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Traveller and gamism/ narrativism/ simulationism

BTW, Mal, I think you have hit on a great way to describe the tussle we were having on the T5 Playtest board. (Well, one of them, anyway.
)

There was a conflict between Narrativist end results and a system that was very Simulationalist (at least by your description of CT).

(And, that's why I keep reading, Mal. :D )
 
I think it also describes many of the "conflicts" we have on these boards - points v random chargen, should you be able to die in chargen, how does jump work and does it matter, what can orbit what, etc.

And, the best answer is always: of course, IYTU YMMV.
 
Fritz - feel free to point people to this thread from the playtest (since I can't :/) if you think it'd help...

The more I think about it, the more I do think this is a big problem with Traveller in general. We do see this sort of argument here a lot - most likely because CT itself was never really clear on what it was trying to be or what style of play it was trying to encourage.
 
Mal, I think you are being a bit overly picky with the narrativist thing. Vampire the masquerade, Aberrant, et al. do not have one theme. Rather, the settings, factions, politics and history provided by these games lend themselves to exploring certain themes or telling certain stories. So do the different mileau of Traveller. CT, MT, and TNE as settings encourage certain kinds of stories over others. An epic about rebuilding a society (and the choices/struggles associated with it) is suited to TNE, but less so MT and CT.

In general though, I think you are putting too much emphasis on theme as a componant of narrativism. I tend to stay away from the word theme if I can, largely because it's got far too much of 'grade 10' english/Star Trek: TNG feel to me. That said, my last campaign (a mystery archeology/political thriller for Aberrant) was definitely of the narrativist (story first, rules second, collaborative storytelling driven) bent. But I was ultimately more concerned with the overall tone, structure, and plot than I was with making sure each adventure addressed some cheesey moral question (although ethical questions were definitely part of the story).

Now it is true that most white wolf games have at least one mechanic that rewards certain kind of in character behavior (ie. Quantum and Taint in Aberrant or Inspiration in Adventure) that was true of MT, at least in Hard Times, as well. However, the important thing is that the setting, metaplots, factions, etc. are such that one can weave a good tale out of it. A tale co-authored by one's players. In this sense, unless a mechanic actively discourages such play (and I'm not sure how one would), almost any game system in and of itself can be used for narrativist play.

By the way Mal, where did you get the information that rpging was growing as a hobby? Last I heard, and it was a while ago, sales were still going down overall.

Oh, and Jeffr0: bloodbaths and narratives are not mutually exclusive. Trust me.
 
I guess what I like best about the OTU is exactly what Mal hates about it...

I buy these rulebooks beyond the first 3 (*especially* Book 6, even for all it's weirdnesses), and then the supplements and library data and JTAS, etc...and...suddenly...

...The whole Universe is nothing but *endless* possibilities. There is *nothing* I can't provide my players, up to and *INCLUDING* a rousing game of "Traveller AD&D"...

Going back to the second or third page on that linked document (that, even as I am terribly prone to writing overly complex documents, I couldn't get through!) I can see a zillion Premises in Traveller's OTU.

* D&D-style Spelunking in a series of caves, fighting "monsters" and collecting "Treasures" (Ancient TL 16-20+ artifacts).
* James Bond-style spy intrigue.
* Old-school grognardy Napoleonic or WWII or WWIII or even BattleTech style miniatures gaming.
* "Super Hero" gaming (Uh, yeah. Can you say "Grav Belt and Red, White and Blue Battledress" on an otherwise isolated TL 5 or 6 world? Mucho Fun, indeed...)
* Star Trek-style exploration (The Enterprise(s) went *lots* of places that were already inhabited, but were new to the viewers (players))
* Star Wars-style interstellar conflict (3I vs. Zhodani for a 'Cold War' feeling, or just playing a group of Loyalist planets vs. a group of Separatist planets inside the 3I for a more "Starwars" feel - Particularly once The Phantom Menace came out, and the "war" stemmed from a Trade Dispute!)

Any, and *every* world I see on any given subsector map suggests *SOME* sort of cool PC activity that can take place there...and that's what makes the OTU so compelling to me...
 
