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<blockquote data-quote="Autumnal" data-source="post: 9278163" data-attributes="member: 6671663"><p>I’d include cinematic and realistic/naturalistic along an axis from high human potential to low human potential.</p><p></p><p>The lower end has a low ceiling in terms of what’s possible for anyone, and generally comes with a mezzanine for the potential of adventurers or whatever sort of people the PCs are. In practice, the demonstrable super high end of human performance is often cut off - sufficiently unusual/unique deeds are outliers you can sacrifice, partly because the game world probably doesn’t have a population of billions.</p><p></p><p>The high end usually doesn’t include everything anyone ever claimed to do, but it includes a lot. It also can often include stuff the participants know only happens in our world via special effects - human potential goes above and beyond. PCs are more likely to be clowning around on the roof, too, or anywhere along the grand staircase from the usual up to what’s possible in that setting.</p><p></p><p>As a general thing, high-potential settings seem more likely to have gifts, blessings, and various means of allowing someone to exceed the standard ceiling, too. That’s not universal, “people on the rough circumstances can go way far” and “the meta gene, angels, gods, wizards, artificers, aliens, or whoever make it possible to act far beyond the abilities of mere mortals” are easy correlatives in attitude the sweep of potential. Not always, of course: there are interesting settings with high potential but a genuine ceiling that nobody human can breach, and a low ceiling that’s permeable in one or several ways. So, good generalization, not a law.</p><p></p><p>There’s no point in fighting the general usage, but in my heart “cinematic” is a term that we could apply to games in the style of The Seventh Seal, A Ghost Story, Arrival, and.La Dernier Combat. But I’m okay with it tending to signal play with high human potential.</p><p></p><p>I’d like to note that I wrote this whole post without using “empowerment”, because I really didn’t want to even touch the very complicated ways that can interact with setting concepts. I’ve seen what I would think of as player empowerment all along the line of human potential, and also examples of what I’d think of as disempowerment on the hoof ditto. It’s another dimension, for another time.</p></blockquote><p></p>
[QUOTE="Autumnal, post: 9278163, member: 6671663"] I’d include cinematic and realistic/naturalistic along an axis from high human potential to low human potential. The lower end has a low ceiling in terms of what’s possible for anyone, and generally comes with a mezzanine for the potential of adventurers or whatever sort of people the PCs are. In practice, the demonstrable super high end of human performance is often cut off - sufficiently unusual/unique deeds are outliers you can sacrifice, partly because the game world probably doesn’t have a population of billions. The high end usually doesn’t include everything anyone ever claimed to do, but it includes a lot. It also can often include stuff the participants know only happens in our world via special effects - human potential goes above and beyond. PCs are more likely to be clowning around on the roof, too, or anywhere along the grand staircase from the usual up to what’s possible in that setting. As a general thing, high-potential settings seem more likely to have gifts, blessings, and various means of allowing someone to exceed the standard ceiling, too. That’s not universal, “people on the rough circumstances can go way far” and “the meta gene, angels, gods, wizards, artificers, aliens, or whoever make it possible to act far beyond the abilities of mere mortals” are easy correlatives in attitude the sweep of potential. Not always, of course: there are interesting settings with high potential but a genuine ceiling that nobody human can breach, and a low ceiling that’s permeable in one or several ways. So, good generalization, not a law. There’s no point in fighting the general usage, but in my heart “cinematic” is a term that we could apply to games in the style of The Seventh Seal, A Ghost Story, Arrival, and.La Dernier Combat. But I’m okay with it tending to signal play with high human potential. I’d like to note that I wrote this whole post without using “empowerment”, because I really didn’t want to even touch the very complicated ways that can interact with setting concepts. I’ve seen what I would think of as player empowerment all along the line of human potential, and also examples of what I’d think of as disempowerment on the hoof ditto. It’s another dimension, for another time. [/QUOTE]
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