The Forge Reference Project

 

Topic: Narrativism, the juicy parts of the system and Risk
Started by: sirogit
Started on: 3/24/2004
Board: GNS Model Discussion


On 3/24/2004 at 4:14am, sirogit wrote:
Narrativism, the juicy parts of the system and Risk

It occured to me that a complaint I hear sometimes against TROS is that the most intereasting part of it's system, the combat system, is wasted because players playing it safe won't want to engage in it due to the risk involved.

There's a similar phenomenom with Sorcerer. The rules for dealing with demons are by far the most intereasting of the game, but for players to be creative with it, they would have to put character survival on the line due to the humanity-draining aspect. This leads to some players trying their hardest to ignore and move away from sorcery in order to insure character survival.

I'm wondering if there could be something you could extrapolate out of the design goals of these games from that, such as: If you're not willing to risk character survival during any part of the game, the game isn't being played right.

Message 10366#109141

Previous & subsequent topics...
...started by sirogit
...in which sirogit participated
...in GNS Model Discussion
...including keyword:

 (leave blank for none)
...from around 3/24/2004




On 3/24/2004 at 4:22am, Gaerik wrote:
RE: Narrativism, the juicy parts of the system and Risk

Actually, I'd say it is being played perfectly. Combat might be interesting but it is risky business. Dealing with Demons is even more risky. Without the risk, where would the premise of the game be? It might still exist but it wouldn't be nearly as powerful if the risk factor were reduced. The consequences have to be severe otherwise you lose the "Live by the sword. Die by the sword." and the "Dealing with Demons always ends badly." feel to the games.

Andrew

Message 10366#109143

Previous & subsequent topics...
...started by Gaerik
...in which Gaerik participated
...in GNS Model Discussion
...including keyword:

 (leave blank for none)
...from around 3/24/2004




On 3/24/2004 at 4:42am, Andrew Norris wrote:
RE: Narrativism, the juicy parts of the system and Risk

I think that if you play TROS without fighting people or Sorcerer without binding demons, then you're bunkering. Those activities are risky, yes, but they're also intended to be a major focus of play, and a player who's avoiding them probably has a mismatch of creative agenda from the rest of the group.

Don't forget also that the fact these activities are difficult and dangerous is sort of a carrot and stick to encourage other things. For TROS, you don't really want to fight unless you can get bonus dice from your Spiritual Attributes, which means you tend to only fight for things that are truly important to your character. For Sorcerer, the mechanics for receiving bonus dice mean you're encouraged to describe your actions in a dramatic fashion and have a plan of action so that you can roll over successes. (Okay, in Sorcerer bonus dice don't improve your Humanity rolls, but they can help ensure the risk wasn't in vain.)

I think the reason these activities are so risky is to bring the difference between how these games are supposed to be played and how a lot of traditional RPGs are played into stark relief. A player who bunkers (by which I mean they make character survival a larger concern than anything else, including achieving something) can sort of get away with it in, say, D&D, but in one of these games it may be more immediately observable as behavior that doesn't fit the game.

Message 10366#109146

Previous & subsequent topics...
...started by Andrew Norris
...in which Andrew Norris participated
...in GNS Model Discussion
...including keyword:

 (leave blank for none)
...from around 3/24/2004




On 3/24/2004 at 8:10am, Rob Carriere wrote:
RE: Narrativism, the juicy parts of the system and Risk

If you play TRoS or Sorcerer without ever fighting or binding demons, then I'd agree that's right funny play. But you could play either with reluctant types and have nailbiting tension over the question whether they're going to get through a situation without combat/magic. And since it's the rules on combat resp. binding demons that cause that tension, you are using those rules.

It's just as valid to play a character that rushes in where angels fear to tread as it is to play one that has to dragged every step of the way to damnation.

SR
--

Message 10366#109176

Previous & subsequent topics...
...started by Rob Carriere
...in which Rob Carriere participated
...in GNS Model Discussion
...including keyword:

 (leave blank for none)
...from around 3/24/2004




On 3/24/2004 at 11:06am, pete_darby wrote:
RE: Narrativism, the juicy parts of the system and Risk

"I think to die would be an awfully big adventure...."

I'm of the opinion that saving the life of the PC is just another preference, maybe even a technique or piece of ephemera. The character may be the tool by which the player explores, faces challenge, or addresses premise, but I think it's pretty obvious that a) one can do all these things through the death of the character, and b) you can always get another one relatively easily.

Of course we get attached to characters. Once we've got a character that's assisting in fulfilling our preferred agenda mix and otherwise fulfilling a role in the group, a character we identify with, or find interesting, or otherwise beneficial to the game, sure, we want to keep him around.