Originally posted by Cad Lad:
Mal, I think you are being a bit overly picky with the narrativist thing. Vampire the masquerade, Aberrant, et al. do not have one theme.
I dunno - I did qualify my statement that the WW games were narrativist because of all the extra stuff that's been tacked on
. They've certainly evolved a lot since their first editions, but initially at least, the credo for Vampire was "A beast I am lest a beast I become". It was all about trying to hold on to your humanity in the face of the monster you'd turned into. Later editions shifted the game toward a more gamist direction by having all the snacky powers and focussing more on politicking and going up the political food chain - more's the pity, I really liked the first editions. A lot of the WW Storyteller 1e's were based very strongly around themes, right down to their catchphrases.

Can't say anything about Aberrant because I don't have it, but I'd argue that Trinity had a theme of 'what is humanity's place in the universe'?

Now sure, you can play outside of those themes and explore different ones, just like you don't have to play D&D in a gamist way. But I think they do still have core themes that they're built around.

I suppose that the key to making a narrativist game is to ask a question (like "what is human"?), and then design the game around exploring that question and stretching things to explore all its implications. Same goes for making adventures with a narrativist theme - it's not a case of 'ok, go in there and kill the bad guy and save the day' or solving puzzles and problems and getting round physical obstacles to get to the resolution. Instead it'd be more about making complex moral choices and really getting into why your characters are doing what they're doing and what drives them to resolve the situation, and whether that changes them or not.

Twilight 2000 is definitely a simulationist game. The basic premise revolved around "OK, you're cut off from base after a nuclear war. Go find your way back, or survive in the wilds, or die." It presents a load of problems and a harsh, gritty, somewhat realistic environment to deal with. But had it focussed instead on how the soldiers mentally cope with being these survivors, or exploring the horrors of war itself, then it would have been a more narrativist game (and a completely different one).


CT, MT, and TNE as settings encourage certain kinds of stories over others.
Sure. But to me, it's clearest what those story types are in TNE, a bit less clear in MT, and totally undefined in CT.


In general though, I think you are putting too much emphasis on theme as a componant of narrativism.
Well, as far as I can tell, I'm going by the what the actual definition of the term 'narrativism' states.

I'm going more extreme than i would actually do though. In practise I'm probably more like you - I like having things to do and problems to solve, but I also like having character development and thinking about interesting questions. In fact, the 'thinking about interesting questions' for me is mostly what roleplaying is all about.

I'd like to have a central theme in games that I run. Unfortunately, in practice I haven't managed to get that to work, possibly because I've never really been guided along that path properly since I don't actually have any fully narrativist games (the closest I have are the WW 1st editions). Though I can't really get a simulationist approach to work too well either, despite the fact that all my games are simulationist. Which probably implies that I really need a narrativist game to run (and one - Burning Wheel - is on the way to me, so hopefully this will solve the problem).


A tale co-authored by one's players. In this sense, unless a mechanic actively discourages such play (and I'm not sure how one would), almost any game system in and of itself can be used for narrativist play.
True, but it helps a lot to have a system constructed in such a way as to help you along that path.


By the way Mal, where did you get the information that rpging was growing as a hobby? Last I heard, and it was a while ago, sales were still going down overall.
It's still making a hell of a lot of money - it's certainly grown over the past couple of decades...

This might be instructive.
 
Going back to the second or third page on that linked document (that, even as I am terribly prone to writing overly complex documents, I couldn't get through!) I can see a zillion Premises in Traveller's OTU.
Sure. But CT gives you no help whatsoever in dong that. It just gives you this big blank slate, and says "go read some scifi to get some inspiration".

If you can come up with ideas and approaches on your own then great. But if you just look at that vast expanse of blankness (or vaguely defined OTU) and go "bwuh?!" then you're on your own.
 
Mal, I think you are ignoring the article's whole " Used properly, the terms apply only to decisions, not to whole persons nor to whole games. " part of the article. And quite frankly, I've never met a GM who has followed the Grade 12 naval gazy one line themes suggested by the early WW products. I think we are mistaking the part for the whole.

