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paradoxGentleman
Dec 10, 2013

wheres the jester, I could do with some pointless nonsense right about now

If I understand the distinction between these playstyles correctly, some decent names for them could be "objective based" and "narrative based".

A player in an objective based game has a series of goals that he is trying to achieve; the game is about reaching these objectives and surpassing the obstacles that are between the players and those. While the wide world or the characters themselves have room for fleshing out, they are not the focus of the game, the challenges are. The closest comparison that I can make is with the Mario series: what happens is set in motion by the kidnapping of Peach, true, but you aren't really playing for that, you are playing because jumping on mushrooms and avoiding oversized bullets is fun.

A player in a narrative based game is also having fun, but in a different way: what matters to those sort of games is the roleplaying, the characters' story arcs and the setting they are in. The players' choices aren't dictated by what they believe is the best way to solve their problems: they are dictated by what makes a better story, or makes the most sense for their characters.

The truth is that most games are somewhere between these two extremes; not only that, but a lot of characters in narrative based games do have an objective in their lives and obstacles between themselves and those objectives; so a player's choices could be the same indipendently from where the focus lies.

I am not sure if this is the correct interpretation or even if it makes sense but I don't know how to put it better than that.

paradoxGentleman fucked around with this message at 16:21 on Mar 17, 2015

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paradoxGentleman
Dec 10, 2013

wheres the jester, I could do with some pointless nonsense right about now

Maxwell Lord posted:

They're different extremes in the same medium, and there are all sorts of things in between.

It's like how Koyanisqaatsi and Transformers: Age of Extinction are both movies.

Well yes, but there are movies that are closer to one style of play or the other, so it can be helpful in searching what one is interested in to define them . I'd also argue that certain games can be played in both styles, even though some tend more strongly one way or the other.

paradoxGentleman
Dec 10, 2013

wheres the jester, I could do with some pointless nonsense right about now

Maxwell Lord posted:

True, it's just that thanks to Pundits and such there's this idea that they're two separate things with a clear line between them, when it's more a blurry thing. Like there are plenty of games that throw in occasional "author the narrative" elements but are mostly just "roll to succeed at a task", and that works.

You'll notice that I said something similar towards the end of my post. :v: And we really shouldn't let that person's reputation ruin the discussion for everyone else.

Glorified Scrivener posted:

Oh cool, I 'm still hoping to get an answer to that question.

So to continue my trend of saying stupid things that invite ridicule in a pathetic attempt to engage with other human beings over the internet; it sounds like one of the play styles being described is somewhat analogous to the procedurally generated content in some computer games, with initial content and starting conditions determined, somehow, and then continuing in an open ended dialectical manner in response to player interaction with those starting conditions.

During play and afterwards a narrative is created by the participants as they process the series of events that've occurred, and their attachment/investment in this narrative influences their actions independent of game mechanics in a continuing game. This creation of story occurs even though nothing in the game mechanics directly interfaces with it on the level of "story". Is that somewhat close?

I'm not drawing the comparison to computer games in a derogatory manner - one of my favorite parts of Civ V is creating a narrative that explains why my civ will stop at nothing to drive the fascists into the sea, even if following that narrative doesn't have anything to do with the mechanics or victory conditions. Often in D&D or similar games the desire to advance a character mechanically by leveling, etc, rapidly fades to second place next to a concern with what they're going to do to influence the game world.

On the subject of why doors are locked, I’d rather the door be locked or unlocked for a reason internally congruent with the setting/narrative rather than because it’s dramatic. The best reason I can put forth for this is that it feels like a game where things always tend toward the most dramatic/interesting option is boring after a while, because there isn’t room for surprise, lateral thinking or having a quiet boring moment to contrast the exciting things. If everything is always interesting all the time (either because it is or those are the only moments you focus on) than it gets repetitious through overexposure.

And I get that 99% of the time a locked door is either picked, knocked or bashed down, but some of my favorite gaming moments have been when players creatively got around a locked door by doing something I didn’t expect and I love those kinds of surprises. I find them easier to come by when players are reacting to the constraints imposed by a more simulationist rules set.

It took three rereads but I think I finally understood what you're trying to say.

No, the narrative isn't necessarily cobbled together after the fact, the way a LPer in these forums would; most RPGs, even the closest to pure "objective based" there are, already come with a narrative of what is happening in the roleplaying world. I honestly can't tell where you could have gotten this.

No, the fact that a door can be locked or unlocked depending on the drama of the situation doesn't necessarily make for a boring game. In fact, the objective is exactly to avoid that; if you bother to make an encounter out of a locked door, this door needs to actually be an obstacle, not something that the thief can open with no problems whatsoever. In this example, you could describe how the party maneuvers its way through all the doors in the fortress/labyrinth/dungeon/whatever only to be stumped by one with a particularly complex lock, which happens just as they were running away from a dragon they awoken. If they met that lock without the urgency of the encroaching monster, it would just stop them dead on their tracks, which would be boring unless there was a different way in.

paradoxGentleman fucked around with this message at 17:51 on Mar 17, 2015

paradoxGentleman
Dec 10, 2013

wheres the jester, I could do with some pointless nonsense right about now

Here's the impression I got: a couple of people noticed that certain games have certain playstyles that they tend to be played with. We have been trying to pin down what those playstyles are (while keeping in mind that hybridization is likely) as to better understand the building blocks of TG design; this way we can give suggestions to people who want to try new games more easily and we can better articulate what certain games are about.

I know Pundit and co. gave the concept of distinctions between games a bad rap, especially when the word storygame is used, and maybe this thread would have needed a different title, but it would be stupid to pretend that it doesn't happen. Do it to spite him if nothing else.

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