But when I see reviews that say "combat is too deadly" or "binding is too dangerous", I have to ask... what's at risk? The "life" of a fictional character? That bit of ego we've invested in them? Compared to the thrills of exploration, challenge and story, that looks pretty poor to me.

What TROS combat and Sorceror binding say to me is that every TROS combat and every Sorceror binding is going to be dramatic and interesting to every creative agenda. Just as knowing you are to die in the morning focuses the mind wonderfully, so does playing through a sequence in which the character is at some serious risk.

If we start worrying too much about saving the life of our characters, we're just gonna end up like Marcy in Dark Dungeons...

Message 10366#109186

Previous & subsequent topics...
...started by pete_darby
...in which pete_darby participated
...in GNS Model Discussion
...including keyword:

 (leave blank for none)
...from around 3/24/2004




On 3/24/2004 at 11:28am, pete_darby wrote:
RE: Narrativism, the juicy parts of the system and Risk

Also, in narrativist terms, as Rob says, you can certainly address premise through avoiding perilous situations (otherwise premises such as "Is it worth risking your life for the ones you love" become a pretty straightforward yes), and you can certainly explore through avoiding perilous situations, but what you usually can't do is Step On Up by avoiding peril (unless cowardice is worse than death in the game).

Could this be where the "failures" of Sorceror and TRoS lie? From a gamist perspective, you'd need to approach them from a pretty hard core standpoint, or they're "too tough" for lightweight gamism.

Message 10366#109187

Previous & subsequent topics...
...started by pete_darby
...in which pete_darby participated
...in GNS Model Discussion
...including keyword:

 (leave blank for none)
...from around 3/24/2004




On 3/24/2004 at 1:00pm, Jack Spencer Jr wrote:
RE: Narrativism, the juicy parts of the system and Risk

I think I see your angle.

Chief Brody find the remains of the shark attack victem on the beach. He attempt to do his job to protect the public safety, but is met by opposition from the town counsel because they tend to frown on closing the beaches in a resort town in summer. He says, screw this crap, and goes back to New York City. Jaws doesn't happen.

Luke Skywalker says, screw being a jedi knight. I'm a farmer, not a space hero. Even after his aunt and uncle are killed he says "Well, guess I'm running the farm now" Star Wars doesn't happen.

Or, more accurately, they happen but without those characters. I think a line between character and player needs to be drawn more darkly. The player should experience what the character is going through. This is why we watch movie, read book, play RPGs. But the player should also want to see the character in difficult situations. Otherwise the game doesn't happen. Or it happens without their character and, therefore, that player.

Message 10366#109198

Previous & subsequent topics...
...started by Jack Spencer Jr
...in which Jack Spencer Jr participated
...in GNS Model Discussion
...including keyword:

 (leave blank for none)
...from around 3/24/2004




On 3/24/2004 at 1:43pm, pete_darby wrote:
RE: Narrativism, the juicy parts of the system and Risk

Perhaps even more importantly, Brody doesn't go back to NY, nor Luke to the farm, because that's not who they are. They're characters designed to address premise, or at least get into trouble.

Games can either address this at character design stage (the kicker is your friend) or in the contract for the game (The trollbabe can do anything except walk away).

Or they can not address this at all, as long as the players are comfortable with the chance of the "adventure" fizzling out.

As for drawing a line... hey, I know I watched Buffy to see what hell Joss Wheedon had put the folks through that week, and I feel the same way about those wacky CIA kids in ALIAS. I stopped watching Lois & Clark when the "big issue" was wedding preparations. I read and watch my drama to see folks I care about being put through hell, not nice folks having nice stuff happen to them (well, not without going through hell first...).

I read and watch comedy to see folks I don't like being put through hell...

Same for my PC's. I want drama, drama is struggle. I don't find mid-high level D&D combat to be struggle, usually until the end encounter of the session with the big set piece.

Message 10366#109205

Previous & subsequent topics...
...started by pete_darby
...in which pete_darby participated
...in GNS Model Discussion
...including keyword:

 (leave blank for none)
...from around 3/24/2004




On 3/24/2004 at 3:27pm, RDU Neil wrote:
A question...

So... from what I'm reading here, I have a question.

Is the approach to the game of intending to put their character at risk for dramatic and emotional effect... is that Nar play? (Not the only kind of Nar play, but a good general example of it?)

If so, I think this helps clarify the CAs a bit... but if not, then I'm more confused than ever.

Example: Risk (defined as risk to the fictional existence of the player-character.)

Gamist: It is about taking only the most calculated Risk, with minimum cost for most gain, intending to "win."