Granted, this is an issue with the article itself which I think has a tendency to grab a single aspect of playing as a narrativist (and probably a simulationist or gameist) and beat us over the head with it over and over. Theme is probably the thing that most clearly differentiates some narrativists from some simulationists, but it is not the only element. In other words, I wouldn't treat the author's attempt at defining these styles of play as having the same certitude as say a law of physics.

And here's the thing. No game, mechanically, is, in and of itself, G, N, or S. Some lend themselves more to one style than another but thats really about it. Now the first LBB's are not narrativist friendly, but let's face it the OTU is a huge part of Traveller and I think that it does leave room for a lot of different kinds of stories. And MT, well, I would say that Hard Times is a supplement that blends narrativist and simulationist elements perfectly.

At any rate, I can see that we are going to probably disagree on this issue and could argue the tiniest details for hours. But I don't have time this evening and, as a wise person once said: "you can only argue with those you fundamentally agree with."

edited to be less abrupt :D
 
Sorry if the last post was harsh. I just wanted to say that for most 'narrativist' game masters I know the story, in terms of plot, mood, tone, structure tend to be more important than overly philsophical themes. And personally, I'm with you in terms of doing the purely narrativist games. I need some rolling with my roles.
 
Originally posted by Cad Lad:
[QB] Mal, I think you are ignoring the article's whole " Used properly, the terms apply only to decisions, not to whole persons nor to whole games. " part of the article. And quite frankly, I've never met a GM who has followed the Grade 12 naval gazy one line themes suggested by the early WW products. I think we are mistaking the part for the whole.
I've been talking about approaches here, not people or games. I don't think I've ignored or misunderstood what the article is saying.

And you not meeting a GM who has followed the so-called 'navel gazy' aspects does not mean that they don't exist. There's a big chunk of people - especially on the Forge - who do nothing but that style of play.


Granted, this is an issue with the article itself which I think has a tendency to grab a single aspect of playing as a narrativist (and probably a simulationist or gameist) and beat us over the head with it over and over.
Um, this article DEFINES what GNS is. You can disagree with it, sure, but you can't say it's "wrong" because this is where the very definition of the term comes from.


Theme is probably the thing that most clearly differentiates some narrativists from some simulationists, but it is not the only element.
The article doesn't imply that it is the only element though. It's a MAJOR element though.


In other words, I wouldn't treat the author's attempt at defining these styles of play as having the same certitude as say a law of physics.
But this article defines the terms used in this paradigm though! I'd say that if we're looking at games purely in the GNS paradigm (which is what I'm doing here), then this is the definitive way to define these styles of play. You can't say "well, I define it differently" - if you do that, you're not talking about GNS.

It's not a perfect paradigm by any means, and it's arguably incomplete. But it's a good place to start, at least.


And here's the thing. No game, mechanically, is, in and of itself, G, N, or S. Some lend themselves more to one style than another but thats really about it.
Some are though. The Forge is full of experimental games that were set out to be entirely narrativist.


Now the first LBB's are not narrativist friendly, but let's face it the OTU is a huge part of Traveller and I think that it does leave room for a lot of different kinds of stories.
Well, let's be clear about something here - CT is not synonymous with the OTU. CT is books 1-8, or arguably just books 1-3. Certainly in 1-3 (which a lot of people seem to define as being all you need to play CT), there is no mention of an OTU in there at all.

The OTU came later on. Bits of it were hinted at in background material in books 4-8, and a lot of it evolved from the adventures and supplements.

But that is not what we're talking about here - we're talking about the rules, and what sort of games they're set up to encourage. Games that are designed to encourage narrativist decisions and a narrativist approach are specifically set up that way, either through rules that encourage the dominance of the story over reality, or by providing advice for GMs and Players to run it that way. Ditto for simulationist and gamist RPGs. CT (as in, the core rules) provides no advice at all on how to run the game in itself, and the engine strongly implies a simulationist model where players are expected to take what they're given that's randomly rolled up on tables because that's just the luck of the draw.

