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Message: <blockquote data-quote="Umbran" data-source="post: 9508191" data-attributes="member: 177">I mean, I quoted you:  "...if the game allows an open ended possibility space, its fundamentally incorporating improv".Which invites the question: What if the space of possibilities is not open-ended?  Or is only open-ended in some senses, but not in others?You continue your argument seeming to ignore such questions, apparently taking that improv is necessary in all cases from that statement, as if the improv comes from the open-endedness. The term "improv", is a modern shortening for "improvisational theater", as you note. But, improv did not come from Spolin.  Improv was around for centuries before her.  The seminal historical example in Western theater is probably commedia dell'arte, from the 16th to 18th centuries.. In commedia, the characters were shared concepts all across Europe (masks were used for many characters, so the audience would be able to day, "Oh, that's Arlecchino.  I know who he is!") and the individual scenario plot was generally taken from a set of known templates, also widely shared across Europe. The possibility space is extremely limited - the players know a set of individual set points, and the end state before play begins, and all improvisation needs to be consistent with the beats of the scenario.TL;DR - One can improv, and role-play, within a very restricted space.  One needs some freedom, but not a lot.  Improv can certainly make use of open-endedness, but doesn't require it.  I'd say it is.  It is just one with very simple mechanics. I have a character.  I get to make choices.  Sure, those choices are limited - only two or three options per page.  But I get to make them, on whatever basis I deem fit, and the final state I reach is dependent on those choices.  If I have decided that my Fighter will choose certain options because "that's the kind of guy he is", I am playing that role.</blockquote>

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