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The Six Cultures of Gaming
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<blockquote data-quote="pemerton" data-source="post: 8252565" data-attributes="member: 42582"><p>I think discussion of the blogger's terminology and methodology is a distraction. <em>Cultures</em>, <em>paradigms</em>, <em>ideal types</em>, <em>creative agendas</em>: given the context of the initial blog and then of this discussion, there is nothing at stake between these.</p><p></p><p>The interesting issues are ones like <em>has the author drawn the boundaries more-or-less correctly?</em> <em>Has the author accurately described the main categories of RPGing? Has any important trend in RPGing been left out?</em></p><p></p><p>To elaborate on some considerations that are relevant to answering those sorts of questions:</p><p></p><p>The author distinguishes Nordic Larp from Neo-Trad. But at a certain level of abstraction these could be lumped together - a certain sort of "integrity of the character in the hands of the player" is central to both. It's only when you go a bit further down into the weeds that the salient difference emerges - between an emotional integrity (for Nordic Larp) and integrity of concept (for Neo-Trad).</p><p></p><p>Are any distinctions of equal salience lurking in the other categories? For instance, do Burning Wheel - a scene-framed game with meta-currency awards connected to the play of the character - and Apocalypse World and its offshoots - which do not rely on the scene as the basic unit of play, and which don't have any sort of meta-currency like BW does - belong together? There are other differences too - eg the role of the GM's conception of the "offsceen" situation is different in BW and AW.</p><p></p><p>The basis on which BW and AW/PbtA do belong together is that both aim at "story now" play although using different techniques. But as games like these, and building on these, are developed and played down the years, will some of the differences between them start to become more salient to the aesthetic aspirations of RPGers?</p><p></p><p>[EDITed just to tidy up a misspelled word and an ambiguous verb.]</p></blockquote><p></p>
[QUOTE="pemerton, post: 8252565, member: 42582"] I think discussion of the blogger's terminology and methodology is a distraction. [I]Cultures[/I], [I]paradigms[/I], [I]ideal types[/I], [I]creative agendas[/I]: given the context of the initial blog and then of this discussion, there is nothing at stake between these. The interesting issues are ones like [I]has the author drawn the boundaries more-or-less correctly?[/I] [I]Has the author accurately described the main categories of RPGing? Has any important trend in RPGing been left out?[/I] To elaborate on some considerations that are relevant to answering those sorts of questions: The author distinguishes Nordic Larp from Neo-Trad. But at a certain level of abstraction these could be lumped together - a certain sort of "integrity of the character in the hands of the player" is central to both. It's only when you go a bit further down into the weeds that the salient difference emerges - between an emotional integrity (for Nordic Larp) and integrity of concept (for Neo-Trad). Are any distinctions of equal salience lurking in the other categories? For instance, do Burning Wheel - a scene-framed game with meta-currency awards connected to the play of the character - and Apocalypse World and its offshoots - which do not rely on the scene as the basic unit of play, and which don't have any sort of meta-currency like BW does - belong together? There are other differences too - eg the role of the GM's conception of the "offsceen" situation is different in BW and AW. The basis on which BW and AW/PbtA do belong together is that both aim at "story now" play although using different techniques. But as games like these, and building on these, are developed and played down the years, will some of the differences between them start to become more salient to the aesthetic aspirations of RPGers? [EDITed just to tidy up a misspelled word and an ambiguous verb.] [/QUOTE]
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