Narrativist: It is about experiencing Risk in a visceral, emotional way... so that the Risk is the catalyst for drama and meaning in a story.

Simulationist: Risk simply is. Your character may or may not die, and there may or may not be a sense of loss, but it is simply one element of "let's see what happens" in a game.

Does this make sense, or am I way off base here?

Message 10366#109218

Previous & subsequent topics...
...started by RDU Neil
...in which RDU Neil participated
...in GNS Model Discussion
...including keyword:

 (leave blank for none)
...from around 3/24/2004




On 3/24/2004 at 4:47pm, Alan wrote:
RE: Narrativism, the juicy parts of the system and Risk

For narrativism, it's not about _experiencing_ risk - that would be a simulationist approach - it's about risk making player choices meaningful. The higher the risk, the more significant the choice.

Message 10366#109233

Previous & subsequent topics...
...started by Alan
...in which Alan participated
...in GNS Model Discussion
...including keyword:

 (leave blank for none)
...from around 3/24/2004




On 3/24/2004 at 9:28pm, Gordon C. Landis wrote:
RE: Narrativism, the juicy parts of the system and Risk

From a GNS perspective, I'd think Risk (considered strictly as an element of the shared imagined space, as opposed to what is "risked" by the participants as actual people) would simply be a tool (a Technique? set of Techniques?). You'd ask "what is this tool being used for in the domain of the participants (as opposed to within the game world)?"

If the answer was to enhance Challenge/Step on Up ("win", in that very broad sense), it would be supporting Gamism. Since a foundational principle of Gamism is that the participants themselves always have a little something (social/personal esteem - something) at risk [EDIT to add AS REAL PEOPLE] during play, this one is pretty easy to see.

If it supports the address of Premise by the particpants - it's helping Nar happen. There's a couple of ways I can see this working: 1) Various levels of risk can be part of the "answer" to a premise - by changing character behavior based on risk factors, a player can make a statement about the premise (e.g., When is killing justified? When the risk is X, not when it's Y); and 2) By creating risk in the shared imagined space, the opportunity to make a statement about Premise is heightened.

If it's part of building The Dream - because, say, risk is deemed to be required given the situation being explored, or because the participants find that confronting risk heightens their sense of engagement with the imagined world (and is not then used for any other priority), we're using the tool of Risk to support a Sim agenda.

At least, that's how I see it - Risk as a very neutral tool, and the question is not what the tool looks like in-game, but rather what it is being used for by the participants. Hope that clarifies something,

Gordon
(For another Nar take on why risk matters, I think I saw someone quote/paraphrase Henry James recently - "What is character but the determination of incident? What is incident but the illustration of character?" Depending on how you think about "incident" (I think of it as Situation, basically, in GNS terms), you might think of it as almost synonomous with risk - something has to be at stake. "Something" is pretty broad, and some people may not consider "inconsequential" decisions to truly involve risk, but for Nar purposes I suspect every incident is an opportunity to address Premise.)

Message 10366#109303

Previous & subsequent topics...
...started by Gordon C. Landis
...in which Gordon C. Landis participated
...in GNS Model Discussion
...including keyword:

 (leave blank for none)
...from around 3/24/2004




On 3/25/2004 at 3:03am, Jack Spencer Jr wrote:
RE: Narrativism, the juicy parts of the system and Risk

pete_darby wrote: Perhaps even more importantly, Brody doesn't go back to NY, nor Luke to the farm, because that's not who they are.


True. By making the decisions they do when pressure is applied, we get to see their deep character.

Message 10366#109359

Previous & subsequent topics...
...started by Jack Spencer Jr
...in which Jack Spencer Jr participated
...in GNS Model Discussion
...including keyword:

 (leave blank for none)
...from around 3/25/2004




On 3/25/2004 at 5:28am, M. J. Young wrote:
RE: Narrativism, the juicy parts of the system and Risk

Pete, I think you're right, but I think you sort of missed the point.

The point is that whether or not it makes any sense, some players really do value the lives of their characters very highly, and become what we in real life call risk-averse: they don't want to take chances, because they might lose their character.

I recall entering an ongoing campaign that was run pretty loose by the referee. One of the players had been around a long time. He'd lost a lot of characters, and he'd retired one or two. Now he had a fourth level ranger--and the guy never left the inn. He didn't want to lose this character, and it was a jungle out there, with death waiting around every corner. I think the player had become a bit paranoid, and his character reflected this. The player soon thereafter stopped coming to the games, and his character became a fixture in the inn, run by the referee.

