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terms like "Character" and "Immersion" are not present because their existence is assumed. Character is a substrate. Immersion is an effect.
The Power Gamer (competition) wants to make his character bigger, tougher, buffer, and richer. /.../ The Butt-Kicker (destruction) wants to let off steam with a little old-fashioned vicarious mayhem. /.../ The Tactician (competition/exploration) is probably a military buff, who wants chances to think his way through complex, realistic problems, usually those of the battlefield. /.../ The Specialist (expression/competition) favors a particular character type, which he plays in every campaign and in every setting. /.../To make a specialist happy, you have to create scenes in which his character can do the cool things for which the archetype is known. The Method Actor (expression) believes that roleplaying is a medium for personal expression, /.../ The Storyteller (expression), /.../ he's more interested in taking part in a fun narrative that feels like a book or a movie than in strict identification with his character. The Casual Gamer (sensation) is often forgotten in discussions of this sort, but almost every group has one. Casual gamers tend to be low key folks who are uncomfortable taking center stage even in a small group.
I like how my play of thoughts created more of a discussion than my other posts that more "stated/listed facts".
Re Robin D Laws player types (and of course we've all seen numerous such taxonomies)...I'm leery of adhering too closely to taxonomical categories when talking about real things. (For game content of course, I'm often very happy to apply the simplistic and rigid structuralism of an 18th-century scientist - but that's a different thread.) However, I'll run with it for now, because it sparked another idea...
The "first session" of a typical *W game (perhaps the most well-known example of this technique) is designed to tacitly elicit the in-game desires of each player, to a degree sufficient for the MC to recognize the leading ends of potentially emergent plot structures. If the stars line up for you and your players, you will also get an early glimpse of enough of each player's personal style to make an educated guess as to their Player Type.But what if we just asked them directly?
Direct questions on performance and preference can often have problems with "Demand Characteristics" (including the "Screw You Effect"),
Everyone ends up enjoying a different combination of aspects of the game, which is what makes taxonomies sorta possible.
"Demand Characteristics" are things the answerer says because she believes that's what the asker wants to hear."The Screw You Effect" consists of things the answerer says because she resents being led by the asker.Two types of backfiring didacticism, basically.
What I meant there is that is harder to make a taxonomy of personalities since the variables are way too many. However games have less variables, effectively limiting the amount of ways anyone can enjoy a game ...
The emotional descriptions? Is challenge a good emotional description for struggle effort, could it be stress, anger or other ?
I might be off topic but it seems the emotional descriptors could be linked to the investment. Investment is a valid term but its like the number zero, it has no value. so if you gave it a value you would get the sum of your diagram in the emotions.
I think I will use "suspense" instead of "curiosity" as a response to uncertainty. Suspense hits the mark better but that's instead of excitement? Yea.As for a name descriptor, is it like mood or atmosphere its seems more to do with the type of scene.
I dunno if "emotions" is a good descriptor of what I'm getting at. I can't even make up a word in Swedish for itThis is a mind bender but I get what your after on the outer edge. Suspense, Tension and Challenge, The emotions are the choice or predicament of the player character and need not be shown in your diagram. (Your not forcing emotions on them)
Would you say that the investment is zero here or are you thinking of investment being zero in terms of emotions? I was thinking like the character being an empty vessel filling up with a situation and becoming aware of his predicament.The fisherman becomes aware of the deteriorating weather - he struggles with the simple tasks his tongue pushing out with the effort.The two arm wrestlers sit down and become aware of the gamble and uncertainty in the faces of fans family/child. Its like your diagram helps to channel the flow of energy the investment could be awareness? becoming aware of what's at stake.
-Second: use rules everyone is comfortable with or that actually help generate content. That's why ditching encumbrance rules is okay after a couple sessions at least or whenever they don't actually matter. Comfortable in this case also ...
Expression: to show who you are as a gamer. To take on a role. To be creative. Communication and agreement.Sensation: to experience something. To escape from reality. To get an insight or to live out a different perspective.Exploration: to discover and learn different aspects of the game or emergence created through the interaction between the different parts.Competition: to beat others or the game in different aspects of the game.Destruction: to destroy what's created. To render something useless, like finding loop holes in the rule system to make yourself unbeatable.
Investment: investment is something that's created through time or put at stake at the beginning. To create something of your own is a greater investment than be given something. Investment isn't really part of the HOWs, but by combining investment with any other HOW creates the following below.Gamble = investment + uncertainty: the joy in suspense. To be able to put things at stake and risking loosing it while trying to gaining something else.Planning = investment + decision: feeling the tension from having to do decisions. Decision-making is also what creates interactivity.Struggle = investment + effort: if you don't have any opposition, you would loose interest after a while. It's about participation instead of observation.
Meaning: spiritual, philosophical, ethical, social and cultural perspectives of life. It's something that the game provides or the character provides.Fiction: the story produced by playing. Note that to be able to learn something, we tend to create fiction to be able to understand it easier.Structures: game mechanics and techniques sorted into pools, procedures and triggers. The structure of how the game or the participants should communicate with each other.Group: the participants taking part in the activity. According to research by Nicole Lazzarro, emotions produced by games are increased a lot by doing something together compared to playing alone.Setting: where the play takes place or where the story being told. Also involved all the characters.
...that sounds like a key engineering challenge for the next gen. :->
In other words, sometimes "no" means "not quite exactly", which is effectively similar to a "yes but".