Here is another post to try and describe the difference between "situation first" and "backstory first" RPGing. That distinction does not correlate in any strict sense to "story now" and <something else>. Situation first can be railroading (eg the D&D-as-living-novel approach that Lewis Pulsipher criticised back in the late 70s/early 80s). And the most paradigmatic form of "backstory first" is a Gygax or Moldvay-style dungeon, which when run as they (especially Moldvay) advise will not be a railroad. (But the flip side of that - related to my reply to @Crimson Longinus in post 1156 just upthread - is that it might be boring, if the players get unlucky and miss the interesting bits of the dungeon.)
Situation first need not eschew the use of maps. In my Classic Traveller game I've used some map in our past several sessions - deck plans, and plans of an ancient alien installation. But the use of the plans is different from "backstory first". Not utterly different, but different.
I will explain with reference to this session. The PCs board and explore an alien vessel. Much of the play, particularly in the earlier part of the session, looks a bit like a dungeon crawl: the players say where their PCs go, and I say what they see.
The difference is in the way the map feeds into scene framing and action resolution. The fact that we know, from the "free narration" phase of play, where the various PCs are when the Alien attacks gives me licence to frame scenes that establish and maintain the unfolding drama. If you read the play report, you can see that we are not counting squares on a map and correlating that with movement rates to work out time elapsed. Rather, I am making decisions - using my authority over scene-framing - as to who is in which scene. Those decisions have to respect the established fiction - ie our shared knowledge of who is where - but they are not outputs of an action resolution process. They are authorial decisions, made by me, that pick up what was just colour (Tony's on the bridge; Vincenzo and Alissa are in the hydroponics room) into scenes (Vincenzo and Alissa are attacked by an Alien in the hydroponics room, and Tony can't help them because he's on the bridge!).
It's worth expressly noting that adopting a situation-first generates its own, new, demands on action resolution mechanics. Eg what happens if Tony, under attack from an Alien, yells into his communicator calling for help; and Blaster's player declares I rush to help him? We need a way to resolve this action - in the fiction, does Blaster get there in time? and in the real world can Blaster's player insert Blaster into the scene? In Burning Wheel this would probably be a Speed check; in Prince Valiant it would be Brawn + Agility; in Apocalypse World it seems like it might be Acting Under Fire. What about Classic Traveller? It's less clear - Traveller is not as robust a resolution engine as those other systems, and some extrapolation or improvisation might be needed: perhaps a throw of 8+ if the distance is not too great, with bonuses for high STR and/or Tactics or Recon.
One consequence of this difference in the use of the map - situation-first rather than backstory-first - is that there is no risk of "offscreen" failure. PCs getting to where the action is does not depend on counting squares and keeping track of time elapsed as a result of movement.
(Here is a classic illustration of the reverse approach, where scenes are framed by first applying map-and-key to resolve declared movement actions:
Situation first need not eschew the use of maps. In my Classic Traveller game I've used some map in our past several sessions - deck plans, and plans of an ancient alien installation. But the use of the plans is different from "backstory first". Not utterly different, but different.
I will explain with reference to this session. The PCs board and explore an alien vessel. Much of the play, particularly in the earlier part of the session, looks a bit like a dungeon crawl: the players say where their PCs go, and I say what they see.
The difference is in the way the map feeds into scene framing and action resolution. The fact that we know, from the "free narration" phase of play, where the various PCs are when the Alien attacks gives me licence to frame scenes that establish and maintain the unfolding drama. If you read the play report, you can see that we are not counting squares on a map and correlating that with movement rates to work out time elapsed. Rather, I am making decisions - using my authority over scene-framing - as to who is in which scene. Those decisions have to respect the established fiction - ie our shared knowledge of who is where - but they are not outputs of an action resolution process. They are authorial decisions, made by me, that pick up what was just colour (Tony's on the bridge; Vincenzo and Alissa are in the hydroponics room) into scenes (Vincenzo and Alissa are attacked by an Alien in the hydroponics room, and Tony can't help them because he's on the bridge!).
It's worth expressly noting that adopting a situation-first generates its own, new, demands on action resolution mechanics. Eg what happens if Tony, under attack from an Alien, yells into his communicator calling for help; and Blaster's player declares I rush to help him? We need a way to resolve this action - in the fiction, does Blaster get there in time? and in the real world can Blaster's player insert Blaster into the scene? In Burning Wheel this would probably be a Speed check; in Prince Valiant it would be Brawn + Agility; in Apocalypse World it seems like it might be Acting Under Fire. What about Classic Traveller? It's less clear - Traveller is not as robust a resolution engine as those other systems, and some extrapolation or improvisation might be needed: perhaps a throw of 8+ if the distance is not too great, with bonuses for high STR and/or Tactics or Recon.
One consequence of this difference in the use of the map - situation-first rather than backstory-first - is that there is no risk of "offscreen" failure. PCs getting to where the action is does not depend on counting squares and keeping track of time elapsed as a result of movement.
(Here is a classic illustration of the reverse approach, where scenes are framed by first applying map-and-key to resolve declared movement actions:
- The time to traverse town with super-running is deemed insufficient to arrive at the scene, with reference to distance and actions at the scene, such that the villain's bomb does blow up the city. (The rules for DC Heroes specifically dictate that this be the appropriate way to GM such a scene).)