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+The Forge </> The Internet Home for Independent Role-Playing Games
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+
+
+
+ The Provisional Glossary
+
+by Ron Edwards <sorcerer@sorcerer-rpg.com
+<mailto:sorcerer@sorcerer-rpg.com>>
+Copyright 2004 Adept Press
+
+Many thanks to Vincent Baker, Emily Care Boss, Steve Samson, Julie
+Stauffer, and Ralph Mazza for their help with the first draft for this
+project.
+
+As the title implies, this is a provisional version of what I hope will
+become a standing Glossary for the Forge. Everyone is invited to comment
+according to the following guidelines:
+
+ *
+
+ We can debate endlessly about the exact perfect phrasing for a
+ definition, but let's not. Please take into account that at least
+ a hundred other people have just as much justification for their
+ favored phrasings as you do for yours. If you propose an alternate
+ phrasing, please do so by backing up your point with thread
+ references.
+
+ *
+
+ The purpose for the Glossary is solely to provide help to people
+ as they enter into discussions at the Forge. It is not supposed to
+ be the primary teaching instrument for any concept, nor is it a
+ belief system that must be accepted or agreed with in order to
+ participate.
+
+The main reason this whole thing has taken so long is that I do not see
+an easy way to separate a Forge Glossary authored by myself from a
+presentation/essay about my particular take on issues discussed at the
+Forge. It is flatly impossible for me to please everyone by representing
+all of their individual takes on these issues ? some of you may find
+terms that I've pegged as controversial as perfectly clear; others may
+find terms that I don't peg controversial as being so. So I say these
+two things:
+
+ *
+
+ Yes, I wrote this document. So yes, it reflects a lot of my values
+ and the framework for role-playing that at present I think makes
+ the most sense.
+
+ *
+
+ My goal, as I stated above, is utility for others, especially
+ those who haven't been involved in debating these issues for
+ years. So bear that in mind ? it's not supposed to represent your
+ sophisticated understanding of controversial nuances. Evaluate it
+ from the eyes of someone who needs it.
+
+So if you think that my personal take on the issues has clouded the goal
+for any particular term, then say so and try to back up your argument
+with clear logic. I'm willing to make changes on this basis, but not on
+the basis that you ?feel? a newcomer will be confused.
+
+I haven't included the actual links to the indicated threads, mainly
+because that would delay this posting by at least a week, and it's time
+to get it off the ground. They'll get added in the next iteration. I
+figure maybe a month of discussion about this version is a good plan. If
+you can think of other relevant threads (remember: helpfulness), then
+suggest them. I'm also interested in getting links to articles by others
+for specific terms (e.g. M.J./s 'Applied Design/, etc); the question is,
+which terms.
+
+Finally, some of the terms are desperately in need of discussion and
+revision: ?Metagame? as a character component really sucks; and I'm
+proposing ?Positioning? instead. In fact, ?metagame mechanics? seems to
+be a broken term as well (an older thread convinced me). And a few
+others. I'm certainly happy to see what people think of these, but
+again, please do the reading and reflection necessary before you bomb in
+with your reactions.
+
+
+ Part One: the Big Model
+
+The following key concepts and how they inter-relate form a foundation
+for nearly all of the other terms, which provide examples, refinements,
+or sub-sets for them.
+
+The key concepts are:
+
+*The Big Model, Social Contract, Exploration, Shared Imagined Space,
+Creative Agenda, Techniques, Ephemera, Lumpley Principle, and Coherence*
+
+Most of the other terms on the list only take on their meaning when
+considered in the framework of these concepts and their interactions.
+
+Big model pic (PDF) <http://indie-rpgs.com/_articles/bigmodelpic.pdf>
+
+Big model, the
+
+ A description of role-playing procedures as embedded in the social
+ interactions and creative priorities of the participants. Each
+ internal "box," "layer," or "skin" of the model is considered to be
+ an expression of the box(es) containing it. See the discussion in
+ /Narrativism: Story Now/ and /The big model - this is it/.
+
+Coherence
+
+ The degree to which one or a combination of Creative Agendas are
+ accepted and reinforced among members of a role-playing group.
+ Coherence may also be applied to game design, but only indirectly,
+ in terms of whether it does or does not facilitate such a shared
+ agenda.
+
+Creative Agenda (CA)
+
+ The aesthetic priorities and any matters of imaginative interest
+ regarding role-playing. Three distinct Creative Agendas are
+ currently recognized: Step On Up (Gamist), The Right to Dream
+ (Simulationist), and Story Now (Narrativist). This definition
+ replaces all uses of "Premise" in /GNS and other matters of
+ role-playing theory/ aside from the specific Creative Agenda of
+ Narrativist play. Creative Agenda is expressed using all Components
+ of Exploration, but most especially System.
+
+Ephemera
+
+ Moment-to-moment or sentence-to-sentence actions and statements
+ during play. Combinations of Ephemera often construct Techniques.
+ Changes in Stance represent one example of an Ephemeral aspect of play.
+
+Exploration
+
+ The imagination of fictional events, established through
+ communicating among one another. Exploration includes five
+ Components: Character, Setting, Situation, System, and Color. See
+ also Shared Imagined Space (a near or total synonym).
+
+Lumpley Principle, the
+
+ "System (including but not limited to 'the rules') is defined as the
+ means by which the group agrees to imagined events during play." The
+ author of the principle is Vincent Baker, see Vincent?s standard
+ rant: power, credibility, and assent and Player power abuse.
+
+Social Contract
+
+ All interactions and relationships among the role-playing group,
+ including emotional connections, logistic arrangements, and
+ expectations. All role-playing is a subset of the Social Contract.
