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Setting and emergent stories [English]
Ron Edwards:
I've noticed a great deal of confusion and struggle regarding playing the Solar System, particularly using the Near setting.
In preparing to play the German game DeGenesis, I decided to summarize my thoughts on using complex settings and more-or-less accidentally wrote a whole essay about it: Setting and emergent stories.
I welcome any thoughts or questions.
Best, Ron
Antonio Caciolli:
is it necessary to know near and the solar system to read the linked PDF or not?
P:
Antonio: No, as Ron's article is not specifically on TWON, but more in general on playing what it calls "setting-centric" Story Now.
Interestingly enough, the section which the article seems to regard as central consists of a set of techniques that can be applied to get this kind of play out of "traditional", incoherent game texts.
And for the designers out there, towards the end there is a bit of a pointer towards some unchartered territory in Narrativist game design...
That should be enough to whet the appetite of the uncertain. I'll maybe come back later with my comments and questions to Ron.
Alessandro Piroddi (Hasimir):
reading right now, thanks Ron!
PS: fanmail to Ron because you're actually going to play DeGenesis ... I followed that project for a looong time (unfortunately in a period of my life when I had no opportunities to roleplay).
I would love to know what you think of that game too! :D
Davide Losito - ( Khana ):
--- Citazione ---the emphasis on and use of setting for Story Now play: as a creative element of these unstable situations, as a group tool for buy-in, and as a topic for which the events of play will carry thematic weight.
--- Termina citazione ---
Well, Elar belongs to this specific category of Story Now.
It is well explained at Page 5, starting with point 2 "diagram for setting-centric Story Now play".
The way the Prologue and First Framing is played is a... unconscious quasi-experimental intuition that goes in that very same direction and the shifting sequence of Framing and Paragraph phases is a cycle that repeats points 3 to 5 until the playing group is satisfied with what they created at the table.
Those who played Elar with me in the demos can easily identify some techniques I use, like this:
--- Citazione ---In other words, the first thing you do to play is pick a spot on the world map, which provides the options for character creation in addition to the particular political and religious crises hitting flashpoint at that time
--- Termina citazione ---
Normally choosing among Imperial territory and its in-court conspiracies, the non-denorean countries and their possible failed experiments or the White Dales and the secrets it may hold.
I cannot help but add this
--- Citazione ---The key transitional information for preparing comes right out of setting information, for instance, and character goals are not necessarily sources of conflict, let alone the central source.
--- Termina citazione ---
As I used Character Goals as a flag for giving the players a specific thematic where they can force the presence of their characters and a in-game reason to be there.
And of course:
--- Citazione ---Enjoying the setting isn’t an end-stage outcome, it’s a starting and prevailing commitment. Nor is a single person expected to be the docent for the textual setting; rather, it belongs to everyone for inspiration and use. Play deepens it and provides nuances, and most importantly, changes it
--- Termina citazione ---
... "if you want to assassinate that Empress-bitch, go and enjoy killing her".
Even the 10 points at page 7 and 8 are a great step-by-step guide on how to handle your game session in Elar.
Happy to find a confirmation of the central ideas that were at the base of the Elar/Fragma project.
Edit: note to self -> don't copy-and-paste from a PDF...
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