Sure, losing a character shouldn't be a big thing. Sometimes it is. That's one of the things that appeals to some people about Multiverser--you're not going to lose your character. It appeals to some other people in the opposite direction--you don't have to treat the PCs with kid gloves, because it doesn't matter if they get killed. That's an important side of it. A lot of games are run with kid gloves, because the referees are afraid to take the chance of killing the PCs for fear of the reaction of the players or the disruption to the game. This is a very real phenomenon in gaming, and merely saying that people take their characters too seriously doesn't alter the fact that they do.

The answer has to be that the game offers something to the player that is worth risking the life of the character. If it doesn't, you wind up with players folding in on themselves and becoming entrenched in their safety systems. If it does, you draw them out and they take the chance, and hopefully do so again when they see how enjoyable it is to face the risk.

Or else you soften the risk, so that character death is not the same thing anymore, and doesn't mean you've lost the character.

--M. J. Young

Message 10366#109387

Previous & subsequent topics...
...started by M. J. Young
...in which M. J. Young participated
...in GNS Model Discussion
...including keyword:

 (leave blank for none)
...from around 3/25/2004




On 3/25/2004 at 10:41am, Rob Carriere wrote:
RE: Narrativism, the juicy parts of the system and Risk

Jack Spencer Jr wrote: Luke Skywalker says, screw being a jedi knight. I'm a farmer, not a space hero. Even after his aunt and uncle are killed he says "Well, guess I'm running the farm now" Star Wars doesn't happen.


Jack, thank you. Just thinking of the incredibly shocked and dissappointed look on George Lucas' face made me smile.

However, after George recovers from the shock, he might just have decided that the storm troopers are still looking for a couple of droids and that farm is still their best lead. Luke's choice isn't between being a Jedi and being a farmer, it's between being a Jedi and being on the run. Certainly you could have a fine campaign around a group of fugitives?

Similarly, Brody goes back to NY, and reads all about the shark trouble in the newspaper. He could have stopped it and he knows it. Now, next time a choice comes around, maybe he remembers this?

The fact that Jaws or Star Wars doesn't happen doesn't mean that nothing happens. In fact, if you as GM or you as all the players had decided a priori that Jaws or Star Wars needed to happen, you'd probably want a game with more predictable outcomes.

SR
--

Message 10366#109429

Previous & subsequent topics...
...started by Rob Carriere
...in which Rob Carriere participated
...in GNS Model Discussion
...including keyword:

 (leave blank for none)
...from around 3/25/2004




On 3/25/2004 at 11:59am, Jack Spencer Jr wrote:
RE: Narrativism, the juicy parts of the system and Risk

Perhaps Rob, but your sense of story is coloring your vision. There have been several movies and novels which begin with the protagonist failing in some way. Along Came a Spider: A sting operation Alex Cross is running goes badly and a policewoman is killed. The result, catching the "spider" is a form of redemption for him that this is what he should be doing with his life and he can move on. Cliffhanger: Stallone's character tries to save a friend, his best friend's girlfriend, but she slips from his fingers and falls to her death. The rest of the movie, this motivates him to do what he does.

But we're talking about a style of play that at every turn the drama is defused. Luke Skywalker becomes a farmer. The stormtroopers come back shouting we're looking for two droid. Luke says "Why sure, here are the droids you're looking for. Take them. I am a loyal citizen of the Empire. By the way, the old guy is Obi Wan Kenobi the Jedi knight long thought to be dead. You might want to take him in for questioning."

This sort of play puzzles me, really. Why play an adventure game if you're going to avoid adventure at every turn? I just don't get it although I have played this way way too often and it may be part of the reason I am angry and bitter over my hobby.

Message 10366#109432

Previous & subsequent topics...
...started by Jack Spencer Jr
...in which Jack Spencer Jr participated
...in GNS Model Discussion
...including keyword:

 (leave blank for none)
...from around 3/25/2004




On 3/25/2004 at 2:02pm, pete_darby wrote:
RE: Narrativism, the juicy parts of the system and Risk

MJ:

Yes, after all I said, my preferred systems tend towards the low ranges of character mortality (pace Paranoia). I guess it's my narrativist tendencies showing, that whether the character's choosing life or death, the choice means something, and that the player is still involved to see the consequences of that choice, the payoff, whatever that choice is. Since most games revolve around a degree of character indentification, if the PC's dead, the player is "out of the game", and doesn't get involved with the creamy goodness resulting from the choice if death is the choice.

Jack:

This sort of play puzzles me, really. Why play an adventure game if you're going to avoid adventure at every turn? I just don't get it although I have played this way way too often and it may be part of the reason I am angry and bitter over my hobby.