+
+Techniques
+
+ Specific procedures of play which, when employed together, are
+ sufficient to introduce fictional characters, places, or events into
+ the Shared Imagined Space. Many different Techniques may be used, in
+ different games, to establish the same sorts of events. A given
+ Technique is composed of a group of Ephemera which are employed
+ together. Taken in their entirety for a given instance of
+ role-playing, Techniques comprise System.
+
+
+ Part Two: the terms list
+
+I've tried to avoid outright tautology (B says "see A," A says "see B"),
+but if you encounter a term that uses lots of other terms in the
+definition, then you know you're pretty deep down in the key concept
+framework.
+
+Abashed
+
+ Game design which displays features of one or more Creative Agenda
+ that, in their applications, are operationally contradictory. It is
+ a minor form of design Incoherence. However, an Abashed design is
+ easily correctable by ignoring or altering isolated portions of the
+ rules (minor Drift) during play. See /Abashed Vanillaism/ and /my
+ review/ of Little Fears.
+
+Actor Stance
+
+ The person playing a character determines the character's decisions
+ and actions using only knowledge and perceptions that the character
+ would have. This stance does not necessarily include identifying
+ with the character and feeling what he or she "feels," nor does it
+ require in-character dialogue. See Stance.
+
+Address Premise, to
+
+ To establish, develop, and resolve a Premise during play, with
+ emphasis on the decisions made by the protagonist characters. See
+ also Premise, Protagonism, and Story Now.
+
+Author Stance
+
+ The person playing a character determines the character's decisions
+ and actions based on the person's priorities, independently of the
+ character?s knowledge and perceptions. Author Stance may or may not
+ include a retroactive "motivation" of the character to perform the
+ actions. When it lacks this feature, it is called Pawn Stance.
+
+Authority
+
+ The privilege given to a person, process, or written material to
+ establish anything into the Shared Imaginary Space. A controversial
+ topic; see also Credibility.
+
+Balance
+
+ This term is undefined. Used without clarification by the user, it
+ typically diminishes the value of discussions about role-playing.
+ See the discussion in /Gamism: Step On Up/.
+
+Balance of Power
+
+ How the "buck stops here" authority regarding resolution in play is
+ distributed among members of a role-playing group. A feature of
+ Social Contract, related to Credibility and GM-tasks, which directly
+ affects System. This term was first applied to role-playing
+ interactions by Hunter Logan.
+
+Bang
+
+ The Technique of introducing events into the game which make a
+ thematically-significant or at least evocative choice necessary for
+ a player. The term is taken from the rules of Sorcerer. See also
+ Kicker.
+
+Beeg Horseshoe Theory, the
+
+ A proposed visual model for the relationship among the three
+ Creative Agendas around a flat circle, with an "open space" for
+ Simulationist play, because it may not exist. First proposed by
+ Jared Sorensen as a criticism of Simulationist play (or
+ pseudo-play), then re-proposed by Mike Holmes in an effort to
+ validate Simulationist play. A controversial topic; see /The Beeg
+ Horseshoe Theory/, /Beeg Horseshoe Theory revisited/, and /The Roots
+ of Sim II/.
+
+Big Model, the
+
+ /This is a key concept/. See the first section.
+
+Black Curtain
+
+ The effects of a variety of Techniques a GM may employ to keep his
+ use of Force hidden from the other participants in the game, such
+ that they are at least somewhat under the impression that their
+ characters' significant decisions are under their control. See
+ Illusionism, Force, and the discussion in /Narrativism: Story Now/.
+
+Blood Opera
+
+ Play in which character generation focuses on potentially
+ irreconcilable differences among at least some of the characters,
+ and in which scenario generation is designed to put as much pressure
+ on these differences (and therefore on unexpected alliances as
+ possible). Notable for high mortality rates among characters. An
+ example of Situation. Term coined by Ralph Mazza, Jake Norwood, and
+ Ron Edwards.
+
+Bob
+
+ The Technique of withholding response or otherwise mandating a
+ "rest" in the action of play. Term coined in /Sex & Sorcery/.
+
+Breaking the game
+
+ A dysfunctional Technique of Hard Core Gamist play, characterized by
+ rendering other participants' efforts ineffective without recourse.
+
+Calvinball
+
+ A potentially-dysfunctional Technique of Hard Core Gamist play,
+ characterized by making up the rules of a game as it is played,
+ especially in the immediate context of advantaging oneself and
+ disadvantaging one's opponents. "Tagged you! Tags mean you're out!"
+ "It's Tuesday! Tagging doesn't work on Tuesdays!" Most so-called
+ "rules-lawyering" is actually Calvinballing. The term is taken from
+ the comic strip /Calvin & Hobbes/; see also /The Unofficial Official
+ Rules of Calvinball/.
+
+Challenge
+
+ The Situation, i.e., adversity or imposed risk to player-characters
+ of any kind, in the context of Gamist play. It's the imaginative
+ arena for the Creative Agenda of Step On Up. See the Gamble and the
+ Crunch.
+
+Character
+
+ A fictional person or entity which may perform actions in the
+ imaginary situation. One of the Components of Exploration.
+
+Character Components
+
+ The System-specific features of a role-playing character. All are
+ present for all characters, even if one or more is not explicitly
+ part of the textual rules. See Effectiveness, Positioning, and
+ Resource; also see Currency.
+
+Coherence
+
+ /This is a key concept/. See the first section.
+
+Color
+
+ Imagined details about any or all of System, Character, Setting, or
+ Situation, added in such a way that does not change aspects of
+ action or resolution in the imagined scene. One of the Components of
+ Exploration.
