RPG Theory Glossary Entries:

RPG Theory Glossary:

3D Model

A classification model of role-playing similar to the Threefold Model or GNS. It was originally suggested by Mike Holmes on the Forge, but was developed further by John Kim and others in discussion. It has two axes: Focus (Theme, Immersion, or Challenge), and Centrality of Authorship.
References:
New 3D Model
More on 3D Model

Abashed

Within Ron Edwards' GNS theory, a game design with features of multiple GNS modes that are contradictory -- but which are easily correctable by ignoring or altering isolated portions of the rules (minor Drift). For example, the GM fudges a bit or rules are conveniently ignored in favor of the flow of play, and things work fine. Considered a minor form of Incoherence.
References:
Abashed Vanillaism
Ron Edwards' review of Little Fears

Actor Stance

Originally part of Kevin Hardwick's Narrative Stance Model , later adopted by Ron Edwards as just Stance. The original term meant conscious portrayal of character, as opposed to In-Character Stance which meant acting as character. Ron Edwards' Actor Stance means deciding on the character's decisions and actions using only knowledge and perceptions that the character would have -- but not necessarily speaking in-character or immersing (see Immersion).

assumption clash

Generally, when participants have different understandings of how the game-world works that come out in play. For example, as a player you might think that your tough fighter can kill a charging boar with his sword with little fear of injury, while your GM thinks that a boar can easily ignore any sword swing and will break both his legs. You say "I crouch and prepare to meet its rush" and get severely mauled. A term from rgfa discussion.

Author Stance

Originally part of Kevin Hardwick's Narrative Stance Model, where is was also known as "Director" stance. It implies playing with a eye towards changing the game or affecting its development on a metagame level. In Ron Edwards' adaptation of Stance, these were split into separate stances. Author Stance includes only only controlling of the character, while Director Stance is controlling other parts of the game. Author Stance includes two sub-categories: (1) "Author" Author Stance where the player then retroactively suggests motivation the character to perform the acts in question; (2) "Pawn" Author Stance where the player does not. See Pawn Stance.

Balance

Often a term used for evenly dividing among the players, or between PCs and their opposition. However, it may be applied to many things: character Effectiveness, player power, Screen Time, or player status and attention. It has no clear definition within GNS theory, and in general should always be qualified on what it refers to.
References:
Gamism: Step On Up

Balance of Power

As a role-playing term from The Forge, the distribution of who has authority to say what happens in a game. This was a term coined by Hunter Logan, and is essentially the same as the later-coined term Credibility.
References:
All righty then
Gamism: Step On Up

Bangs

A term from the game Sorcerer, originally "those moments when the characters realize they have a problem right now and have to get moving to deal with it." In Forge discussion, this has become "introducing events into the game which make a thematically-significant or at least evocative choice necessary for a player." See also Kicker.
References:
Using Kickers & Bangs
Question about Bangs, looking for opinions.
Getting ready- Writing the bangs!
Bangs, bangs and more bangs!
Confused about Bangs...
Bangs, Crises, and Inciting Events
Any bangs for our buck?
Clueless about Bangs

Beeg Horseshoe Theory

A term coined by Jared A. Sorensen in September 2001 for the idea that GNS Simulationism doesn't really exist as its own agenda, but rather is a neutral state in-between Gamism and Narrativism. i.e. G and N were the ends of the horseshoe, while S is the middle. This was adapted later to the idea of a plane which was G vs N on one axis, while the other is low to high Fidelity. What was seen as GNS Simulationism is in this model high-Fidelity forms of Gamism and Narrativism.
References:
All-out dissection (LONG AND BRUTAL)
The Beeg Horseshoe Theory
Beeg Horseshoe Theory Revisited
The Roots of Sim II

The Big Model

Ron Edward's term for his general theory of role-playing interaction, incorporating his ideas on GNS and further describing role-play as nested subsets of Social Contract, Exploration, and Creative Agenda, respectively.
References:
The Whole Model - this is it
Narrativism: Story Now

Black Curtain

Ron Edward's term for the techniques a GM may employ to keep his use of Force hidden from the other participants in the game, such that they are at least somewhat under the impression that their characters' significant decisions are under their control. See Illusionism.