I'm a little confused: are you talking as player or GM here?

As a GM, are you setting up "hard choices" for the PC's who then always take the easy choice? Kobyashi Maru the bastards, I say.

If it's as a player, is it becuase character death excludes you as a player from play to an extent that you tactically play it safe to remain in the game, while that tactical decision frustrates the expression of your other expectations of play?

Message 10366#109442

Previous & subsequent topics...
...started by pete_darby
...in which pete_darby participated
...in GNS Model Discussion
...including keyword:

 (leave blank for none)
...from around 3/25/2004




On 3/25/2004 at 2:10pm, Storn wrote:
RE: Narrativism, the juicy parts of the system and Risk

In our games, Neil and I try to run our characters as if they were living, breathing people. Putting yourself in harm's way is the perview of the desperate, the stupid, the adrenline junkies and the unfortunate.

In other words, we believe that being an adventurer... there definitely has to be something wrong with you. If just that you are often unlucky. Being at the wrong place at the wrong time.

Most soldiers do NOT go and court death. They work hard to avoid it. It is why I can't stand dungeon crawls. It makes absolutely no sense to me. If I have the skill set of a professional soldier or crafty mage, I can get work that doesn't have such a high attrition.

So, in our games, the GM must really provide justification and situations that makes the PC go "Okay, got to do something and get this done". That is why my game is very poltical, very geo-power oriented. Adventure happens as Policy is carried out. It is why Neil operates in SuperHeroes.... you gotta be a bit nuts and driven to put on spandex and go out there and fight crime!

So, it is not MY aversion to Risk that might cause my PC to avoid danger. It is the PC. To me, putting the PC in danger IS fun. It makes for good story, especially if there is really good justifications and motivations zinging around. But sometimes a PC speaks on their own behalf.

I know that GNS states that there is no difference between PC and Player. But this is where I and GNS part company. I do think there is a difference. I THINK and FEEL different when playing different characters. Quite similar to thinking in another language compared to your native language.

Not that I relish losing beloved characters. But it is that challenge of keeping them alive and keeping their stories going that makes some of the fun for me.

Message 10366#109444

Previous & subsequent topics...
...started by Storn
...in which Storn participated
...in GNS Model Discussion
...including keyword:

 (leave blank for none)
...from around 3/25/2004




On 3/25/2004 at 2:22pm, Alan wrote:
RE: Narrativism, the juicy parts of the system and Risk

Storn wrote:
So, in our games, the GM must really provide justification and situations that makes the PC go "Okay, got to do something and get this done".


Have the players also made efforts to provide justification and suggest situations that would motivate their characters to adventure?

Message 10366#109449

Previous & subsequent topics...
...started by Alan
...in which Alan participated
...in GNS Model Discussion
...including keyword:

 (leave blank for none)
...from around 3/25/2004




On 3/25/2004 at 3:14pm, Jack Spencer Jr wrote:
RE: Narrativism, the juicy parts of the system and Risk

pete_darby wrote: If it's as a player, is it becuase character death excludes you as a player from play to an extent that you tactically play it safe to remain in the game, while that tactical decision frustrates the expression of your other expectations of play?


AS a player...and that's a good argument to remove character death from the equation if it really is beside the point.

Message 10366#109459

Previous & subsequent topics...
...started by Jack Spencer Jr
...in which Jack Spencer Jr participated
...in GNS Model Discussion
...including keyword:

 (leave blank for none)
...from around 3/25/2004




On 3/25/2004 at 3:27pm, RDU Neil wrote:
RE: Narrativism, the juicy parts of the system and Risk

Alan wrote:
Have the players also made efforts to provide justification and suggest situations that would motivate their characters to adventure?


As a player occasionally in Storn's game, and the main GM the rest of the time... I'd have to say "Yes... much of the time, but not always."

In my 17 year running Supers campaign, the level of player interaction with the world... the proactive nature of the characters, the depth of understanding of the big picture of the RDU Universe... this really allowed the PCs (whether long term, powerful metahumans, or fresh faced newbie characters) to act on their own agendas, and actively look to shape their environment by their actions. It could be something as simple as setting up a meeting to discuss trade... or it could be as overt as assembling an army of metahumans to attack China. The world events are going on, and the players decide how their characters will get involved, stay out of it, create their own policies and world movements, etc.

It happens in some games I play in Storn's long running fantasy world, as well. I will drive policies and social actions through my Baron character, because I can.

In all these cases, though, I think two things are required for effective player proaction. One, an in depth, long term exposure to the "world" that the GM initiated (comfort level/depth of knowledge and history of the world) and two, at least a few sessions running the character, so that the personality and "place' of the character has some grounding.