+
+Competition
+
+ Conflicts of interest such that goals achieved by one person bring a
+ disadvantage to one or more others. Competition may operate
+ independently (a) among people engaged in role-playing or (b) among
+ imaginary characters. An example of a Dial during play. Competition
+ may or may not be associated with Gamist play, but when it is
+ present among people, Gamist play is very likely to be occurring.
+ See /Gamism: Step On Up/.
+
+Components of Exploration
+
+ In combination, the necessary parts of the imaginary content of a
+ role-playing situation. Separately, they include Character, Setting,
+ Situation, System, Color; see Exploration.
+
+Conflict resolution
+
+ A Technique in which the mechanisms of play focus on conflicts of
+ interest, rather than on the component tasks within that conflict.
+ When using this Technique, inanimate objects are conceived to have
+ "interests" at odds with the character, if necessary. Contrast with
+ Task resolution.
+
+Congruence
+
+ Play in which two or more different Creative Agendas may be
+ expressed in such a way that they neither interfere with one another
+ nor are easily distinguished through observation. The term was
+ coined by Walt Freitag in /GNS and "Congruency"/. A controversial
+ topic.
+
+Creative agenda (CA)
+
+ /This is a key concept/. See the first section.
+
+Credibility
+
+ The degree to which a given statement is adopted into the imaginary
+ events of play, with or without reference to rules. A feature of the
+ Lumpley Principle. Credibility may be applied to the statement
+ (imaginary event) itself or to the person who supplies it; see also
+ Authority.
+
+Cross
+
+ The Technique of introducing effects from previous scenes into
+ current scenes, although the scenes do not contain the same
+ player-characters. Term coined in /Sex & Sorcery/.
+
+Crunch, the
+
+ An application or type of Challenge, based on high predictability
+ relative to risk. A feature of Gamist play.
+
+Currency
+
+ The exchange rate within and among Character Components. Currency
+ may or may not be explicit (e.g. "character points"), but it is a
+ universal feature of System, specifically as it relates to Character.
+
+Death spiral
+
+ The effects of a mechanic which not only has negative effects on a
+ character, but also diminishes the Effectiveness of the ability to
+ resist the re-application of the mechanic.
+
+Deprotagonize (Paul Czege)
+
+ To limit or devalue another person's opportunity to establish their
+ character as a protagonist during Narrativist play. Note that this
+ is specific to Paul's use of Protagonism strictly in the limited
+ Narrativist context.
+
+Design
+
+ This term is used in two distinct ways. (1) Referring to actual
+ play, it is the sum of interactions among Techniques. (2) Referring
+ to text, it is the written version of such interactions with the
+ implication of author intent.
+
+DFK
+
+ Short for Drama, Fortune, and Karma, referring to the Resolution
+ mechanics of a given System, which may include any combination or
+ blending of the three. Terms originally presented in the game
+ /Everway/; altered in current usage.
+
+Dial
+
+ A feature of System by which a given aspect of the imaginary
+ material may be increased or decreased, in terms of Effectiveness,
+ Color, or Points-of-Contact. Depending on the system, dials may be
+ "spun" before play (in which case their value is expected to be
+ fixed) or during play. The term was first presented in /Champions
+ Millenium/.
+
+Diceless
+
+ Usually but not always referring to the absence of Fortune-based
+ resolution during play. Alternatively, refers to relying on Drama
+ Techniques for Resolution. See /GNS and other matters of
+ role-playing theory/ as well as /Dice and diceless: one designer?s
+ radical opinion/. A controversial topic.
+
+Dickweed character
+
+ A character defined and played according to conflicts of interest
+ with the other characters; potentially a primary source of
+ adversity. The presence of a dickweed character does not require or
+ imply inter-player competition.
+
+Director Stance
+
+ The person playing a character determines aspects of the environment
+ relative to the character in some fashion, entirely separately from
+ the character's knowledge or ability to influence events. Therefore
+ the player has not only determined the character's actions, but the
+ context, timing, and spatial circumstances of those actions, or even
+ features of the world separate from the characters. Director Stance
+ is often confused with narration of an in-game event, but the two
+ concepts are not necessarily related.
+
+Drama
+
+ Resolving imaginary events based on stated outcomes without
+ reference to numerical values or (in some cases) statements that
+ have been previously established (e.g. written on a character
+ sheet). See also DFK and Resolution.
+
+Dramatism
+
+ One of the three styles of role-playing identified by Mary Kuhner in
+ the Threefold Model, but not recognized as a distinct Creative
+ Agenda in the Big Model.
+
+Drift
+
+ Changing from one Creative Agenda to another, or from the lack of
+ shared Creative Agenda to a specific one, during play, typically
+ through changing the System. In observational terms, often marked by
+ openly deciding to ignore or alter the use of a given rule.
+
+Dysfunction
+
+ Simply, role-playing which is not fun. Most Forge discussions
+ presume that un-fun role-playing is worse than no role-playing.
+
+Effectiveness
+
+ A Character Component: quantities or terms which are directly used
+ to determine the success or extent of a character?s actions during
+ play.
+
+Egri, Lajos
+
+ The author of /The Art of Dramatic Writing/ (1946); see Premise.
+
+El Dorado
+
+ A term for the unrealizable ideal of consistently addressing Premise
+ through explicitly Simulationist play. This term is often
+ mis-interpreted as Simulationist-Narrativist hybrid play or any
+ number of other concepts. Coined by Paul Czege; see /Simulationism
+ and Narrativism under the same roof/ and /El Dorado/.
+
+Ephemera
+
+ /This is a key concept/. See the first section.
+
+Exploration
+
+ /This is a key concept/. See the first section..
+
+Fantasy Heartbreaker
+
+ A published role-playing game which retains specific aesthetic
+ assumptions from pre-3rd edition versions of Dungeons & Dragons. See
+ /Fantasy Heartbreakers/ and /More Fantasy Heartbreakers/.
