Novels, films, and stage plays are not the only story-telling media where narrative and drama are essential. Role-playing games—which were originally and ideally conceived as an open-ended alternative to win-or-lose games—work best as a sort of quasi-improvisational group theater using objective tools (dice and paper, or computer code) to maintain the integrity of the setting.
RPGs were corrupted almost immediately, however, by the same sorts of extrinsic motivations that corrupt our real lives, like wealth and power. In fact, many games we call “role-playing games” are really thinly veiled win-or-lose games, no less driven by the collection of points than a football game.
I don’t use the word “corrupted” to imply that there’s anything wrong with this sort of power-up adventure gaming. I compared it to football and I’m a football fan. Scoring points and defeating foes can be quite fun.
But, if “role-playing game” is to have any meaning, games that deserve that moniker need to be driven by playing roles, not scoring points. And playing roles has more in common with acting and writing than with sports. This is why anyone trying to run a game that is truly engaging and truly an RPG can learn a lot from the narrative and drama of novels, plays, and film.
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