Essentially, though we've never stated it as such, I think our group requires players to EARN director/author stance. (Not sure of the difference between the two.) In my current, new campaign, even though most of the players and I have been gaming together for years... there is a much greater tendency for reactive play, waiting for the GM to provide tactical situations for the characters to deal with... and the director stance, the strategic thinking, and player proaction isn't there yet. If the game succeeds for a while, I think we will begin to see more of it, but I'm pretty sure that our groups Social Contract implies "let the GM run things for a while, before you stick your nose in too much." After time, though, the players become more and more active in story development, because they have an established base with which to work.

That is just my take on it, though.

Message 10366#109465

Previous & subsequent topics...
...started by RDU Neil
...in which RDU Neil participated
...in GNS Model Discussion
...including keyword:

 (leave blank for none)
...from around 3/25/2004




On 3/25/2004 at 3:40pm, Rob Carriere wrote:
RE: Narrativism, the juicy parts of the system and Risk

Jack,
Thanks for clarifying. I completely agree that hiding in the wings all the time wouldn't be my idea of a good game either. As you say, if you want play to be about something other than `what would you die for', then character death should be mostly removed from the game. I sometimes wonder if the English-speaking world doesn't have a terrible psychological handicap here in that the word used to describe `what makes a story go' is conflict, which makes everybody think of armed conflict. The direct translation of the Dutch word is tension: if it makes you tense, it works. You can be tense about whether or not parties A and B will kiss (Moonlighting); I'm currently running a game where everybody is all worked up about a single flower, and so on. Anything that makes you uncertain about a part of the future of the game that you care about will work.

SR
--

Message 10366#109470

Previous & subsequent topics...
...started by Rob Carriere
...in which Rob Carriere participated
...in GNS Model Discussion
...including keyword:

 (leave blank for none)
...from around 3/25/2004




On 3/25/2004 at 3:42pm, pete_darby wrote:
RE: Narrativism, the juicy parts of the system and Risk

Jack Spencer Jr wrote:
pete_darby wrote: If it's as a player, is it becuase character death excludes you as a player from play to an extent that you tactically play it safe to remain in the game, while that tactical decision frustrates the expression of your other expectations of play?


AS a player...and that's a good argument to remove character death from the equation if it really is beside the point.


Or, you can ensure that character death doesn't exclude the player from subsequent play (through troupe play, shifting to a new/ former NPC character, staying on as mini-gm). But that brings with it an enforced slip to author / director stance, and a dsitancing from identification with the character that may be undesirable.

Message 10366#109471

Previous & subsequent topics...
...started by pete_darby
...in which pete_darby participated
...in GNS Model Discussion
...including keyword:

 (leave blank for none)
...from around 3/25/2004




On 3/25/2004 at 4:16pm, RDU Neil wrote:
RE: Narrativism, the juicy parts of the system and Risk

pete_darby wrote:

Or, you can ensure that character death doesn't exclude the player from subsequent play


This is certainly something I strive for when I am GM. In all actuality, PC death is rare in our games, but it does happen. Our group varies on how attached they get to their characters. The GM types (Storn and I, and to some extent James) I think are a bit more distanced, a bit more able to lose or switch characters if it makes sense for the story being told. Others are "plumbers" to some extent, and want longevity to explore nuances to beloved characters. This is not something that would be easy, IMO, to make a group decision about. All I can say is that I feel the GM has to be more sensitive to the players desire for character continuity than he might otherwise be.

The character is the conduit to the game for the player... any change in character, death or not, is a disruption of that connection, even if small.

Now, that being said, death of PCs is extremely important in our games. It is often walking the razors edge of Sim (let the dice fall where they may, the outcome simply happens) and Nar (the events must be meaningful, not just because that's what happens, especially PC death).

This often requires quick stepping in game and back loading of meaning into a scene post game. Giving death meaning,f or the player to experience as part of the group, is essential for their being an acceptance of character death.

