think it quite possible I've lost track of your line of argument, but is it right you were thinking of this
Outside of diegetic in-character actions, players cannot change the world. The world is sacred: it is apart and cannot be altered except by those forces from within the fictional world. At no point should the world change simply because the rules dictate it so. (Sorensen.)
The argument then goes that the result of rolling for surprise changes the world in a non-diegetic way. Say, in the case where no one has narrated background noise into the fiction.While each possible cause of surprise could be detailed, with a matrix and factors of time for recovery from the condition calculated to a nicety, the overall result would not materially add to the game - in fact, the undue complication would detract from the smooth flow of play. (Gygax.)
All rules are abstractions of a larger, more complex fictional reality. They exist to ease complicated processes into something that can be more easily played with—and nothing more. (Sorensen.)
Eliding detail isn't at issue -- it's accepted -- all that's forbidden is that a mechanic should introduce non-diegetic change (which I assume covers both introducing and altering world-fiction.) I think there are two solutions to this. The first is to demand that before someone rolls for surprise they must narrate its causes into the fiction. That can be neatly taken care of by fail-forward systems, which secure that someone has presented a cause just before the ambush or whatever happens. But even simple-fail systems only require a player to say something like "It'd be easy to be surprised in these narrow, winding alleys."
An alternative approach is to observe that an interpretation of "diegetic" that comes from traditional linear modes of fiction won't do for games. Players are actors, authors and audiences; game mechanics are tools furnished them for their play. That results in game processes themselves becoming diegetic in some circumstances. So when surprise is rolled, the world hasn't changed simply because the surprise rules made it so: the surprise rules represent something known to be happening in the world that the characters are aware of only abstracted to ease play (just as Gygax described.) What seems demanded is that players know those rules and it is allowed that their characters know that they inhabit a world imagined to have such features as those abstractions represent.
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