+
+Five elements of Exploration
+
+ See "Components of Exploration."
+
+Force
+
+ The Technique of control over characters' thematically-significant
+ decisions by anyone who is not the character's player. When Force is
+ applied in a manner which disrupts the Social Contract, the result
+ is Railroading. Originally called "GM-oomph" (Ron Edwards), then
+ "GM-Force" (Mike Holmes).
+
+Fortune
+
+ A method of resolution employing unpredictable non-behavioral
+ elements, usually based on physical objects such as dice, cards, or
+ similar. See also DFK and Resolution.
+
+Fortune-at-the-End (FatE)
+
+ Employing a Fortune Resolution technique (dice, cards, etc)
+ /following/ the full descriptions of actions, physical placement,
+ and communication among characters. See "Fortune in the Middle" and
+ associated links.
+
+Fortune-in-the-Middle (FitM)
+
+ Employing a Fortune Resolution technique (dice, cards, etc) prior to
+ fully describing the specific actions of, physical placement of, and
+ communication among characters. The Fortune outcome is employed in
+ establishing these elements retroactively. This technique may be
+ employed with the dice/etc as the ultimate authority of success or
+ failure (e.g. /Sorcerer/) or with the dice/etc outcome being
+ potentially adjusted by a metagame mechanic (e.g. /HeroQuest/). See
+ /my review/ of Hero Wars, see also discussions in the /Alyria forum/.
+
+Gamble, the
+
+ An application or type of Challenge, based on high risk relative to
+ predictability. A feature of Gamist play.
+
+Gamism (Gamist play)
+
+ One of the three currently-recognized Creative Agendas. The term was
+ first proposed by Mary Kuhner for the Threefold Model; its usage is
+ very similar in the Big Model. See Step On Up.
+
+Generalist
+
+ A role-playing game design which is non-specific for Setting.
+ Typically such games correspond to the Purist-for-System parameters.
+ See /Simulationism: the Right to Dream/.
+
+Genre
+
+ This term is undefined, in practice, and requires clarification by
+ its user to be meaningful. Arguably its content is accounted for
+ upon identifying the Components of Exploration in a role-playing
+ situation. See /GNS and related matters of role-playing theory/ for
+ the complete discussion.
+
+Genre Expectations
+
+ A Technique of establishing the Components of Exploration through a
+ pre-play discussion among the participants, usually with references
+ to previous sources, articulating what is to be customized or
+ conformed to; highly integrated with thematic elements. The term was
+ employed regarding role-playing by Fang Langford.
+
+GM (Game Master)
+
+ Traditionally, a designated person given responsibility for some or
+ all of the GMing Tasks. Since the actual tasks and authority over
+ them varies widely across role-playing, this term has many different
+ meanings. See GMing Tasks. The phrase "/the/ GM" implies that the
+ GMing-tasks are concentrated in the hands of one person.
+
+GM-Force
+
+ See Force.
+
+GM-ful play
+
+ The Technique of distributing GMing Tasks across all the members of
+ a role-playing group, up to and including re-distributing them
+ during play, as opposed to concentrating them in one person. Coined
+ by Emily Care Boss. See /An approach for mechanics and innovation/.
+
+GM-oomph
+
+ See Force.
+
+GMing-Tasks
+
+ A family of tasks which are necessary to establish the Components of
+ Exploration as play proceeds. They all concern Credibility regarding
+ Scene Framing, IIEE, and Resolution. Significantly, not all
+ instances of role-playing include the same GMing tasks or organize
+ them in the same way; using the term "GM" or "GMing" is often
+ problematic as different people organize and negotiate GMing tasks
+ differently. See /Narrativism: Story Now/ for a list of GMing tasks.
+
+Gnarliburr
+
+ A character which cannot engage in relevant interaction with other
+ characters and lacks identification-value for participants. Term
+ introduced by David Kwill and the CLAWS society; see /Suspension of
+ reality and playing odd characters/.
+
+GNS
+
+ Abbreviation for Gamism, Narrativism, and Simulationism. When used
+ as a single term, synonymous with Creative Agenda. Formerly referred
+ to as "G/N/S."
+
+Handling Time
+
+ The real time required to process, calculate, and interpret a
+ resolution Technique once its procedures have been applied. See also
+ Search Time.
+
+Hard Core
+
+ Gamist play with minimal or even absent Exploration and high levels
+ of inter-player competition; see Breaking the game, Calvinball,
+ Powergaming, and Turnin'.
+
+High-Concept Simulationism
+
+ Play which strongly emphasizes an embedded theme and possibly a
+ fixed storyline. Contrast with Purist for System. See
+ /Simulationism: the Right to Dream/.
+
+Hybrid
+
+ Play which combines two or more Creative Agendas. Observed
+ functional hybrids to date include only two rather than all three,
+ and one of the agendas is apparently primary or dominant, with the
+ other playing a supportive role. See /my review/ of /The Riddle of
+ Steel/.
+
+IIEE
+
+ Intent, Initiation, Execution, and Effect - how actions and events
+ in the imaginary game-world are resolved in terms of (1) real-world
+ announcement and (2) imaginary order of occurrence. See /The four
+ steps of action/ and /What is IIEC?/ A necessary feature of System
+ during play, usually represented by several Techniques and many
+ Ephemera.
+
+Illusionism
+
+ A family of Techniques in which a GM, usually in the interests of
+ story creation, story creation, exerts Force over player-character
+ decisions, in which he or she has authority over
+ resolution-outcomes, and in which the players do not necessarily
+ recognize these features. See /Illusionism: a new look and a new
+ approach/ and /Illusionism and GNS/. Term coined by Paul Elliott.
