Autore Topic: [FAQ] le specificità del GDR nella creazione di storie  (Letto 3330 volte)

Moreno Roncucci

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Uno dei motivi per cui quando si discute di gdr, anche quando parli delle storie che hai creato giocando, è sempre meglio farlo trattando il gioco reale, al tavolo, e non solo la storia vissuta dai personaggi, è che quella NON È LA STORIA CHE HAI CREATO, ma un suo "adattamento" ad un altro media (il racconto orale)

Per decenni invece quando si parlava di "storia" nei gdr si parlava di questo adattamento, e se ne parlava senza fare riferimento al gioco reale, ma facendo piuttosto riferimento ad altri media: si parlava quindi di gdr come se fossero racconti, film, radiodrammi, e considerando una storia "bella" se...  era facile da adattare in uno di questi media.

E questa è un invereconda cazzata, che ha generato un sacco di altre cazzate, tipo l'idea che "l;a storia viene meglio se la decide prima il GM, come nei film", o che una storia creata insieme giocando sia "inferiore" a una creata da una persona sola... perché non somiglia nei dialoghi a quelli teatrali!

Ha generato anche "tecniche stupide", tipo il richiedere di parlare sempre in character in giochi in cui non era necessario (ci può magari essere un gdr dove il parlare sempre in character ha una funzione nelle regole, ma sarebbe un eccezione) perché così somigliava di più al teatro...

Invece, il gdr È UN MEZZO ESPRESSIVO SEPARATO, con le sue regole, le sue tecniche, che usa sì la voce e i gesti, ma anche cues, regole, tecniche particolari, spesso imput aleatori, etc.

Anche se l'ho scritto un sacco di volta, non credo però di averlo mai scritto con la chiarezza e la forza di Christopher Kubasik nella sua risposta alle domande di Corale David, di cui ho parlato qui: http://www.gentechegioca.it/smf/index.php/topic,9968.0.html
Anche perché Christopher lo può dire con l'autorità di qualcuno che ha scritto non solo gdr, ma pure romanzi e una serie TV come "the booth at the end"

La sua risposta mi è piaciuta talmente che gli ho chiesto il permesso di ricopiarla qui (piuttosto che lasciarla perdere nel nulla e nella dimenticanza come tutto quello che si scrive su G+) e la aggiungo alle mie FAQ di teoria.

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Question : "You also write novels and you created the TV show The Booth at the End. In your opinion, what can you do with pen & paper RPGs you cannot do with any other media?

Christopher:
For me, the most important distinction is an utterly practical one, at the level of craft and execution:

You sit around and do this with people you like.

Keep in mind I see all of this through the prism of storytelling. So, I also have written novels, screenplays, TV pilots, directed plays and short film.

Here’s a thing: Once you enter the world of commerce you are beholden to the people with money. I’m not being whiny are making plans to rebel against the 1% when I say this. It’s just a fact. If a producer or a studio or a network cuts you a check, you are on their clock. You can fight back against foolish notes. And sometimes you win. But here, in the U.S., the person who cuts the check for a script legally becomes “The Author.” (I know that’s not the case in Europe, so really let that sink in for a moment.)

The tastes of producers and executives are often… sad. They are chasing an imaginary audience. They don’t want to offend people or do anything to make them sad or negative. (This is foolish, by the way.) They don’t want things too weird. They want things that are like other things.

So, when I sit around with my friends and make something, what are we doing? We’re making something for each other. No matter how strange or weird or honest or compelling, we can keep going. No one can say, “This is too expensive.” No one can say, “The audience won’t like it.” (We’re the audience, so by definition, we like it.)

When I play the story-focused games I like, we are both creators and audience members. We’re on the hook for showing up, coming playing our characters with passion and delight and imagination. The bar demands we at least try. And the other commitment is that we pay attention to each other. The games I play (Sorcerer, Primetime Adventures, and many others) demand that no one is allowed to “check out” for a while.

No one is getting paid for this. Nothing is on the line professionally. No one is doing this one thing while focusing on the “next job” and wondering if it’s the right career move. We’re doing it because we want to and the pleasure is our own. We own it.

RPGs, then, as a medium are a social activity of creativity. It isn’t like writing a book you never plan on sharing with anyone. One is sharing all the time in an RPG. Your creativity is always on the line. But the people you are sharing with have, as their agenda, only their own creativity. They are not trying to read the minds of millions of strangers, wondering if the money spent will get such-and-such return on your investment. You do it with your friends because you want to. And if everyone is honest and playful you will be amazed and delighted and surprised and sometimes moved.

It’s playing. The way we used to play in a sandbox with our friends, making stuff up.

We live in a time where if what you are making is not designed for a profit, the making is suspect. RPGs say, “Fuck that.” It is reclaiming the habit of making to make, trusting your own instincts and pleasure. And I cannot think of a better dojo for an artist of any kind than that.
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Mattia Bulgarelli

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Re:[FAQ] le specificità del GDR nella creazione di storie
« Risposta #1 il: 2014-07-14 11:50:57 »
Here’s a thing: Once you enter the world of commerce you are beholden to the people with money. I’m not being whiny are making plans to rebel against the 1% when I say this. It’s just a fact. If a producer or a studio or a network cuts you a check, you are on their clock. You can fight back against foolish notes. And sometimes you win. But here, in the U.S., the person who cuts the check for a script legally becomes “The Author.” (I know that’s not the case in Europe, so really let that sink in for a moment.)

The tastes of producers and executives are often… sad. They are chasing an imaginary audience. They don’t want to offend people or do anything to make them sad or negative. (This is foolish, by the way.) They don’t want things too weird. They want things that are like other things.

So, when I sit around with my friends and make something, what are we doing? We’re making something for each other. No matter how strange or weird or honest or compelling, we can keep going. No one can say, “This is too expensive.” No one can say, “The audience won’t like it.” (We’re the audience, so by definition, we like it.)

When I play the story-focused games I like, we are both creators and audience members. We’re on the hook for showing up, coming playing our characters with passion and delight and imagination. The bar demands we at least try. And the other commitment is that we pay attention to each other. The games I play (Sorcerer, Primetime Adventures, and many others) demand that no one is allowed to “check out” for a while.

No one is getting paid for this. Nothing is on the line professionally. No one is doing this one thing while focusing on the “next job” and wondering if it’s the right career move. We’re doing it because we want to and the pleasure is our own. We own it.

RPGs, then, as a medium are a social activity of creativity. It isn’t like writing a book you never plan on sharing with anyone. One is sharing all the time in an RPG. Your creativity is always on the line. But the people you are sharing with have, as their agenda, only their own creativity. They are not trying to read the minds of millions of strangers, wondering if the money spent will get such-and-such return on your investment. You do it with your friends because you want to. And if everyone is honest and playful you will be amazed and delighted and surprised and sometimes moved.

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Simone Micucci

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Re:[FAQ] le specificità del GDR nella creazione di storie
« Risposta #2 il: 2014-07-14 19:28:51 »
Oltretutto girando per quei link ho scoperto The Oracle, che non conoscevo per niente. O_o
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