Blacow Player Types

An early model of player types from the late 1970s by Glen Blacow. This divided role-players into four groups: "Roleplayers", "Storytellers", "Power Gamers", and "Wargamers". This was later adopted by Robin Laws in his book, "Robin's Laws of Good Game Mastering". Laws includes seven types, however: The Power Gamer, The Butt-Kicker, The Tactician (i.e. wargamer), The Specialist, The Method Actor (i.e. roleplayer), The Storyteller, and the Casual Gamer.
References:
Robin's Laws of Good Gamemastering
Player Types (from Glen Blacow and Robin D. Laws)

Blood Opera

A Forge term for play in which character generation focuses on potentially irreconcilable differences among at least some of the characters, and in which scenario generation is designed to put as much pressure on these differences (and therefore on unexpected alliances as possible). Notable for high mortality rates among characters, in the manner of the movie "Reservoir Dogs". The term was coined by Ralph Mazza, Jake Norwood, and Ron Edwards after playing an especially masochistic session of The Riddle of Steel during Origins 2003.

Bob

Within GNS Narrativist play, withholding response or otherwise mandating a break in the Premise-addressing action of play. Coined by Ron Edwards in the "Sex & Sorcery" supplement for Sorcerer.

Breaking the game

Ron Edwards' phrase from his Gamism essay for exploiting a loophole in the game such that repetitive behavior overshadows the other PCs or causes other irreparable problems. Described as "a dysfunctional technique of Hard Core Gamist play".
References:
Gamism: Step On Up

Butt-Kicker

One of Robin D. Laws seven player types, as part of the Blacow Player Types. The Butt-Kicker is the type of player who mainly wants to let off some steam with "old-fashioned vicarious mayhem".
References:
Robin's Laws of Good Gamemastering
Player Types (from Glen Blacow and Robin D. Laws)

Calvinball

A term coined by Ron Edwards based on the comic strip Calvin & Hobbes, meaning making up the rules of a game as it is played, especially to help the player win. Within Ron Edwards' Big Model, this is characterized as "a potentially-dysfunctional technique of Hard Core Gamist play".
References:
Calvinball rules
Gamism: Step On Up

Challenge

Within Ron Edwards' Big Model, the Situation of play in the Gamist context -- specifically, adversity or imposed risk to player-characters of any kind.
References:
Gamism: Step On Up

Character Components

The features of a role-playing character. All are present for all characters, even if one or more is not explicitly part of the textual rules. See Effectiveness, Metagame, and Resource. See also Currency.
References:
Gamism: Step On Up

Coherence

Within GNS theory, this is a general term for play where everyon shares a focused priority on a single GNS mode or functional hybrid. Game designs are said to be coherent if they clearly encourage play of this sort: in particular by having mechanics which support the GNS mode encouraged by the text. The opposite is Incoherence.
References:
GNS and Other Matters of Role-playing Theory
Simulationism: The Right to Dream

Color

Within Ron Edwards' hierarchical Big Model, one of the five components of Exploration. This refers to imagined details about any or all of System, Character, Setting, or Situation which are added in such a way that does not change aspects of action or resolution.

Conflict resolution

A Forge term for a resolution mechanic which depends on the abstract higher-level conflict, rather than on the component tasks within that conflict. For example, one might roll to get past a guard -- regardless of whether you bluff, sneak, or fight your way past him. When using this technique, inanimate objects may be considered to have "interests" at odds with the character, if necessary. Contrast with Task Resolution.

Congruence

A term coined by Walt Freitag for play which merges two or more GNS modes. As he puts it: "A congruent decision is a decision made by a participant (GM or player) during play that cannot, on the basis of the visible behavior resulting from the decision, be categorized as belonging to a specific mode of decision-making enumerated by the underlying model. In the context of the GNS model there are exactly four possible congruencies, representing the four combinations of two or more modes for which a decision may be ambiguous." Others have disagreed over whether sustained congruent play is possible.
References:
GNS and "Congruency"