+
+Immersion
+
+ This term has no single definition. Some uses, among others,
+ include: (a) undivided attention to the Shared Imagined Space, (b)
+ the absence of overtly stating features of Social Contract and
+ Creative Agenda, (c) strong identification with one?s imaginary
+ character. See /Why immersion is a tar baby 'and 'Immersive Story/
+ by John Kim.
+
+Impossible Thing Before Breakfast, the
+
+ "The GM is the author of the story and the players direct the
+ actions of the protagonists." Widely repeated across many
+ role-playing texts. Neither sub-clause in the sentence is possible
+ in the presence of the other. See /Narrativism: Story Now/.
+
+In-character (IC)
+
+ An Ephemera. A style of narration using first-person point of view
+ to describe character dialogue or actions. Neither IC or
+ Out-of-Character (OOC) should be confused with Stance.
+
+Incoherence
+
+ Play which includes incompatible combinations of Creative Agendas
+ among participants. Incoherent play is considered to contribute to
+ Dysfunctional play, but does not define it. Incoherence may be
+ applied indirectly to game rules. Abashedness represents a minor,
+ correctable form of Incoherence.
+
+Infamous Five, the
+
+ A series of threads and sub-threads examining all the major topics
+ of the Forge in relation to one another, and which helped to shape
+ the community of the site. See /The Infamous Five/ for a complete
+ listing of links.
+
+Instance of play
+
+ Sufficient time spent on role-playing necessary to identify all
+ features of System in operation. According to the Big Model, once
+ these features are identified and evaluated in terms of a given
+ group?s Social Contract, then Creative Agenda (or its absence) may
+ also be identified. In practice, an Instance of play is rarely
+ shorter than a full session, and may be much longer.
+
+Intuitive continuity
+
+ A method of preparing role-playing sessions in which the GM uses the
+ players? interests and actions during initial play to construct the
+ back-story of the scenario retroactively. The term was first
+ presented in the game /Underworld/.
+
+Karma
+
+ Resolution based on comparison of Effectiveness values alone. See
+ DFK and Resolution.
+
+Kicker
+
+ Player-authored Situation incorporated into the character-creation
+ System; a formal version of Positioning. The term was first
+ presented in the game /Sorcerer/.
+
+Layering
+
+ The relationship between the initial numbers derived for a character
+ (e.g. attributes) to the numbers eventually used most commonly in
+ play (Effectiveness values; e.g. combat to-hit values). The more
+ steps of derivation, the more the character creation system is said
+ to be layered.
+
+Line, the
+
+ Techniques which reinforce the limits for content that is not
+ permitted to be included in the Explorative content of play, for a
+ particular group. See also the Veil. The term was introduced in /Sex
+ & Sorcery/.
+
+Lumpley Principle, the
+
+ /This is a key concept/. See the first section.
+
+Mechanics
+
+ Individual and specific features of System; Mechanics in text form
+ are "rules."
+
+Metagame (a Character Component)
+
+ See Positioning.
+
+Metagame (general)
+
+ All aspects of play that concern non-Explorative matters or
+ priorities; in terms of the Big Model, the levels of Social Contract
+ and Creative Agenda.
+
+Metagame mechanics
+
+ Techniques which do not require justification using in-game cause,
+ in many cases including Author and Director Stances. In terms of the
+ Big Model, System is being conducted solely in terms of the Social
+ Contract, without Exploration as the medium. As it stands, this term
+ is misleading and is under discussion for renaming; see
+ Meta-metagame for links.
+
+Meta-metagame
+
+ Synonymous with Metagame as the latter term is currently defined,
+ but contradictory to "metagame mechanic," which is currently under
+ revision. See /Purpose of rules/ and /Metagame & mechanics/.
+
+Metaplot
+
+ This term is used in several different ways. (1) A sequence of
+ large-scale changes in setting and actions of NPCs which stimulate
+ conflicts, especially when planned to occur well in advance of play;
+ (2) a version of #1 generated through publications and expected to
+ be implemented by customers in their games, usually through the
+ agency of the GM; #2 or #3 which override players? degree of choice
+ regarding their characters? role, which is to say, which require
+ significant use of Force, usually by the GM.
+
+Munchkin
+
+ A derogatory term used in several different ways, including by
+ non-Gamists vs. Gamists in general, by Hard Core or heavy-Step
+ Gamists vs. Wimps, and by high-Exploration Gamists vs. Hard Core
+ play. See /Gamism: Step On Up/.
+
+Narration
+
+ A type of Ephemera. What is said by a game participant to alter or
+ add to the Shared Imaginary Space. How narration is distributed
+ among participants varies widely; to be fully accepted, narration
+ requires Credibility.
+
+Narrativism (Narrativist play)
+
+ One of the three currently-recognized Creative Agendas. See Story Now.
+
+No Myth
+
+ Intuitive Continuity which includes all Setting features (i.e. more
+ than just Situation). An extreme version of the general principle
+ that the Shared Imagined Space is established by people
+ communicating with one another. Term coined by Fang Langford.
+
+Omni-play
+
+ A controversial term coined by Mike Holmes. Play in which two or
+ more distinctive and separate Creative Agendas are included;
+ conceivably a functional form of Incoherent play. See also
+ Congruence and Hybrid, as well as /The Omni-player/.
+
+One-step-removed
+
+ Character Exploration which utilizes an intermediary persona for
+ different characters in episodic, unrelated settings and situations,
+ as in /Amazing Engine/, /Tales from the Crypt/, /Hong Kong Action
+ Theater/, and /Extreme Vengeance/. Term coined by John Marron.
