Though you are referring to game design, I think these are very important thoughts for any Game Master. I believe the "conceptual distance" idea is quite helpful to describe the complexity of historical-cultural differences in fiction settings. Particularly, having too many years developing our setting, we insert a lot with moral differences (attempting to make it more like it is in our world, actually). We enjoy the great insights that arise from twisting the perspective of what is considered good or evil. We like bringing players to deal with civilizations that act opposite from what is expected in typical Western society (sort of like a Star Trek Next Generation kind of thing but in quasi-medieval style). In our experience, this is much more mind-blowing (and engaging) than magic.
I thought this was going to be about how many feet you can cover on your turn. In 1e/2e it didn't matter, we have melee range or one round of projectiles.
Really interesting to read. I've never had the words 'conceptual distance' before, but I've been doing just this whenever I prepare a new game for my players.
How do I hook them without over loading them without all the background need to know, so X setting.
Usually in the first few sessions I focus down on a small area, and build what is normal for my players... only then can you show them what is not normal so that they can react accordingly.
This is a perfect write-up of this issue. Very well spoken, thanks.
Still trying to figure how to get friends into Invisible Sun for this exact reason. I love the idea of it and the setting, but fail as a GM to grasp the going ons in /the real/ and consequently have been hard pressed to deliver a satisfying pitch to my groups.
Invisible Sun was designed to avoid the traditional introduction that settings/stories like this have, where the characters start as normal people in the normal world and then discover the truth. However, all the information you would need to run that scenario is in the game. Basically, instead of making that transition the characers' backrounds, you'd play through it. Players who would find Satyrine too weird to be a part of out of the gate can then portray a more relatable character to start with.
Though you are referring to game design, I think these are very important thoughts for any Game Master. I believe the "conceptual distance" idea is quite helpful to describe the complexity of historical-cultural differences in fiction settings. Particularly, having too many years developing our setting, we insert a lot with moral differences (attempting to make it more like it is in our world, actually). We enjoy the great insights that arise from twisting the perspective of what is considered good or evil. We like bringing players to deal with civilizations that act opposite from what is expected in typical Western society (sort of like a Star Trek Next Generation kind of thing but in quasi-medieval style). In our experience, this is much more mind-blowing (and engaging) than magic.
I thought this was going to be about how many feet you can cover on your turn. In 1e/2e it didn't matter, we have melee range or one round of projectiles.
Really interesting to read. I've never had the words 'conceptual distance' before, but I've been doing just this whenever I prepare a new game for my players.
How do I hook them without over loading them without all the background need to know, so X setting.
Usually in the first few sessions I focus down on a small area, and build what is normal for my players... only then can you show them what is not normal so that they can react accordingly.
Looking forward to Part 2.
https://www.facebook.com/HalcyonStars
This is a perfect write-up of this issue. Very well spoken, thanks.
Still trying to figure how to get friends into Invisible Sun for this exact reason. I love the idea of it and the setting, but fail as a GM to grasp the going ons in /the real/ and consequently have been hard pressed to deliver a satisfying pitch to my groups.
Invisible Sun was designed to avoid the traditional introduction that settings/stories like this have, where the characters start as normal people in the normal world and then discover the truth. However, all the information you would need to run that scenario is in the game. Basically, instead of making that transition the characers' backrounds, you'd play through it. Players who would find Satyrine too weird to be a part of out of the gate can then portray a more relatable character to start with.