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GNS and Other Matters of Role-playing Theory, Acknowledgements
by Ron Edwards
2001-10-14

Acknowledgements

Thanks are due to everyone who has taken the time to discuss the issues with me over the years. Specific intellectual debts are owed to the following people. In no particular order:

The members of the rec.gaming.faq.advocacy discussion group, most especially John Kim, for the Threefold Model and Stance. I owe an immense debt to all members of these discussions for raising all the right issues. However, I have altered just about everything very drastically, and "Director stance" is my contribution.

Robin Laws for his essay regarding Art vs. Game in the text of Over the Edge, as well as for nearly single-handedly revolutionizing RPG design throughout the 1990s. (And he's still going, too; it's really frightening.)

The Scarlet Jester (real name withheld) for the concept of Exploration. However, I acknowledge that he does not approve of the definition and use I've made of it, and any problems or inconsistencies with the listed definition and use are solely my responsibility.

Jonathan Tweet for DFK, from his text in the game Everway, as well as for many other things. My re-statement of the definition of Drama has been approved by him.

Christopher Kubasik for his "Interactive Toolkit" series of essays.

Lajos Egri for his 1946 book, The Art of Dramatic Writing, for the foundation of my thoughts on Narrativist Premise.

Logan Hunter for his original compilation of the theories from a variety of discussions and for his construction of Balance of Power.

Jim Henley for his term "abashedly Narrativist" regarding Everway, which admirably describes a whole family of RPG designs.

Gordon Landis for his input regarding Drift.

The FUZION Lab Group for their presentation of switches and dials in the text of Champions New Millenium. I have expanded their Simulationist/general material into a much broader scheme regarding all of DFK diversity.

Jesse Burneko for his input regarding illusionism.

Gareth-Michael Skarka for his description of Intuitive Continuity in the text of UnderWorld.

If I have overlooked anyone's input, please remind me and I'll include you in the acknowledgments.


Chapter 6: Actually Playing  

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