+
+Ouija-board role-playing
+
+ A form of Illusionism practiced among all the participants upon one
+ another to conceal both Step On Up and Story Now priorities from one
+ another. Term coined by Ron Edwards; see /Narrativism: Story Now/.
+
+Out-of-character (OOC)
+
+ An Ephemera. A style of narration describing character actions or
+ dialogue in the third person. Neither OOC nor In-character (IC)
+ narration should be confused with any of the three Stances, nor with
+ any particular Creative Agenda.
+
+Participationism
+
+ The Technique of using Force without the Black Curtain. Term coined
+ by Mike Holmes.
+
+Pastiche
+
+ An artistic production which relies on invoking pre-existing
+ productions' features for its primary effect; at worst, a simple
+ imitation, but at best, potentially a strong secondary comment on
+ the original text. Often associated with "fanfic" or other forms of
+ homage.
+
+Pawn Stance
+
+ A subset of Author Stance which lacks the retroactive "motivation"
+ of the character to perform the actions. Often but wrongly
+ identified with Gamist play. See Stance.
+
+Paying to Suck
+
+ A feature of System in which buying an ability for a character with
+ some sort of Currency nets him with an low chance of success that is
+ even worse than an unskilled attempt. Widely considered undesirable.
+ Term?s origin uncertain; Ron Edwards first heard it employed by Rick
+ Ford.
+
+Pervy
+
+ Game-play in which the Creative Agenda relies on highly-specific
+ Techniques and Ephemera, often applied multiple times per imaginary
+ event during play. More generally covered by the concept of Points
+ of Contact, which concerns the degree to which System is Explored.
+ See /Vanilla Narrativism/ and /Points of Contact/.
+
+Player
+
+ A problematic term. (a) Any participant in a role-playing
+ experience, including the one or ones who carry out GM-tasks; or (b)
+ a participant who does not, or temporarily does not, carry out any
+ GM-tasks, and therefore concentrates primarily on the actions of a
+ single character.
+
+Points of Contact
+
+ The steps of rules-consultation, either in the text or internally,
+ per unit of established imaginary content. This is not the same as
+ the long-standing debate between Rules-light and Rules-heavy
+ systems; either low or high Points of Contact systems can rely on
+ strict rules. See /Vanilla and Pervy/, /Pervy in my head/, /Cannot
+ stand cutesie-poo terms/, /Pervy Sim/, /points of contact,
+ accessibility/.
+
+Positioning
+
+ A Character Component. Behavioral, social, and contextual statements
+ about a character. Formerly (and confusingly) called Metagame. See
+ also Currency.
+
+Powergaming
+
+ A potentially dysfunctional technique of Hard Core Gamist play,
+ characterized by maximizing character impact on the game-world or
+ player impact on the dialogue of play by whatever means available.
+
+Premise (adapted from Egri)
+
+ A generalizable, problematic aspect of human interactions. Early in
+ the process of creating or experiencing a story, a Premise is best
+ understood as a proposition or perhaps an ideological challenge to
+ the world represented by the protagonist's passions. Later in the
+ process, resolving the conflicts of the story transforms Premise
+ into a theme - a judgmental statement about how to act, behave, or
+ believe. In role-playing, "protagonist" typically indicates a
+ character mainly controlled by one person. A defining feature of
+ Story Now.
+
+Prima Donna
+
+ A Narrativist player who engages in Premise-addressing, but will not
+ share screen time or Premise-significant decision-making time with
+ other participants. An extremely dysfunctional subset of Narrativist
+ play.
+
+Protagonism
+
+ A problematic term with two possible meanings. (1) A characteristic
+ of the main characters of stories, regardless of who produced the
+ stories in whatever way. (2) A characteristic set of behaviors among
+ people during role-playing, associated with Narrativist play, with a
+ necessary unnamed equivalent in Gamist play and possibly another in
+ Simulationist play. In the latter sense, coined by Paul Czege.
+
+Purist for System
+
+ A category of design which emphasizes applying a set of simulated
+ physical and other in-game causes to a wide variety of possible
+ settings, characters, and situations. See /Simulationism: the Right
+ to Dream/.
+
+Railroading
+
+ Control of a player-character's decisions, or opportunities for
+ decisions, by another person (not the player of the character) in
+ any way which breaks the Social Contract for that group, in the eyes
+ of the character's player. The term describes an interpretation of a
+ social and creative outcome rather than any specific Technique.
+
+Realism
+
+ This term is undefined and must be locally specified in order to
+ make sense in a discussion of role-playing.
+
+Relationship map
+
+ A Technique for play-preparation which primarily, although not
+ exclusively, outlines the ties of sexual contact and kinship among
+ characters. Typically these ties are not immediately known to the
+ protagonist characters. The term was first presented in /The
+ Sorcerer?s Soul/. Compare to the group-based and more general
+ Technique of Storymapping.
+
+Resolution
+
+ Establishing fictional events into the time-sequence of the Shared
+ Imaginary Space. Includes DFK, IIEE, and narration, among other
+ things. A necessary feature of System.
+
+Resource
+
+ A Character Component. An available quantity upon which
+ Effectiveness or Positioning mechanics may draw, or which are
+ reduced to reflect harm to the character. Arguably applicable to
+ non-character components of play as well.
+
+Reward System
+
+ (a) The personal and social gratification derived from role-playing,
+ a feature of Creative Agenda. (b) In-game changes, usually to a
+ player-character, a feature of System and Character. (c) As a subset
+ to (b), improvement to one or more of the character?s Components.
+ Typically, the term refers to how (a) is facilitated by (b).
+
+Right to Dream, the
+
+ Commitment to the imagined events of play, specifically their
+ in-game causes and pre-established thematic elements. One of the
+ three currently-recognized Creative Agendas. As a top priority for
+ role-playing, the defining feature of Simulationist play. See
+ /Simulationism: the Right to Dream/.
