I'm going to do something different again this week. I've been thinking a lot about stories lately; in particular, about how games that involve storytelling (such as Gloom or Fiasco or most tabletop RPGs) are so satisfying because they follow Freytag's Pyramid.
So I thought I'd share one of my favourite stories. This is the story of Alice. I first heard this story when I was in middle school, and a professional storyteller came and told us some stories. So now I will share the story with you.
Showing posts with label gaming style. Show all posts
Showing posts with label gaming style. Show all posts
05 July 2015
'Where Do You Get Your Ideas?'
Many of the world's creative celebrities have spoken or written about occasions in which they get asked the question, 'Where do you get your ideas?'
Alan Moore (who, just on the off chance that you don't know, is the author of many of the world's greatest comics, including V for Vendetta and Watchmen), said, 'We imply that even to have voiced such a question places [a person] irretrievably in the same intellectual category as the common pencil-sharpener. ... I know it isn't nice. ...it's something that we have to do. The reason why we have to do it is pretty straightforward. Firstly, in the dismal and confused sludge of opinion and half-truth that make up all artistic theory and criticism, it is the only question worth asking. Secondly, we don’t know the answer and we’re scared that somebody will find out.'
Gary Larson, creator of The Far Side, says, 'I've always found the question interesting, because it seems to embody a belief that there exists some secret, tangible place of origin for cartoon ideas. Every time I hear it, I'm struck by this mental image where I see myself rummaging through my grandparents' attic and coming across some old, musty trunk. Inside, I find this equally old and elegant-looking book... embossed on the front cover in large, gold script is the title, Five Thousand and One Weird Cartoon Ideas. I’m afraid the real answer is much more mundane: I don't know where my ideas come from.
Alan Moore (who, just on the off chance that you don't know, is the author of many of the world's greatest comics, including V for Vendetta and Watchmen), said, 'We imply that even to have voiced such a question places [a person] irretrievably in the same intellectual category as the common pencil-sharpener. ... I know it isn't nice. ...it's something that we have to do. The reason why we have to do it is pretty straightforward. Firstly, in the dismal and confused sludge of opinion and half-truth that make up all artistic theory and criticism, it is the only question worth asking. Secondly, we don’t know the answer and we’re scared that somebody will find out.'
Gary Larson, creator of The Far Side, says, 'I've always found the question interesting, because it seems to embody a belief that there exists some secret, tangible place of origin for cartoon ideas. Every time I hear it, I'm struck by this mental image where I see myself rummaging through my grandparents' attic and coming across some old, musty trunk. Inside, I find this equally old and elegant-looking book... embossed on the front cover in large, gold script is the title, Five Thousand and One Weird Cartoon Ideas. I’m afraid the real answer is much more mundane: I don't know where my ideas come from.
23 May 2015
Story versus Action
I was unable to post an entry last week. I apologise. It has been a crazy spring season. Although it's not technically summer yet, my 'summer season' began today, so I expect fewer obstacles for a while.
Today, I want to talk about an exchange I had on Tuesday. I was at the weekly meeting of the local board game club, when two young men walked into the building and said that they were hoping to get to attend, but would need to ensure that they had a ride home. I offered my services. So they stayed, and games were played by everyone present, and at the end of the night, I ferryed them to their residence.
As we were driving, we the conversation turned to role-playing games. They asked me if I had ever played Dungeons and Dragons. I informed them that yes, I had, but that I was not a fan of the game, because it emphasised hack-and-slash over storytelling. They attempted to defend their beloved game, saying the usual things like 'It's not the game that determines the story's structure, it's the GM,' and 'We've played in games that have great stories.'
Which is true, to an extent, but what they don't seem to notice is that the game's mechanics have a distinct effect on the types of stories being told. I've talked about this before, but only in passing.
Today, I want to talk about an exchange I had on Tuesday. I was at the weekly meeting of the local board game club, when two young men walked into the building and said that they were hoping to get to attend, but would need to ensure that they had a ride home. I offered my services. So they stayed, and games were played by everyone present, and at the end of the night, I ferryed them to their residence.