Example: In game play goes horribly wrong for one player in a climactic scene that had been building and building. James' samurai was facing a foe he had been training for fight over many adventures. Winning this battle was well laid out as key to moving to the next stage of this sub-campaign. During the fight, I've never seen dice rolling go so badly for someone, so many times. If there were gods looking down on this battle, they disfavored Jubei. It was a brutal, no-quarter asked fight, maybe one poor tactical choice by James, but mostly, the dice hated him. Roll after roll failed in a system with a very nice bell curve with a large normative range of success. (We jokes that the dice knew James enjoyed Amber and were sticking it to the "Diceless boy!") In the end, Jubei was soundly and humiliatingly beaten. This could have been a disaterous game for the campaign, and the play group, but two things happened. As GM, I knew I had to take at least a small element out of the hands of the dice, and put it into the players hands as a character moment, a character defining situation. On the players side, James stepped up with some serious balls and made a brutal choice that turned this game from a train wreck, into one of the most memorable sessions we've run. It did require us to step away from Sim... what happens happens... and for us to provide an on the fly adjustment, in character of course, to allow player choice... a Nar decision on whether or not to regain honor through seppuku, knowing that such an act would forego any chance of the samurai to get to know the daughter he had just found out he had... and so he did it, with his daughter as his second, and died seeing respect and honor in his daughter's eyes. It was amazingly intense... even ended that subcampaign with a failure by the heroes to achieve their end goal... but absolutely fulfilled the play groups desire for story... at least as we understand it.

The point being, this wasn't planned, or discussed OOC, nor was it at all what the player "wanted" to have happend (in game.) But is was a powerful moment in the history of the world and the history of the play group. It became a "Remember when..." moment of the highest order.

Without players willing to risk their characters like this, such games would never happen. I couldn't continue gaming without this element being integral to any story being told. It's just a necessary piece of ephemera for me.

Message 10366#109481

Previous & subsequent topics...
...started by RDU Neil
...in which RDU Neil participated
...in GNS Model Discussion
...including keyword:

 (leave blank for none)
...from around 3/25/2004




On 3/25/2004 at 4:27pm, Jack Spencer Jr wrote:
RE: Narrativism, the juicy parts of the system and Risk

pete_darby wrote: But that brings with it an enforced slip to author / director stance, and a dsitancing from identification with the character that may be undesirable.


I don't think that stnce really equates into distance from the character. People watch movies or read books all the time and they are indeed in "audience stance" since all they can do is passively absorb the film or novel, yet they still develop a strong empathy with the characters. I think stance is misleadingly beside the point when it comes to distance from character.

Message 10366#109487

Previous & subsequent topics...
...started by Jack Spencer Jr
...in which Jack Spencer Jr participated
...in GNS Model Discussion
...including keyword:

 (leave blank for none)
...from around 3/25/2004




On 3/25/2004 at 4:59pm, pete_darby wrote:
RE: Narrativism, the juicy parts of the system and Risk

Jack Spencer Jr wrote: I don't think that stnce really equates into distance from the character. People watch movies or read books all the time and they are indeed in "audience stance" since all they can do is passively absorb the film or novel, yet they still develop a strong empathy with the characters. I think stance is misleadingly beside the point when it comes to distance from character.


Well, I think it does. So nyah.

Seriously, I think the identification between character and player is often much stronger than that between character and viewer or reader, and in my experience is only rivalled by that bewteen character and writer or actor.

But that's for another time.

Message 10366#109494

Previous & subsequent topics...
...started by pete_darby
...in which pete_darby participated
...in GNS Model Discussion
...including keyword:

 (leave blank for none)
...from around 3/25/2004




On 3/25/2004 at 11:01pm, M. J. Young wrote:
RE: Narrativism, the juicy parts of the system and Risk

Storn wrote: I know that GNS states that there is no difference between PC and Player. But this is where I and GNS part company. I do think there is a difference. I THINK and FEEL different when playing different characters. Quite similar to thinking in another language compared to your native language.

I'm the guy to answer this.

I can get so into my characters' thoughts that I take Myers-Briggs tests as them and come out in completely different personality types. The second chapter of my novel, Verse Three, Chapter One, is told from the perspective of the female protagonist, and that gender-identifier program decided it was written by a woman. When I get into the character identity, I can tell you exactly what that character thinks, feels, says, does, believes, hates, and loves, without more thought than I would give to the same questions directed at me (sometimes perhaps with less). I am quite ready to argue that characters force you to do things, and prevent you from doing other things, because that's who they are.

But it's not true.

That is not who the character is; the character isn't anybody. That is who I characterize the character as being. I have defined the nature of this imaginary person, set the bounds of who he (or she) is, given him all his motivations and values. They exist not within him, but within me. In the end, the character is not telling me what has to be done, or can't be done. I am telling myself these things. I am telling myself that I want this character to be this person, this kind of person with these beliefs and values, this way of thinking, this mode of conduct. I am telling myself that I will not violate that framework, that structure.

Thus in the end it is not the character who controls me, but I control myself through the character.

And although I can say, "Slade would not do that," what I mean is, "If I made Slade do that, he would cease to be the character I want him to be; and what I want him to be is more important to me than whether he does this thing at this moment."