+
+Roads to Rome
+
+ A technique of scenario preparation in which the GM has prepared a
+ climactic scene and maneuvers or otherwise determines that character
+ activity leads to this scene.
+
+Roles, "role levels
+
+ "(1) The player's social role in terms of his character - the mom,
+ the jokester, the organizer, the placator, etc. (2) The character's
+ thematic or operational role relative to the other characters - the
+ leader, the brick, the betrayer, the ingenue, etc. (3) The
+ character's in-game occupation or social role - the pilot, the
+ mercenary, the alien wanderer, etc. (4) The character's specific
+ Effectiveness values - armor rating, weapon attributes, specific
+ skills and their values, available funds, etc. See /The class issue/.
+
+Rules
+
+ Textual instruction about (a) anything and everything concerning
+ role-playing this particular game, or (b) specifically Techniques
+ and Ephemera. Used in this sense, Rules are distinct from the System
+ actually employed during play, although it may be used as a
+ reference or justification for it.
+
+Scene Framing
+
+ A GM-task in which many possible Techniques are used to establish
+ when a sequence of imaginary events begins and ends, what characters
+ are involved, and where it takes place. Analogous to a "cut" in film
+ editing which skips fictional time and/or changes location. A
+ necessary feature of System.
+
+Screen Time
+
+ The extent of attention afforded to a given player's Explorative
+ contributions from the other participants, with special emphasis on
+ that participant?s access to applying the System. A type of Ephemera.
+
+Search Time
+
+ The real time required to determine necessary values or information
+ prior to applying a resolution Technique. See also Handling Time.
+
+Setting
+
+ Elements described about a fictitious game world including period,
+ locations, cultures, historical events, and characters, usually at a
+ large scale relative to the presence of the player-characters. A
+ Component of Exploration.
+
+Shared Imagined Space (SIS, Shared Imagination)
+
+ The fictional content of play as it is established among
+ participants through role-playing interactions. See also Transcript
+ (which is a summary of the SIS after play) and Exploration (a near
+ or total synonym).
+
+Skewer
+
+ A description of a given person?s preferred way to role-play,
+ "piercing" down from Social Contract through all the layers of the
+ Big Model. Most player-classification lists (/Strike Force/,
+ /Champions 4th edition/, /Robin?s Laws/) present Skewers. Term
+ coined by Ron Edwards.
+
+Simulationism (Simulationist play)
+
+ One of the three currently-recognized Creative Agendas. See The
+ Right to Dream.
+
+Simulationist-by-habit
+
+ A form of Synecdoche which defines "role-playing" according to
+ certain historically-widespread Simulationist approaches to play.
+ The system's job is to provide the physics of the game-world" is a
+ good example. Term coined by Jesse Burneko.
+
+Situation
+
+ Dynamic interaction between specific characters and small-scale
+ setting elements; Situations are divided into scenes. A component of
+ Exploration, considered to be the "central node" linking Character
+ and Setting, and which changes according to System. See also Kicker,
+ Bang, and Challenge.
+
+Social Context
+
+ How role-playing as an activity relates to one's social life in
+ general. See /Social Context/ and /What does role-playing gaming
+ accomplish?/.
+
+Social Contract
+
+ /This is a key concept/. See the first section.
+
+Stakes
+
+ What stands to be lost and/or gained during Gamist play; the term
+ may be applied at either or both Step on Up (participants) or
+ Challenge (characters) levels of play.
+
+Stance
+
+ The cognitive position of a person to a fictional character.
+ Differences among Stances should not be confused with IC vs. OOC
+ narration. Originally coined in the RFGA on-line discussions; see
+ /John Kim?s website/ for archives. Current usage modified in /GNS
+ and other matters of role-playing theory/. See Author, Actor, and
+ Director Stance.
+
+Step On Up
+
+ Social assessment of personal strategy and guts among the
+ participants in the face of risk. One of the three
+ currently-recognized Creative Agendas. As a top priority of
+ role-playing, the defining feature of Gamist play.
+
+Story
+
+ An imaginary series of events which includes at least one
+ protagonist, at least one conflict, and events which may be
+ construed as a resolution of the conflict. A Story is a subset of
+ Transcript distinguished by its thematic content. Role-playing may
+ produce a Story regardless of which Creative Agenda is employed.
+
+Story Now
+
+ Commitment to Addressing (producing, heightening, and resolving)
+ Premise through play itself. The epiphenomenal outcome for the
+ Transcript from such play is almost always a story. One of the three
+ currently-recognized Creative Agendas. As a top priority of
+ role-playing, the defining feature of Narrativist play.
+
+Storymap
+
+ A technique of scenario preparation in which all participants
+ present situations, locales, problems, and characters, after which
+ most of the participants choose characters to play individually.
+ First presented in /Legends of Alyria/.
+
+Switch
+
+ A customizable aspect of System which allows participants to allow
+ it to be present or absent during play, often for the whole of that
+ particular group?s play. A Dial with two settings (on/off). Also
+ called a toggle. The term was first presented in /Champions Millenium/.
+
+Synecdoche
+
+ Taking a part for the whole, or vice versa. A common problem in
+ discussing Creative Agenda; see /GNS and other matters of
+ role-playing theory/.
+
+System
+
+ The means by which imaginary events are established during play,
+ including character creation, resolution of imaginary events, reward
+ procedures, and more. It may be considered to introduce fictional
+ time into the Shared Imagined Space. See also the Lumpley Principle.
+
+Task resolution
+
+ A Technique in which the Resolution mechanisms of play focus on
+ within-game cause, in linear in-game time, in terms of whether the
+ acting character is competent to perform a task. Contrast with
+ Conflict resolution.