I've seen players saying that they don't care about accurate trade models or realistic planets or tech design, just as long as they can run good stories. Well, they're taking a narrativist approach to traveller. I've seen players that do care about all that and GMs that are merciless about what they throw at the characters because they feel they have to take what's given them. That's a simulationist approach. And then you get the gamist types who want to 'win' at chargen or who just hurl faceless bad guys at the characters for them to prevail against.

However, as a system, I think CT is very simulationist. The roleplaying game aspect of it doesn't lend itself too well to gamism or narrativism, and it provides no advice at all on how to run any games at all. It's not necessarily a problem to support all styles of play, but if you dont provide advice or incentives to do that then you just end up with a confused mess I think.

And the problem is that T5 is probably going down exactly the same path.

At any rate, I can see that we are going to probably disagree on this issue and could argue the tiniest details for hours. But I don't have time this evening and, as a wise person once said: "you can only argue with those you fundamentally agree with."
Well that's the thing. I don't think we're actually disagreeing at all.
 
First, sorry for being a bit contrarian in my last set of posts. I was hungry and in a hurry.

A few quick points.

I can't quite reconcile this:

I've been talking about approaches here, not people or games. I don't think I've ignored or misunderstood what the article is saying.
with:

But that is not what we're talking about here - we're talking about the rules, and what sort of games they're set up to encourage.
Are we talking about rules or approaches. And I do wonder if you underestimate the importance of the OTU to CT players. From what I've seen on this board and other traveller sites it's a hugely important aspect to many of them.

Um, this article DEFINES what GNS is. You can disagree with it, sure, but you can't say it's "wrong" because this is where the very definition of the term comes from...

But this article defines the terms used in this paradigm though! I'd say that if we're looking at games purely in the GNS paradigm (which is what I'm doing here), then this is the definitive way to define these styles of play. You can't say "well, I define it differently" - if you do that, you're not talking about GNS.

It's not a perfect paradigm by any means, and it's arguably incomplete. But it's a good place to start, at least...
etc...
Sorry, it's probably my lit crit/media studies background, but very little critical theory as put out by someone in my field is veiwed as complete until it's been torn apart, used, and abused. I never said it was wrong. In fact I think it is a very persuasive piece of crit. However, as you said it's not without it's issues and in my experience such issues in critical theory are generally ironed out through
use and abuse by third parties.

Quite frankly, elements of that paradigm (are we sure that the terms don't predate the article?) once they have been used enough are no longer the sole domain of the author or the article. Just like Traveller isn't the domain of Marc Millar and Communism or Psychoanalysis as a theoretical concepts and paradigms have very little to do with their originary texts.

So yeah, if we are to follow each line of the article as scripture then I suck. But I don't know if even Mr. Edwards would want us to go 'if theme then narrativist, if no theme 'gamist or simulationist.' Honestly, theoretical tools like GNS are supposed to be stretched and defined differently. The downside of this is that they occasionally become meaningless, but it is the way of the world.

At any rate, I think you would say that it takes more than a rule set to define a game according to a literal reading of the article. Things like background info, etc, are as, if not more, important (think Twilight 2000, a game, predating WW, that I think pushes in that direction as far any did in that era). And that's really all I'm getting at.

And yeah, T5 might suck if it is far more concerned with statistics than soul.
 
Maybe I'm confused here, but isn't making a scenario to throw at PCs to begin with in itself inherently narrative. I mean, otherwise you're just pushing miniatures around the table. There has to be some kind of story. Although, I do see your points. I think White Wolf is great for ideas. I use them a ton. But CT (Books 1-3) wasn't set up in any way to do anything except give you characters and worlds and ships to use AS YOU SEE FIT. Now, you're forgetting Book 0 - An Introduction to Traveller. Which (as best it could at the time in the RPG industry - late 70's) talked about how to Referee and make Campaigns etc... It did no better at explaining how to do it than did the Advanced D&D rules at the time. And it had a whole lot bigger playing space with the OTU. Not just one world, but tens of thousands. It was the beginning of the RPG industry, which is why CT didn't have much narrative. But now - today, on the other hand, it comes to a point where you have to decide what to do. The OTU is SOOOO big at this point that some people (including myself) have suggested that the rules and the universe become two separate entities. Traveller is up to at least 5 different GAMING SYSTEMS. The only thing consistent now is the OTU. If you separate the OTU from the rules, then all you have left is narrative. I don't blame Marc for going the simulationist direction. That was Traveller in it's original form. Randomness is real life. Me, I like Space Opera and just use the OTU as background. White Wolf story ideas come in very handy for that.

