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There's an interesting distinction between games having a single metaplot, explicitly about specific places, times and entities, and games with a more abstract set of metagame assumptions and expectations and story development patterns. Usually there's a mix of both.Call of Cthulhu has a very open-ended explicit metaplot: by chance, the 1920s and 1930s are the heyday of alien gods and deranged cultists. The ample catalogue of eldritch stuff is both a ready to use toybox and described in such detail that inventing other content in the same vein is rather easy (and encouraged in the interest of mystery and unpredictability).Over the course of a campaign less horrible monsters (e.g. ghouls, Deep Ones) are likely to be featured as an initial warm-up and prestigious and/or apocalyptic situations (e.g. a visit to R'lyeh or a manifestation of Azathoth or Yog-Sothoth) as a final climax, but it's only common sense and tradition.
Call of Cthulhu has a very open-ended explicit metaplot: by chance, the 1920s and 1930s are the heyday of alien gods and deranged cultists.
Hey Brendan,Not sure if you were asking for impressions of the terms themselves, or for opinions on established definitions that some of us don't know.
What separates metaplot from world-in-motion in your mind?
Gotcha. Was the response here similar to on theRPGsite, or very different?