+
+Techniques
+
+ /This is a key concept/. See the first section.
+
+Tells
+
+ Social indicators of a given person?s preference for a Creative
+ Agenda, during play.
+
+Theme
+
+ The point, message, or key emotional conclusion perceived by an
+ audience member, about a fictional series of events. The presence of
+ a theme is the defining feature of Story as opposed to Transcript.
+ See /Narrativism: Story Now/.
+
+Threefold Model
+
+ A description of three distinct "styles" of role-playing, proposed
+ by Mary Kuhner and further developed in on-line discussions. See
+ /John Kim?s website/ for archives. The Threefold Model inspired but
+ is not identical to the Creative Agenda feature of the Big Model.
+
+Trailblazing
+
+ A set of Techniques including Scene Framing and Force, but reducing
+ Force when resolving conflicts within the scene. Term coined by M.J.
+ Young; see /Does module play equal Participationism?/.
+
+Transcript
+
+ An account of the imaginary events of play without reference to
+ role-playing procedures. A Transcript may or may not be a Story.
+
+Transition
+
+ Theoretically, changing from one Creative Agenda to another through
+ the course of play using rules designed to make that process easy.
+ Coined by Fang Langford in reference to his unfinished game design
+ /Scattershot/.
+
+Transparency
+
+ Rules design that does not call attention to the rules in operation.
+ A controversial term; I suggest that it is subsumed within Coherence
+ without reference to any degree of rules? detail or their
+ quantitative vs. qualitative features. See /Transparency/ and
+ /Transparency again/.
+
+Turku role-playing (Elaaytyjivism)
+
+ A mode of play presented as a manifesto, in which in-character
+ feeling and thinking is given the highest priority, to such an
+ extent that even communicating the experience to others is
+ secondary. By my terminology, Turku play is comprised of
+ Simulationism emphasizing Character Exploration, resolved mainly
+ using Drama or low Points-of-Contact Fortune mechanics, and highly
+ reinforced through an explicit Social Contract. See /The Turku
+ School/, /LARP manifesting/ in /The LARPer/ magazine, and /Dogma 99/.
+
+Turnin'
+
+ A potentially dysfunctional technique of Hard Core Gamist play,
+ characterized by treating one another's characters as the primary
+ source of Challenge. A functional equivalent in Narrativist play is
+ Blood Opera.
+
+Typhoid Mary
+
+ A GM who employs Force in the interests of "a better story," usually
+ identifiable as addressing Premise; however, in doing so, the GM
+ automatically de-protagonizes Narrativist players and therefore
+ undercuts his or her own priorities of play, as well as being
+ perceived as a railroader by the players. An extremely dysfunctional
+ subset of Narrativist play.
+
+Underbelly
+
+ A Technique of preparation and play using a canonical setting and
+ storyline, known to all participants, in which the events of play
+ create a "hidden" storyline to enrich and reinforce the primary one,
+ which is treated as a creative constraint. Term coined by Ron
+ Edwards; also sometimes called "inverse metaplot." See /Metaplots,
+ railroading, and settings/ and /Open/closed setting (Pyron?s woes
+ take 165)/.
+
+Universal
+
+ Design with the goal of applying System to multiple Settings. Such
+ design typically corresponds to Purist for System. A mildly
+ controversial term; see also Generalist.
+
+Vanilla
+
+ Game-play in which the Creative Agenda requires few if any complex
+ or specific Techniques, as opposed to Pervy. More generally covered
+ by the concept of Points of Contact, which concerns the degree to
+ which System is Explored.
+
+Vanilla Narrativism
+
+ Narrativist play without notable use of the following Techniques:
+ Director Stance, atypical distribution of GM tasks, verbalizing the
+ Premise in abstract terms, overt organization of narration, or
+ improvised additions to the setting or situations. People who
+ typically play in this fashion often fail to recognize their
+ Creative Agenda as Narrativist. See /Vanilla Narrativism/ and the
+ links listed under Points of Contact.
+
+Veil, the
+
+ Techniques for describing events without providing specific imagery
+ or details. Originally presented in /Sex & Sorcery/.
+
+Weave
+
+ The Technique of bringing non-player-character (NPC) activities
+ closer to the player-characters and to introduce multiple responses
+ among NPC and player-character actions. Term coined in /Sex & Sorcery/.
+
+Wheedler
+
+ A participant who achieves his or her goals during role-playing
+ primarily through influencing the other participants directly,
+ whether through hinting, badgering, pleading, or other similar
+ behaviors. Term coined by John Kim.
+
+Whiff Factor
+
+ The effect of a high failure-rate for a given Resolution mechanic,
+ especially when the rate does not accord with the character?s
+ expected competence. A common source of Deprotagonizing; usually
+ considered a Design flaw.
+
+Wimpiness
+
+ A dysfunctional form of Gamism characterized by poor sportsmanship,
+ i.e., the unwillingness to accept a loss.
+
+Zilchplay
+
+ Desiring characters to be active particpants in an imagined world,
+ but also to do as little as possible to make that shared imagining
+ happen. A type of Simulationism by default, because in the absence
+ of a desire to actively pursue a Gamist or Narrativist agenda the
+ only focus is on exploration. A controversial term, coined by Walt
+ Freitag; see /Zilchplay (split from Understanding: the "it")/.
+
+------------------------------------------------------------------------
+
+Last updated 08-May-2004 08:58:29 CDT
+
+/The Forge/ created and administrated by Clinton R. Nixon
+<mailto:webmaster@indie-rpgs.com> and Ron Edwards
+<mailto:sorcerer@sorcerer-rpg.com>.
+All articles, reviews, and posts on this site are copyright their
+designated author.
+