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Message: <blockquote data-quote="thefutilist" data-source="post: 9518524" data-attributes="member: 7044566">It's an interesting topic. In the type of play I do, it's not that you're never introducing anything new, it's that the criteria for introducing new stuff is heavily constrained.I think I've written about this type of structure before but to lay it out again.step one: create a cast of characters with conflicting interestsstep two: scene frame them together, roughly based on 'in world' considerations.step three: a conflict may arise, use type B resolution to resolve it.Rinse and repeat step two and three until there are no conflicting interests.One of the huge differences between the above style and PbtA is the criteria for the introduction of new stuff. If you're only using type B resolution you can't introduce new stuff. If you're only scene framing based on pre-established characters, you aren't really introducing new stuff.As you point out. In something like Apocalypse World you're constantly introducing stuff based on player/character interest and the principles. You introduce the locusts to give impetus to the story and produce milieu. If you don't care about giving impetus to the story or generating milieu, then they're not part of the criteria and so you don't get the locusts. Or you'd get the locusts if they were established as one of the characters in step one. In that case we'd know they're in the scene already and would be subject to type B resolution rather than being created as a consequence of Type A resolution.Anyway apologies for banging this drum again, it's just that the older school Narrativist games (mostly) use the above structure and Type B resolution. The Type A, no-myth Narrativist games of today (such as Apocalypse World) use an entirely different one.Although maybe it's best to just cede terminology. I was speaking to a friend about Sorcerer the other day and he said 'so it's a more like a sim game that doesn't care about story at all?'. And I replied 'exactly.'</blockquote>

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