diff -r 1e85b39d803d -r be57f0035c67 references/forge_glossary.txt --- /dev/null Thu Jan 01 00:00:00 1970 +0000 +++ b/references/forge_glossary.txt Thu Feb 23 15:13:15 2006 -0500 @@ -0,0 +1,1305 @@ +The Forge The Internet Home for Independent Role-Playing Games +About the Forge | Support The Forge | Articles + | Reviews | Resource Library | +Forums + + + + The Provisional Glossary + +by Ron Edwards > +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) + +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 + and Ron Edwards +. +All articles, reviews, and posts on this site are copyright their +designated author. +