I agree that a lot of game characters do things real people would never do. In fact, one of the interesting things to watch players do in Multiverser is come to grips with the fact that their in-game selves cannot die. Starting with the premise that this is them, they are almost always more cautious with their characters at the beginning of play, because they have this sense that something is a risk they would not take; but then when they've died a few times and come back to life, they start to increase their risk-acceptance, doing things people wouldn't do, because in their minds the cost has been declining.

As far as my comments earlier about playing an adventurer, it's a premise (not a narrative premise, but the foundation for a tale) that works if the players embrace it. If you say, "In this game you're going to play someone who risks his life as part of the job, because that's what he's good at," you get a solid foundation for adventures. As to why some talented fighter would pass up a job as a castle guard in deference to risking his life regularly, puh-leease. The best mercs get six gold coins per month in pay, unless they have advanced to command positions--those very rare jobs pay a few hundred a month. A successful adventure can bring down a few thousand in a week, if things go well, and you won't have to get out of bed at dawn again until you want to. Some people will take the risk, go for the gold. Look at those people who spend their fortunes and risk their lives searching for sunken ships (The Gold Train) and pirate treasures (Oak Island), because of the fame and fortune that awaits them if, somehow, they can succeed in doing what no one has succeeded at before. Think of those guys who wanted to be famous rock musicians (or is it rappers now?) back in high school who are now pushing forty and working odd jobs so they can keep practicing with the band and do a few gigs here and there while waiting for their big break. Think of those kids who just knew that high school classes weren't going to matter because they were going to be NFL football stars, raking down the dough for playing a game, who stuck with it through college and then found themselves undereducated and unemployed. Your character is one of those people: he's got fame and fortune dazzling his eyes, and he's got the skills to get it, if only he gets the right breaks. What the game does is assure that he gets the breaks; what the player does is prove he can do it.

Enough. I hope this is helpful.

--M. J. Young

Message 10366#109588

Previous & subsequent topics...
...started by M. J. Young
...in which M. J. Young participated
...in GNS Model Discussion
...including keyword:

 (leave blank for none)
...from around 3/25/2004




On 3/25/2004 at 11:16pm, Storn wrote:
RE: Narrativism, the juicy parts of the system and Risk

And although I can say, "Slade would not do that," what I mean is, "If I made Slade do that, he would cease to be the character I want him to be; and what I want him to be is more important to me than whether he does this thing at this moment."


I can buy that.

A successful adventure can bring down a few thousand in a week


And here is precisely what I cannot buy. Not in a long term campaign, which *I* say is anything more than 5 eps. Your statement, "A successful adventure". Right. One. One adventure, 3 episodes, perhaps. Boom, no more motivation to adventure. One sucessful dungeon crawl... and bam.. .that adventurer, under most fantasy worlds' economic systems, should be set for life.

That is problematic and doesn't lend itself to a longterm character in that campaign easily. And on a personal level, I disconnect from characters who are too greedy.. or too one dimensional. So, yeah, I want better motivation that I'm lusting for gold... or fame. I would rather put my character's non-existence on the line over country, love, necessity, fight vs. evil... or something....

Hey. I am one of those folks with stars in their eyes. I'm a freakin' artist. I've moved furniture in Washington DC heat and I've been a bicycle messenger in NYC. I've dug ditches... ALL so I could support myself while my skills got good enough to become an artist who's craft pays the bills.

Message 10366#109592

Previous & subsequent topics...
...started by Storn
...in which Storn participated
...in GNS Model Discussion
...including keyword:

 (leave blank for none)
...from around 3/25/2004




On 3/26/2004 at 1:04am, montag wrote:
RE: Narrativism, the juicy parts of the system and Risk

M. J. Young wrote: I can get so into my characters' thoughts that I take Myers-Briggs tests as them and come out in completely different personality types.
This is wholly off-topic, but since I've seen you state that before, I'm gonna let you in on a dirty little secret of psychology: Everyone can do that.
Which – incidentally – is why personality tests are almost useless for job interviews, since you're only measuring "who has the best understanding of the ideal candidate's answers". The "almost" is there because figuring out who the ideal candidate is and what that ideal candidate is like is a skill in itself which comes in handy in a whole bunch of jobs ;)
But unless the person you're testing is dumb as a doornail, personality test results from someone who is not cooperating are worthless.

back to regular Forge business ...
(I did not make this a PM since I felt the point might be relevant to other discussions as well. Don't hesitate to delete it if it is considered inappropriate

Message 10366#109606

Previous & subsequent topics...
...started by montag
...in which montag participated
...in GNS Model Discussion
...including keyword:

 (leave blank for none)
...from around 3/26/2004