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Trying to Describe "Narrative-Style Gameplay" to a Current Player in Real-World Terms
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<blockquote data-quote="The-Magic-Sword" data-source="post: 9500901" data-attributes="member: 6801252"><p>Yeah appreciated, I remember seeing you around in a bunch of threads but didn't have you pinned down in any particular way an generally enjoy your contributions from what I remember?</p><p></p><p>My focus on system here partially comes from watching Chronicles of Darkness break down for my group because of the juxtaposition between highly specific time based activities with mechanical rewards and implications, and a highly narrative way of framing the passage of time for things like investigations or jumping time between scenes that didn't cohere for my group who aren't used to, nor like the idea of 'holding back' on leveraging those mechanics to their logical conclusions. That seemed highly similar to me to the way FFG star wars juxtaposes it's equipment and granular combat with narrative consequence mechanics, in terms of where OP's player isn't seeing them eye to eye.</p><p></p><p>Separately, in addition to reading The Elusive Shift recently and using it to contextualize Ron Edward's essays, my impression of movements comes heavily from my background in literature, where one generally reads movements as rejections or developments on previous movements-- one might heavily read the Romantics and the Modernists as in contention for instance in how they approach values like spirituality or history, or how one contrasts different forms of post war literature (the Inklings for a fantasy relevant example, present an interesting contrast to some of their literary contemporaries who were also informed by the World Wars.)</p><p></p><p>But for me it validates the involved movements, even as it constrains them, they are products of a particular context and so they aren't "the truth" in the way they were intended to be and will be rejected in turn, but simultaneously that rejection doesn't have exclusive purview over them, they can be enjoyed in the same way people still enjoy romantics and modernists both. The key though, is that they don't get along all that well because they are responses to one another, or different answers to the same questions, and that perspective sort of highlights those points of collision for me, particularly since the medium is young enough that there's still a fair amount of vigor for "solving roleplaying."</p></blockquote><p></p>
[QUOTE="The-Magic-Sword, post: 9500901, member: 6801252"] Yeah appreciated, I remember seeing you around in a bunch of threads but didn't have you pinned down in any particular way an generally enjoy your contributions from what I remember? My focus on system here partially comes from watching Chronicles of Darkness break down for my group because of the juxtaposition between highly specific time based activities with mechanical rewards and implications, and a highly narrative way of framing the passage of time for things like investigations or jumping time between scenes that didn't cohere for my group who aren't used to, nor like the idea of 'holding back' on leveraging those mechanics to their logical conclusions. That seemed highly similar to me to the way FFG star wars juxtaposes it's equipment and granular combat with narrative consequence mechanics, in terms of where OP's player isn't seeing them eye to eye. Separately, in addition to reading The Elusive Shift recently and using it to contextualize Ron Edward's essays, my impression of movements comes heavily from my background in literature, where one generally reads movements as rejections or developments on previous movements-- one might heavily read the Romantics and the Modernists as in contention for instance in how they approach values like spirituality or history, or how one contrasts different forms of post war literature (the Inklings for a fantasy relevant example, present an interesting contrast to some of their literary contemporaries who were also informed by the World Wars.) But for me it validates the involved movements, even as it constrains them, they are products of a particular context and so they aren't "the truth" in the way they were intended to be and will be rejected in turn, but simultaneously that rejection doesn't have exclusive purview over them, they can be enjoyed in the same way people still enjoy romantics and modernists both. The key though, is that they don't get along all that well because they are responses to one another, or different answers to the same questions, and that perspective sort of highlights those points of collision for me, particularly since the medium is young enough that there's still a fair amount of vigor for "solving roleplaying." [/QUOTE]
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