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<blockquote data-quote="clearstream" data-source="post: 9247987" data-attributes="member: 71699"><p>In a game this would be deconstructed for traversal by the player as author/audience.</p><p></p><p style="margin-left: 20px">"He" - some character avatar</p> <p style="margin-left: 20px">"is surer of finding the way" - some scalable character capability is implied</p> <p style="margin-left: 20px">"home" - perhaps literally a location on a map, and to find our way there, necessitates locations that are not home</p> <p style="margin-left: 20px">"a blind night" - a system for both nights, and that the character can be deprived of sight</p> <p style="margin-left: 20px">"cats" - creatures with capabilities in relation to night sight and sureness of finding home</p> <p style="margin-left: 20px">"Queen Beruthiel" - apocryphal, in both the original and the game - a reference without a referent</p><p></p><p>I can now traverse the narrative to "read" that he gets lost. A different story. A question I ask is - why don't we just interpret such a deconstruction as simply "the world"? Wouldn't that imply that our world is a narrative!? Which is not something we ordinarily assume.</p><p></p><p>I think what makes the assemblage narrative is when it is a cherry-picked, twisted and coloured subset of the world. Every story can be told... of the intended sort. It's opinionated, as indicated by words such as "tarried". It's not good enough merely to have mariners (a character, seas, ships, relevant capabilities) but also they must at times be compelled to tarry. Perforce it must be make believe, as "fiction" implies. It takes us beyond our real world.</p><p></p><p></p><p>A quick reflection on the trajectory of narrator over time may answer that. My understanding is that classical narratology started out assuming a narrator (and believing narrative impossible without one.) Passing through movies, and now on to games, post-classical narratology accepts that player (as author/audience) traversing the narrative can narrate it to themselves... and to other players via the game's "rendering" methods. It's not in that light suprising that TTRPG followed a similar trajectory.</p><p></p><p></p><p>To me it is simpler still. Integrating the given mechanics should draw the play toward that of the sources of those mechanics.</p></blockquote><p></p>
[QUOTE="clearstream, post: 9247987, member: 71699"] In a game this would be deconstructed for traversal by the player as author/audience. [INDENT]"He" - some character avatar[/INDENT] [INDENT]"is surer of finding the way" - some scalable character capability is implied[/INDENT] [INDENT]"home" - perhaps literally a location on a map, and to find our way there, necessitates locations that are not home[/INDENT] [INDENT]"a blind night" - a system for both nights, and that the character can be deprived of sight[/INDENT] [INDENT]"cats" - creatures with capabilities in relation to night sight and sureness of finding home[/INDENT] [INDENT]"Queen Beruthiel" - apocryphal, in both the original and the game - a reference without a referent[/INDENT] I can now traverse the narrative to "read" that he gets lost. A different story. A question I ask is - why don't we just interpret such a deconstruction as simply "the world"? Wouldn't that imply that our world is a narrative!? Which is not something we ordinarily assume. I think what makes the assemblage narrative is when it is a cherry-picked, twisted and coloured subset of the world. Every story can be told... of the intended sort. It's opinionated, as indicated by words such as "tarried". It's not good enough merely to have mariners (a character, seas, ships, relevant capabilities) but also they must at times be compelled to tarry. Perforce it must be make believe, as "fiction" implies. It takes us beyond our real world. A quick reflection on the trajectory of narrator over time may answer that. My understanding is that classical narratology started out assuming a narrator (and believing narrative impossible without one.) Passing through movies, and now on to games, post-classical narratology accepts that player (as author/audience) traversing the narrative can narrate it to themselves... and to other players via the game's "rendering" methods. It's not in that light suprising that TTRPG followed a similar trajectory. To me it is simpler still. Integrating the given mechanics should draw the play toward that of the sources of those mechanics. [/QUOTE]
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