Draco_Argentum wrote:Shoggoth wrote:
OK, once again you are conflating "things" with "themes". A Sorcerer and his Eunuch Henchmen are an element of play.
But RE said the eunuch sorcerer is a theme in the quoted paragraph. Specifically this: "So, their inclusion in the game, part and parcel as they are to the Dream, isn't Narrativist because no one is creating a theme that isn't already there."
Explain why a eunuch sorcerer and henchmen are a theme but a dinosaur riding knight and his retainers are not.
I went back and reread that quote, and you're right, the way that the emailer phrases it I can see the misinterpretation.
RonEdwards wrote:
I receive a lot of emails like this one from Landon Darkwood:
I think I may have had a revelation.
... In your Simulationism essay, you have this: "'Story,' in this context, refers to the sequence of events that provide a payoff in terms of recognizing and enjoying the genre during play."
Is this the key to distinguishing the [Narrativist vs. Simulationist] play modes? My intepretation of this statement is that in Simulationist gaming, a long and complex story might come about and be part of play, but only for the express purpose of bringing about all the appropriate genre elements in the game as part of the internal consistency of the Dream. i.e., a Sim game Colored with elements from Chinese wuxia movies might have a multilayered story involving class conflict, people being trapped by their social position, repressed romance, heavy action, a sorcerer and his eunuch henchmen - but these are all trappings of the genre. So, their inclusion in the game, part and parcel as they are to the Dream, isn't Narrativist because no one is creating a theme that isn't already there. In other words, it's just played out as the Situation part of the Exploration; because the Dream calls for it, there just so happens to be a kind of intricacy involved.
In Narrativism, by contrast, the major source of themes are the ones that are brought to the table by the players / GM (if there is one) regardless of the genre or setting used. So, to sum up, themes in Nar play are created by the participants and that's the point; themes in Sim play are already present in the Dream, reinforced by the play, and kind of a by-product.
Am I on this now?
"In a word," I replied, "Yes."
So here's what I get out of this. Landon Darkwood is stating that in Sim, themes can arise in play but they are a byproduct of the genre or the story, as opposed to the FOCUS of the story, so they become just another element in the simulation. When he lists those elements, including romance, social position, a socrerer and his henchmen, he's including themes that are intrinsic to the Chinese setting (romance) as well as story elements (the sorcerer). What he is asking is, "Are these equivalent in importance from a Sim position?" The answer from Edwards is that, yes, they are equivalent. So it's not that the sorcerer is a theme in play, it's that the sorcerer is an element of play, and the themes are also just elements. Of course, by mixing themes and character types together, he's created a point of confusion which Edwards didn't correct, probably because he didn't notice it.