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Supposing D&D is gamist, what does that mean?
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<blockquote data-quote="AbdulAlhazred" data-source="post: 8632194" data-attributes="member: 82106"><p>Actually, I want to comment again on this to make a slightly different point: ALL play involves some sort of 'conflict', there is always some type of drama in RPG play, otherwise there's essentially nothing at all. In Story Now play it is simply the primary focus in a way that is beyond other agendas, and it is handled in a particular way which brings the entirety of play to that narrow focus. Obviously if you are running a genre sim (High Concept, whatever GNS wants to call it), like say FASA Star Trek, then it would be silly to imagine that game as simply empty 'trekisms' blabbered out into emptiness with no structure or meaning attached to them. There IS a plot, even though a HUGE focus of the game is on the Star Trek genre itself. In fact, because this specific genre is drawn from a TV show, which obviously has plot and drama, you could even think of plot and drama themselves as necessary parts of 'Trekism', at least within the confines of an inherently plotted activity like an RPG (Star Trek cosplay OTOH could exist completely without plot or drama, you can simply dress up as Lt. Uhuru). So, lets forgo any line of reasoning that leads down the road of "well, there's some plot happening, so it must be all about that!" Of course there's plot, definitionally at the level of defining an RPG!</p><p></p><p>In light of that, and lets give RE credit for knowing this and its spelled out in his work, obviously the 'G' and 'S' type agendas must be dramatic agendas, and we should focus on why they are each distinctive vs trying to argue that issues of drama and plot have no business being part of the analysis, or that they can only be examined in light of some other agenda. IMHO that is really the issue with GDS, it doesn't actually see story as being a focus in and of itself.</p></blockquote><p></p>
[QUOTE="AbdulAlhazred, post: 8632194, member: 82106"] Actually, I want to comment again on this to make a slightly different point: ALL play involves some sort of 'conflict', there is always some type of drama in RPG play, otherwise there's essentially nothing at all. In Story Now play it is simply the primary focus in a way that is beyond other agendas, and it is handled in a particular way which brings the entirety of play to that narrow focus. Obviously if you are running a genre sim (High Concept, whatever GNS wants to call it), like say FASA Star Trek, then it would be silly to imagine that game as simply empty 'trekisms' blabbered out into emptiness with no structure or meaning attached to them. There IS a plot, even though a HUGE focus of the game is on the Star Trek genre itself. In fact, because this specific genre is drawn from a TV show, which obviously has plot and drama, you could even think of plot and drama themselves as necessary parts of 'Trekism', at least within the confines of an inherently plotted activity like an RPG (Star Trek cosplay OTOH could exist completely without plot or drama, you can simply dress up as Lt. Uhuru). So, lets forgo any line of reasoning that leads down the road of "well, there's some plot happening, so it must be all about that!" Of course there's plot, definitionally at the level of defining an RPG! In light of that, and lets give RE credit for knowing this and its spelled out in his work, obviously the 'G' and 'S' type agendas must be dramatic agendas, and we should focus on why they are each distinctive vs trying to argue that issues of drama and plot have no business being part of the analysis, or that they can only be examined in light of some other agenda. IMHO that is really the issue with GDS, it doesn't actually see story as being a focus in and of itself. [/QUOTE]
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Supposing D&D is gamist, what does that mean?
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