Dameon
 
Originally posted by Malenfant:
But that is not what we're talking about here - we're talking about the rules, and what sort of games they're set up to encourage. Games that are designed to encourage narrativist decisions and a narrativist approach are specifically set up that way, either through rules that encourage the dominance of the story over reality, or by providing advice for GMs and Players to run it that way. Ditto for simulationist and gamist RPGs. CT (as in, the core rules) provides no advice at all on how to run the game in itself, and the engine strongly implies a simulationist model where players are expected to take what they're given that's randomly rolled up on tables because that's just the luck of the draw.

However, as a system, I think CT is very simulationist. The roleplaying game aspect of it doesn't lend itself too well to gamism or narrativism, and it provides no advice at all on how to run any games at all. It's not necessarily a problem to support all styles of play, but if you dont provide advice or incentives to do that then you just end up with a confused mess I think.
I've read the comparisons of CT to later RPG's as being one way or another as far as GNS is concerned. And I think you are comparing apples to oranges. Let me use an analogy to help explain.

1970's games (including CT) is like a Model T; basic, affordable transportation with few luxuries like an electric starter, automatic transmission, motorized wipers, etc.

1980's games are like the 1940's car that now includes an electric starter but no automatic transmission, a heater but no A/C.

1990's games are akin to a 1970's car now with the addition of automatic transmisson and A/C but no GPS, no DVD player.

2000's games are like the cars of today, you now have all the extras you want on it, DVD, GPS, seperate side climate control, etc.

So when I read that CT "provides no advice at all on how to run the game in itself" and "provides no advice at all on how to run any games at all" comes across to me as a complaint that the Model T doesn't have a heater, GPS, a DVD player, etc.

You're right. CT doesn't offer much assistance in helping a referee set up and run a game but then neither did D&D (not AD&D) when it came out a few years earlier. Those games weren't written that way to encourage a certain style of play because styles of play weren't established yet. They offered game mechanics and relied on the referee (or gamemaster) to create the setting himself and run/present the games as best as he could, usually based upon some genre literature that he had read (and the very few movies/TV series that existed at the time). Because they offered primarily game mechanics they are simulationist. It was up to the ref to incorporate whatever gamism and narrativism desired by himself and his players into the game. It was on the job training. As time progressed the methodology of setting creation and refereeing developed until now we have the GNS concept to RPG's.

So I disagee with the statement that the CT rules doesn't lend itself to gamism or narrativism because IMO it is completely open in regards to how much gamism and narrativism is incorporated into a RPG. It doesn't have to create a mess unless the ref is lazy but is is an opportunity to tailor the game to the ref's and players' RPG desires.

The introduction to the GNS article mentioned above says that it is an attempt to explain why RPG's are fun to play. It also says that in order to really understand why they are fun one must experience them to discover the reasons. Each gamer has a unique enjoyment of RPG's and these reasons are collected into three basic categories; gamism, narrativism and simulationism for purposes of the article. (IMO)

Ah, it is late and I must go. Hopefully you understand my meaning.
 
What's so funny to me is that CT is "GURPS lite." Or GURPS is practically "Traveller the way Steve would do it."

From another direction... what would the minimum amount of work be to GURPSify books 1-3? Simple! Tack on an optional points system for establishing a character's point value... award points for good roleplaying... and clarify skill rolls a little bit.

They really are similar systems.
 
Ok, now I think that Traveller--as it has developed in terms of setting, etc--does lend itself to narrativism--in the looser way I am using the term--but has had a tendency to frustrate the segment of the market that looks for products that support that style of play.

