Nothing is stopping you from reading the relevant Burning Wheel rules for free, to see whether or not they are "lying". I've also quoted them extensively upthread.Earlier in the discussion we discovered some games you reference state skills meant one thing only to find out that in play they functioned differently. As such, I'm not sure how to proceed when we can have potentially 'lying' game texts. It seems not just the skill description but the full set of details around it's use also must matter.
The infamous lockpicking with cook and runes examples both show this.
The reason I quoted the BW skill rules is because they are very simulationist as that is being characterised by at least some posters in this thread. Here's a post I made about BW, making a similar point, well over a decade ago:
And here's one making the comparison to 4e D&D, from around the same time:In these situations, the way I avoid those "hiccups" is to introduce external elements - like the unexpected street fair, or the bird crapping on someone's cloak during negotiations - which then explain the outcome that has been mechanically determined without needing to posit that anyone (PC or NPC) suddenly became incompetent.
The "cost" of doing it this way is being prepared to sever the link between making a check where a PC's skill number is used, and interpreting that check as reflecting nothing but the PC's effort within the fiction. You have to be prepared to narrate the outcome of the check using director's stance.
I think Burning Wheel is an interesting example of this. Like RQ, RM or classic Traveller it has very simulationist-seeming character building mechanics, with detailed skill lists, intricate interaction between skill bonuses and stat bonuses, rules for improving by doing and by training, etc, etc. And even it's action resolution mechanics begin in a simulationist way - the GM is urged, for example, to set difficulties based on the objective difficulty of the situation in the gameworld, and not in any sort of relative way (so very different from 4e, HeroQuest, Maelstrom etc).
But then its action resolution mechanics take a very non-simulationist turn. In particular, when a skill check fails in BW, the GM is urged to focus not on failure or success at the task, but failure or success at the intent. Thus, failure on an influence check might represent not an objective failure of your guy to be convincing, but rather that it turns out that the NPC knew and hated your father, so turns out to be more hostile to your offer than you expected. The GM is actively encouraged to use this sort of external, meta-gaming approach to describing the outcomes of checks - and especially failed checks - as part of the techniques for keeping the game moving.
A very ingenious blending of traditional simulationist, and indie, sensibilities.
one thing that surprises me is how many people seem to be trying to make D&D deliver a game that would be more easily acheived using another system - particularly when I see people playing highly exploration-focused, somewhat gritty games, I wonder why they don't use Runequest or HARP or even something like The Burning Wheel.
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My approach to my 4e game is basically what the Forge would call "narrativist" - Story Now, but with story being the result not of any one person (player or GM) aiming at story, but rather me (as GM) doing my job, of setting up engaging situations for the players, and the players dong their job of playing their PCs to the hilt in those situations.
The DCs don't impede this, because the players aren't looking to the DCs to get their sense of the gameworld. They're looking directly at the fiction - the fiction that I'm narrating as GM, and that they create through their own endeavours at action resolution. And 4e is quite rich in this, in my view, because it has very evocative mechanics, for those who like that sort of thing - for example, in 4e a wight with a horrific visage gets an attack that inflicts psychic damage and pushes foes away - so the story is revealed not just through description, but through mechanical resolution of the action. It's really secondary to the play experience whether the wight's attack bonus or AC or damage roll is 1 point higher or lower - it's the keywords (psychic damage) and the effects (a fear-typed push) that define the fiction.
In some ways it's like HeroQuest or Maelstrom Storytelling - the DCs (with their scaling) don't objectively measure the world, but rather set the relative difficulty for the PCs. But it's got the tactical crunch in combat that (at least some) traditional RPGers enjoy.
I'm in no way saying it's the only, or even the best, way to set up DCs and scaling. I've GMed a lot of RM, which uses objective target numbers, and where PC bonuses really mean "mechanical progression" and not just "story progression". And if I was to start running a different game from 4e, it would probably be Burning Wheel, which uses objective target numbers as well, and in its GM guidelines emphasises the use of objective target numbers to build immersion in the setting in the way that (I think) you have in mind.