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Mar. 31st, 2007 | 12:00 pm

jeffwik pointed me to this Forge thread on storytelling games, brain-damage, and whatnot. How very odd. I kept reading, because that's the kind of freak I am, and I just kept thinking that the whole thing was pointless for reasons other than the ones constantly stated. I mean, the whole brain damage thing was nonsense, and I have no brief for sociobiology in any of its ridiculous forms (not that it can't be well done, but it's certainly rare and this isn't a good example). But the whole thing starts with a false premise.

Here's Ron near the opening:
I'm going to start with a claim that a human being can routinely understand, enjoy, and (with some practice) create stories. I think most postmodernism is arrant garbage, so I'll say that a story is a fictional series of events which present a conflict and a resolution, with the emergent/resulting audience experience of "theme." I also think that stories concern a fairly limited range of possible conflicts, but the angles one might use for presentation, and the interactions among the range, make for quite a stunning array of individual examples or expressions of them.

Again, my claim is that this is a human capacity which is swiftly learned and shaped into a personal characteristic ("what stories I like") as a basic feature of the human experience, used as a constant means of touchpoints during communication, along the whole spectrum of polite conversation to icebreaking all the way to the most intimate or critical of conversations. I am completely unconvinced by the suggestion that what we call a "story" today is a local historical artifact, or that people in past epochs or in different cultures had or have utterly different fundamentals for stories.

(Related point: as far as I can tell, there is no meaningful "cultural gap" regarding stories. Differences in content and presentation which seem jarring at first contact are swiftly overcome with further contact. This is common. People refuse to do this, when they do, not because the foreign story makes no sense, but because they are invested in not paying attention for any number of reasons.)
A little later he makes a very funny (unintentionally) remark about how he likes deconstruction as an activity, blah blah, because he doesn't believe in authorial intent. Very nice. He thinks, of course, that this makes him radical but not someone who "buys in" on his postmodern academic models, and so on. But in fact, what shows here is not only misunderstanding of deconstruction -- a very minor point, although I wish people wouldn't pronounce gleefully and glibly about things they know nothing about -- but also his misunderstanding of what "postmodern" or whatever is all about. And that is, perhaps surprisingly, relevant here.

Based on Ron's statements here (the long block-quote, I mean), he thinks that it is relatively obvious what a "story" is, as a cross-cultural an in fact human-universal phenomenon. Furthermore, he thinks that the people who don't agree with him within the academy are a bunch of postmodern idiotic navel-gazers, presenting "arrant garbage." Based on other remarks here and elsewhere, the point seems relatively clear: in the heavy theoretical-turn postmodern whatnot movements of the 70s and 80s, the whole concept of "story" got undermined by people who mostly wanted to yap. At base, a story is a story, and throwing jargon at it doesn't make it not a story, or doesn't make us not know what a story is.

I'll set aside this blanket rejection of things like narratology. I will only note in passing that there is a blanket assumption that nothing that has been done by all those scholars interested in such subjects for the last 35 years or so has been of any value. How one could know that without very extensive critical reading and analysis is beyond me, but I'll let it go.

What's interesting, though, is that the undermining of "story" as a straightforward and relatively obvious human behavior and genre was not undermined by a bunch of pomo theory-heads. It was undermined in the first flushes of structural and morphological critique, going back to people like Vladimir Propp. Actually, when it gets down to it, the recognition that there are fundamental problems with the category "story" as a cultural universal predates Propp quite a bit: it is because the problem was recognized that Propp et al. started working on it.

The problem first cropped up with serious engagement with mythology, and attempts to define myth as a cross-cultural phenomenon. And that takes us back to, wait for it, the 19th century. Andrew Lang would be one of the biggest names here, but in fact Sir James Frazer and Edward Tylor and those guys all got into this problem.

Basically the point has been known and accepted in mainstream scholarship, primarily in the cross-cultural study of culture (e.g. sociology, anthropology, religious studies), for more than a century. To put it simply, these basic factors that allow Ron to define and recognize a story as a cross-cultural human universal phenomenon are not present in every case, or indeed perhaps in most. What Ron (and most others not involved in the study of culture, to be fair) takes to be universal is solidly proven not to be so. "Story" in the sense he means it is not, of course, an entirely modern, Western phenomenon; it has parallels in many other cultures and times. But it is not universal, or anything like.

(That's the end of the actual content material here; the rest is analysis of where Ron's argument should actually have led.)