I mean, on the one hand you've got Hard Times, possibily the greatest product of it's time in terms of addressing simulationists on the one hand (with the collapse effects tables/explainations) and narrativists (with the Karma rule, the theme of the doomed and desperate Imperium, the reminders of how the players can now make a huge diff, etc). On the other you've got the MT box set.

The back of the box and a few blurbs in the books tell the prospective ref and player that there is an epic civil war going on with multiple factions. Are any of these factions given any detail? No. What is detailed? The Spinward Marches, apparently the one domain where business continues as usual and there might as well not be a civil war. I can understand setting aside that area ala the Regency, but for it to be the only detailed region (and even then only in terms of UPPSs) at the expense of this sprawling metaplot strikes me as crazy. In this day and age at least.

It was the mid 80's and I suppose the development of any kind of meta plot may have been ground breaking. Even TNE, which I think gave us loads of fantastic material, was still released if not before, right around the first WW products. As such you can't really expect it to have felt much in the way of influence. But T4, now granted I've only seen 1st survey and PE, but it actually seems like a step backwards to me.

And this is my fear for T5-we may finally have rules for generating realistic alien shrubs, but not sure I want to wait ten years for a compelling setting to spring up around it. On the other hand, maybe it is a case of Traveller just progressing to it's logical end point. What do y'all think?

Survey Question-Name a Traveller product that facilitated inspired some quality (or not) G, N, or S style play.
 
I have high hopes for T5 being a decent stand alone space RPG.

I'm looking for something I can give to my old gaming buddies. There's no other Traveller product out there that's trying to be that product. You know: some sort of entry-level stand alone product that does a little bit of everything for people who don't necessarily want the game to become a major lifestyle choice.

I have no desires to see it try to be more 'realistic' than GT... or touchy-feely a la White Wolf.

If it doesn't stray too far from the CT++/MT-lite model... if it puts everything you need to play in one book... if it sends the message that "wargamers are people, too..." then I will be happy to overlook all kinds of potential problems.

I really wish that certain elements the Traveller fan base would lay off their personal wars with Marc Miller. You don't like the direction he's going with it? Fine. Don't ruin it for the rest of us!
 
Originally posted by Cad Lad:
And this is my fear for T5-we may finally have rules for generating realistic alien shrubs, but not sure I want to wait ten years for a compelling setting to spring up around it.
Traveller already has dozens of compelling settings. The problem is that much of the information about the settings is scattered across a dozen product lines with conflicting formats & rules and so forth.

New stuff keeps getting made to keep extending the depth and range of the body of work... but not so much effort goes into integrating everything into a coherent and digestible whole. It's like urban sprawl for games or something!!
 
Originally posted by Jeffr0:
I'm looking for something I can give to my old gaming buddies. There's no other Traveller product out there that's trying to be that product. You know: some sort of entry-level stand alone product that does a little bit of everything for people who don't necessarily want the game to become a major lifestyle choice.
If you want a game that is accessible to old-timers, then stick with CT. That's already got everything you want.

Personally, I think it's pointless to have a new edition of a game that just pushes it back in time.


If it doesn't stray too far from the CT++/MT-lite model... if it puts everything you need to play in one book... if it sends the message that "wargamers are people, too..." then I will be happy to overlook all kinds of potential problems.
So, you just want the game to stay pretty much exactly like it is?


I really wish that certain elements the Traveller fan base would lay off their personal wars with Marc Miller. You don't like the direction he's going with it? Fine. Don't ruin it for the rest of us!
It's not just me who doesn't like that direction. A lot of much more hardcore traveller fans than me were wondering what the heck he was thinking too.

It's clear that you don't actually want the game to change from what it's always been. So why don't you just stick with that, and "not ruin it for the rest of us" who would rather see the game evolve into something that's relevant for modern tastes, if it's going to even have a new edition at all (which remains pointless, IMO).
 
Hey Mal, I'm a neoclassical kind of guy.

I'd like to see a vibrant new iteration of the old themes... stated in a coherent and self contained whole.
 
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