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Gary’s Immersion in Castle El Raja Key: The Four-Way Footsteps
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<blockquote data-quote="Rob Kuntz" data-source="post: 7853495" data-attributes="member: 7015759"><p>Also consider these two commentaries from my unpublished work, <strong>A New Ethos in Game Design: </strong> <em>The Paradigm Shift Originated by Dungeons & Dragons 1972-1977</em> © 2012-2019. Robert J. Kuntz</p><p></p><p><strong>C15: </strong> In real life our eyes and mind cooperate to picture for us what we are doing while about our daily routines. In the Fantasy realm of an RPG we have only our minds through which we accomplish this, and normally what “we” are doing within that landscape is not at all routine. In the former instance if we are startled by something out of the ordinary it’s because a feeling of incongruity arose in us upon seeing it. Thus we affected our own emotive circumstances. In the latter case the GM tells us what we have seen but we lack the incongruous possibility of the former due to the few passing sentences by which he or she described what we saw and which can never properly substitute as a medium for achieving a real emotive response. This information is assimilated by the passive realization that “we” are not actually in a fantastic environment but are instead comfortably in our game reality. </p><p></p><p>This defines a lack of immersion (a lack of seeing there and being there) in the fantastic that keeps us in the real world game reality only. The object of a fantastic immersion in game situations is to move the players to invest their emotive states in Fantasy environments and thereby close the door that is open upon the real. Just like in the reading of a Fantasy story, one can read it and be done with it. But if a person was not immersed while doing so, it becomes just another “read.” </p><p></p><p><strong>C22:</strong> Immersion in the fantastic works more effectively when the action of the adventure is fast paced. Decision making in a pressure cooker of game thoughts and immersion effects can become as confusing as in real life situations. Consider the following: in real life combat situations a team at close quarters dissolves into individual confrontations. There is no more homogeneous team action. This is untrue to a greater degree in an RPG combat where the players maintain an omniscient view of what is transpiring. This can be alleviated to a degree by the uncertainty of each individual who has bought into anxiety and doubt during the adventure. The success rate of this can only be abstracted and is usually noted post-adventure by admission of a player “not knowing why” they did what they did in X situation. This occurrence was not uncommon in our adventures. These incidents also make for accumulated GM stories of the players do the strangest things variety. </p><p></p><p>Missed information may also account for such confused actions. That is, whether a particular player was listening to the GM or contextually understood what he or she said when a clue or pertinent fact (such as in a foreshadowing instance) was communicated preceding a combat. But this also speaks to why a quick tempo should be maintained, for information transmittal across many single spectrums is uncertain. When a group of six real people walk down a street they note and assimilate visual information around them at different rates and times, or possibly not at all, or as relative samples of other group members. Thus the idea of continuity of information is, again, a game mode reality; and active immersion states coupled with active pace can sometimes re-spawn the uncertainty principle in defiance of it.</p></blockquote><p></p>
[QUOTE="Rob Kuntz, post: 7853495, member: 7015759"] Also consider these two commentaries from my unpublished work, [B]A New Ethos in Game Design: [/B] [I]The Paradigm Shift Originated by Dungeons & Dragons 1972-1977[/I] © 2012-2019. Robert J. Kuntz [B]C15: [/B] In real life our eyes and mind cooperate to picture for us what we are doing while about our daily routines. In the Fantasy realm of an RPG we have only our minds through which we accomplish this, and normally what “we” are doing within that landscape is not at all routine. In the former instance if we are startled by something out of the ordinary it’s because a feeling of incongruity arose in us upon seeing it. Thus we affected our own emotive circumstances. In the latter case the GM tells us what we have seen but we lack the incongruous possibility of the former due to the few passing sentences by which he or she described what we saw and which can never properly substitute as a medium for achieving a real emotive response. This information is assimilated by the passive realization that “we” are not actually in a fantastic environment but are instead comfortably in our game reality. This defines a lack of immersion (a lack of seeing there and being there) in the fantastic that keeps us in the real world game reality only. The object of a fantastic immersion in game situations is to move the players to invest their emotive states in Fantasy environments and thereby close the door that is open upon the real. Just like in the reading of a Fantasy story, one can read it and be done with it. But if a person was not immersed while doing so, it becomes just another “read.” [B]C22:[/B] Immersion in the fantastic works more effectively when the action of the adventure is fast paced. Decision making in a pressure cooker of game thoughts and immersion effects can become as confusing as in real life situations. Consider the following: in real life combat situations a team at close quarters dissolves into individual confrontations. There is no more homogeneous team action. This is untrue to a greater degree in an RPG combat where the players maintain an omniscient view of what is transpiring. This can be alleviated to a degree by the uncertainty of each individual who has bought into anxiety and doubt during the adventure. The success rate of this can only be abstracted and is usually noted post-adventure by admission of a player “not knowing why” they did what they did in X situation. This occurrence was not uncommon in our adventures. These incidents also make for accumulated GM stories of the players do the strangest things variety. Missed information may also account for such confused actions. That is, whether a particular player was listening to the GM or contextually understood what he or she said when a clue or pertinent fact (such as in a foreshadowing instance) was communicated preceding a combat. But this also speaks to why a quick tempo should be maintained, for information transmittal across many single spectrums is uncertain. When a group of six real people walk down a street they note and assimilate visual information around them at different rates and times, or possibly not at all, or as relative samples of other group members. Thus the idea of continuity of information is, again, a game mode reality; and active immersion states coupled with active pace can sometimes re-spawn the uncertainty principle in defiance of it. [/QUOTE]
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