EzekielRaiden
Follower of the Way
See, this shifting meaning of "simulation"--on the one hand, precise and predictable modeling of physical(ish) situations and their consequences, on the other, accurately capturing the conventions and flavor/tone/structure of a specific style/author/genre/etc.--are precisely why I dislike that "process-sim" got lumped in with...I don't remember the term but something like "genre-sim".I bolded the problem. Here the GM made a claim about the mechanics. I agree that claim is dubious at best. (It might go in a tangent about the ambiguity in the meaning of the word "lying", as the GM might really believe the claim themselves. But I think this is irrelevant for your point, which I grant)
As to FATE - I really think it might be good for simulating what is happening in in certain kinds of drama. The compels in particular seem exelent for supporting a simulation of how the main cast seem to always get in trouble related to the key aspects of their role. The fate point requirement for invoking aspects is obviously a serious hindrance if you want to simulate a set of characters living in a world neutral to their existence and actions. But it can provide a (weak) support for simulating how dramas don't let one of the characters solve all the problems, even in an environement they should have a clear advantage.
And I think the above points to what I think is a key problem in this conversation. Too little effort is made in order to align on what we actually want to simulate.
Much of the conversation seem to assume real world as the baseline. As such while deviations from real world is recognised and accepted in actual play, the idea is that an analysis disregarding these will still be valid. I think it is in this context diegetics has been identified as a favorable trait for mechanics in terms of supporting simulation. And I think this is a good first approximation in general.
However as we start deviating from real world i terms of what we want to simulate, I think the diegetics requirement is similarly lessened. For instance I think me introducing "silly points" as a meta currency would not be considered particularly hindering for a simulation of loony tunes, and indeed might be helpful for the simulation as a way to inspire and motivate approperiate simulative actions and judgement calls.
As for D&D the much bashed upon HP is clearly not good for simulating anything corresponding to real life. But appear at least somewhat simulative of some idea regarding how 70s fantasy heroes don't just randomly die from a stray arrow, while the red shirts definitely do.
I separate these things, and find it significantly easier when we make clear that, though the two have similarities, they're very different beasts with very different goals.
On the one hand, you have process-sim, which I just call "simulation." Specifically, I have a few (non-exhaustive) "game-(design-)goals" which reflect what a game is made for doing. One of them, I call "Groundedness & Simulation" or G&S. Groundedness is the thing we evaluate with, and Simulation is the state or process we pursue. I've already defined "groundedness" here and it seemed relatively copacetic to you, so I won't repeat that. "Simulation", here, is that whole iterative-world-engine concept. It will never 100% perfectly meet that goal, but that's what it's aiming for. The idea being, we sort of build up how the world works. Not quite "from first principles", but that's the ethos behind it, if you will. Naturalistic reasoning is king.
Conversely, we have what I call "Conceit & Emulation". The "conceit" is some kind of imposed structure, theme, concept, etc., because that is the thing the group wishes to explore. "Supers" is one of the most distinct such concepts, but there are others, e.g. "grimdark post-apocalypse" is another distinctive one, or "Redwall-like stories", "Arabian Nights", "Murder mystery", or the like. These are things where it's, in a certain sense, partially "top-down" rather than the pure "bottom-up" approach of G&S. We're here to explore a thematic, literary, or tonal context--so the world needs must suit that context. We expect, accept, and use the Conceit as our guide, and thus seek to emulate some particular space as a result--even if that space is not grounded in the way we would expect a "similar to real life" story to be grounded. Again, going back to Supers, it's pretty silly from a pure-physicalist perspective that titanic strength would result in being able to lift whole buildings by just pulling them out of the ground--that's patently un-grounded, but it's an iconic visual and an enjoyable experience, so it's accepted as part of the Conceit in order to bring about the Emulation we wish to create when we set out to play Supers RPGs.
(There are two other game-(design-)purposes, again a non-exhaustive list as I don't claim to know everything, but they're less relevant in this context.)