As we were driving, we the conversation turned to role-playing games. They asked me if I had ever played Dungeons and Dragons. I informed them that yes, I had, but that I was not a fan of the game, because it emphasised hack-and-slash over storytelling. They attempted to defend their beloved game, saying the usual things like 'It's not the game that determines the story's structure, it's the GM,' and 'We've played in games that have great stories.'
Which is true, to an extent, but what they don't seem to notice is that the game's mechanics have a distinct effect on the types of stories being told. I've talked about this before, but only in passing.
19 April 2009
Hack and Slash vs. Storytelling
For those who don't know, I haven't been able to do any gaming now for over two years. Moving to a new country can have that effect; I haven't yet been able to find anyone to game with over here. There's been talk about gaming via Skype, but that won't be for a while yet. It's kind of frustrating at times.
But it has given me plenty of time to analyse and think about gaming in more general, abstract terms. Especially since I recently acquired the second Order of the Stick prequel book, Start of Darkness. Reading that made me want to reread the entire series, which I've been doing. And as I read that story, I'm struck by the intense plotline.
For those that don't read it (and I highly recommend that you start), there's the good guys (the titular Order of the Stick), and then there are the main bad guys (the lich sorcerer Xykon and his goblin lackey Redcloak). But then there are the secondary bad guys, the Linear Guild. Then we have other key players, like the paladins of the Sapphire Guard, and the Thieves' Guild in Greysky City. Not to mention loads of bit players, like the oracle of Sunken Valley, the Cliffport City police force, and the bandits of Wooden Forest.
But it has given me plenty of time to analyse and think about gaming in more general, abstract terms. Especially since I recently acquired the second Order of the Stick prequel book, Start of Darkness. Reading that made me want to reread the entire series, which I've been doing. And as I read that story, I'm struck by the intense plotline.
For those that don't read it (and I highly recommend that you start), there's the good guys (the titular Order of the Stick), and then there are the main bad guys (the lich sorcerer Xykon and his goblin lackey Redcloak). But then there are the secondary bad guys, the Linear Guild. Then we have other key players, like the paladins of the Sapphire Guard, and the Thieves' Guild in Greysky City. Not to mention loads of bit players, like the oracle of Sunken Valley, the Cliffport City police force, and the bandits of Wooden Forest.
27 April 2008
When Players Collide
I didn't post last week. I'm very sorry. Real Life got in the way.
This week, I'm going to look at conflicting gaming styles. Specifically, I think of the reasons that GMs run games, as compared to reasons that players play in those games.
One example: I had a GM once who loved the feelings of power he got from running the game and having absolute control over what happened. He loved the look of shock and amazement when he caused something to happen that the players not only did not expect, but could not reasonably be asked to expect. He was a very dramatic gamer, and loved the exquisite timing and flow of intrigue that came from having players at his mercy. I sometimes felt as if I was a plaything for a dark and cruel god.
Another GM I played under: he was an excellent storyteller. That is, he told excellent stories, and he told them well. The only problem was that sometimes his own strengths would get in the way. He was very good at predicting how people would react to certain situations, and excelled at arranging events in such a manner that the story would go in the direction he planned by giving the players just the right stimulus to nudge them in the direction that he wanted them to go. Unfortunately, after a while, it starts to feel like the players aren't really involved in the story at all; they're just there to serve the needs of the storyteller.
This week, I'm going to look at conflicting gaming styles. Specifically, I think of the reasons that GMs run games, as compared to reasons that players play in those games.
One example: I had a GM once who loved the feelings of power he got from running the game and having absolute control over what happened. He loved the look of shock and amazement when he caused something to happen that the players not only did not expect, but could not reasonably be asked to expect. He was a very dramatic gamer, and loved the exquisite timing and flow of intrigue that came from having players at his mercy. I sometimes felt as if I was a plaything for a dark and cruel god.
Another GM I played under: he was an excellent storyteller. That is, he told excellent stories, and he told them well. The only problem was that sometimes his own strengths would get in the way. He was very good at predicting how people would react to certain situations, and excelled at arranging events in such a manner that the story would go in the direction he planned by giving the players just the right stimulus to nudge them in the direction that he wanted them to go. Unfortunately, after a while, it starts to feel like the players aren't really involved in the story at all; they're just there to serve the needs of the storyteller.
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