So this whole argument, from my point of view, falls into what Ron likes to call "undergraduate debate." That's exactly what this is: you have a guy who thinks a lot of himself pronouncing glibly on story and brain and whatnot, but who doesn't know what the hell he's talking about in terms of the most basic first principles. If we take his argument seriously, we have to say that many of the cultures of South America, for example, are intrinsically brain-damaged, and not because they played WW games. Of course, from their point of view most of our stories aren't stories, or at the very least aren't any good as stories, for lots of reasons that don't even enter Ron's sphere of definition. The criteria are simply not as straightforward as he thinks, and they do in fact vary.

I suppose this makes me one of those postmodern purveyors of "arrant garbage." Well, so long as "postmodern" dates back to the mid-late 19th century, and so long as pretty much every piece of responsible scholarship on myth, ritual, religion, and culture is accepted as "arrant garbage," yeah, I guess I'll accept that. But it's a sad state of affairs when people take such a claim seriously because the guy touting it is a biologist, for Pete's sake.

Stripped to essentials, the argument is this:
  1. Here is a definition of Story
  2. Some games that claim to emphasize story do not follow this definition
  3. Some gamers who have played the games in question appear to have trouble shifting definitions
  4. Such gamers have been very strongly trained to think about story based on definitions other than the one posed
  5. In some cases, they may actually be unable to change definitions
  6. For this reason, they may well not "get" Story Now games
  7. That's sad
Oh. And? If it weren't for the inflammatory rhetoric and the fact that it's Ron saying this, why would anyone respond? What's to respond to? It's a statement of opinion: Ron thinks this is sad. He calls it brain damage, for whatever weird reason, but what he's talking about is enculturation and training. He thinks that some games, notably WW games, train people to think about stories in a way he doesn't think is helpful, and that (1) makes their games suck and (2) keeps them from playing games that tell stories in a way he does think is helpful.

From this there are two basic responses worth making. On point (1), there are people whose games don't suck, for whom the whole argument is laughable. And for those whose games do suck, the question is simply how to re-train them so they will "get" games like Sorcerer. So we've stripped down to essentials:
There is a group, of unknown size, of gamers who fit the following criteria:
  1. They have played a bunch of WW-type games
  2. They think their games suck
  3. They think they want storytelling
  4. They have trouble with games like Sorcerer
  5. The reason for this trouble is that they think about "story" in a WW-type way
We need a training regimen to help these people rethink story and play
Okay. So write a new introduction to Sorcerer entitled "surviving 'storytelling' play," in which you explain how "story" here means something different, and how that means play is going to be different, and how and why you think this will be more satisfactory than WW has been. The assumption is that those people who actually like WW games won't be reading it because they don't have any reason to do so. You have some GM who's trying to help these unhappy players, and that GM encourages them to read this intro before designing a character or starting to play.

Has Ron actually written such a thing? Why not?

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Comments {42}

Raven Daegmorgan

(no subject)

from: greyorm
date: Apr. 1st, 2007 05:52 am (UTC)

I'm talking about exactly what I said I was talking about in the first post; bit strange that you'd pick this point in the conversation to notice the divergence, but alright.

I'm not talking about style, whatever that means this week (that is, I'd just like to avoid the word as too generally meaningless); I'm talking about techniques and assumptions, such as those which go into the inclusion and exclusion of particular data in a story, and the manner of and reason for presentation of said data.

To be clear, the writing assumptions/techniques of an untrained or novice writer-gamer are not uncommon among novice (non-gamer) writers in and of themselves, but the pattern of their use and the specific ones the novice writer-gamer chooses are. They are specific to the hobby of gaming, which is why they pop out, even to someone who doesn't game.

The reason it pops is that it is like a person who plays video games writing stories based on the way video games play out, or (to beat a dead horse) the way a long-time screenwriter writes prose (when a novice) pops out as being prose written by a screenwriter.

For gamers, these are things like: passive description, front-loading character descriptions including details of equipment, encyclopedia-worthy passages on minor (colorful) setting details, failing to write character personality and letting the story be about "the plot", or ignoring character personality in favor of "the plot", the plot itself having no real tie to the character, events being about plot rather than character (ie: characters exist mainly as eyewitnesses to stuff happening that doesn't or shouldn't reasonably need to involve or interest or engage them), identifiable game-character archetypes (at best "with serial numbers filed off"), other similar game-related artifacts, excessive but unimportant inter-party drama (and you'll note the concept of a "party") usually via dialogue, lengthy historical treatises on irrelevancies, extensive viewpoint jumping, sudden changes in voice, failing to connect the reader to the character (or failing to connect to the character as a writer), creating pseudo-mystery instead of tension, extensive detail of each move in and focus on combat scenes, loosely-/un-related spastic action and events (ie: "wouldn't it be cool if..." writing that pays no attention to engaging the reader in the long term, or over a period of time), etc. etc.


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