Yes, this, absolutely this! And people who do not get it simply do not play in this way. They look their character from outside, make detached authorial decisions about them. Which is fine, but it is a fundamental difference in approach, so games designed to do one approach might not work with the another or might even be destructive to it.
Well, not exactly. As I said, my decisions for Clara in my game of
The Between were made in actor stance more than any other. That I’m able to then step back and observe the character from a more removed point doesn’t change that.
And while I think there is something to the concept of Bleed, I think there is a certain amount of detachment or removal between character and player no matter what. You seem to be criticizing what I’m describing about my game from the position of some deep in character level of inhabitation that I don’t think exists… so forgive me if I don’t give the criticism much credence.
And to me what
@hawkeyefan describes too, is still much more authoring the character than inhabiting the character. Of course a decent author takes into account what a character would do, but when you are rewriting their background on the fly it does not sound like inhabitation to me, it sounds like authorship.
There is no rewriting happening. “Rewriting” as you’re using it would require something to be written first, and then ignored in favor of some new version. That’s not what I’m talking about.
Instead, all that’s initially “written” for the character are a handful of details. Their look, a couple of broad background details, a couple of traits. These things remain valid and don’t get “rewritten” as you say. What’s happening instead is that there are large blank spots that we don’t know about the character, and those get established during play. Not “rewritten”.
I imagine you’ll play this off as “oh it’s the same thing”, but I think there is a huge difference in how these two approaches feel in play.
It’s akin to reading a story about Sherlock Holmes or Batman… where we already know the protagonist. There are expectations about how they will act, what mannerisms they’ll display, what actions they’re likely to take. But if we are instead reading a story where we aren’t already familiar with the protagonist in this way… well, then we’re approaching in a different way. We’re not looking at their actions to see if they match our expectations based on past experience with the character, we’re instead learning about them for the first time.
I think that this is something that has a significant impact on how an RPG feels.
And these things can certainly overlap. Like when I am playing a character I'm immersed in, there is still some part of my brain that thinks of the game and story etc, and those certainly can influence the character. But it is very important to me that I am in control what of such external influences I onboard to the character, because only I can know what will match my internal model of the character and what will not.
Why? Why can “only you” know?
And how does that jibe with the following?
I would not GM to a player I would not trust to play their character properly and I would not play with a GM who did not trust me to play my character properly.
How can you possibly determine, as a GM, that a player is not playing their character “properly” if only they can know how the character will behave?