Creative Agenda

Within Ron Edwards' Big Model, the "aesthetic priorities and any matters of imaginative interest regarding role-playing", sometimes abbreviated as "CA" on The Forge. The three CAs are Step on Up (Gamist), The Dream (Simulationist), and Story Now (Narrativist). This concept was referred to as "Premise" in Ron Edwards' second GNS essay -- but in the current incarnation "Premise" is specific to Narrativism.
References:
GNS and Other Matters of Role-playing Theory
GNS will fade into the background of RPG Theory
GNS: What is it?
Gamism: Step On Up
The whole model - this is it

Credibility

The power to have a statement accepted into the Shared Imaginary Space (or diegesis). In other words, whether what you say is "real" within the game-world. For example, a player may say "I chop his head off" -- but the statement doesn't have credibility until the GM confirms by saying "Indeed, you chop his head off." Coined by Vincent Baker (aka Lumpley) on the Forge as part of The Lumpley Principle.
References:
Vincent's standard rant: power, credibility, and assent
Player power abuse

Cross

Within GNS Narrativist play, introducing effects from previous scenes into current scenes, although the scenes do not contain the same protagonists. Coined by Ron Edwards in the "Sex & Sorcery" supplement for Sorcerer.

Crunch

In broad usage, this refers to hard-and-fast mechanics which require little subjective interpretation -- aka "Crunchy". As defined in Ron Edwards' Gamism essay, "an application or type of Challenge, based on high predictability relative to risk."
References:
Gamism: Step On Up

Crunchy Bits

An idea from Robin Laws' book, where he theorizes that "role-playing is fantasy shopping for guys" -- where the things shopped for are superpowers. Crunchy Bits are the products bought, the concretely- defined powers which players can get.
References:
Robin's Laws of Good Gamemastering

Currency

A Forge term for exchange rate among different character capabilities, i.e. in-game stats (Effectiveness), spendable points (Resources), and Metagame capabilities. In many games, Currency is explicit in terms of character points, but in principle there is some currency in all RPGs.
References:
Gamism: Step On Up

Death Spiral

Mechanics which have positive feedback. More specifically, this refers to wound mechanics which give a penalty to all combat rolls. This means that once wounded, a character is more likely to be wounded again, and soon there is an inexorable progression to defeat.
References:
Techniques for Action Pacing in RPGs
Gamism: Step on Up

Deprotagonize

A term coined by Paul Czege on The Forge, meaning to limit or devalue another person's opportunity to establish their character as a protagonist during Narrativist play. This is specific to Paul's use of Protagonism strictly in the limited Narrativist context.
References:
Is Director Stance Real?
not functionally equivalent to handling a protagonist

DFK

Short for Drama, Karma, and Fortune, as originally presented in the game Everway by Jonathan Tweet, and adopted by Ron Edwards in his GNS theory. The terms refer to the resolution mechanics of a given game, which may include any combination or blending of the three. Drama is deciding on the basis of what makes the best story. Fortune is deciding on the basis of a randomizer. Karma is deciding based on the defined character abilities and difficulty.
References:
System Does Matter

Diceless play

Literally, play without dice. However, this most commonly is used to mean play without any sort of randomizer -- including cards, spinners, or rock-paper-scissors.
References:
Dice and Diceless: One Designer's Radical Opinion

Diegesis

The fictional reality being portrayed by the game. A term from film and narrative theory borrowed by Nordic role-playing theory. It is discussed extensively in "Beyond Role and Play". This is essentially the same as the Forge term Shared Imaginary Space.
References:
As Larp Grows Up
Beyond Role and Play

Director Stance

Originally from Kevin Hardwick's Narrative Stance Model , later adopted by Ron Edwards as just Stance. The original included any thinking parallel to a film director, while Edwards separated Author and Director as separate stances. In the latter, Director stance means the player determines things beyond character actions based on meta-game priorities -- i.e. action separate from the character's knowledge or ability to influence events. The player thus determines context, timing, and spatial circumstances of those actions, or even features of the world separate from the characters. Director Stance is often confused with narration of an in-game event, but the two concepts are not necessarily related.

Dramatism

A term from the rgfa Threefold Model. It is defined as the style which values how well the in-game action creates a satisfying storyline. Different kinds of stories may be viewed as satisfying, depending on individual tastes, varying from fanciful pulp action to believable character drama. It is the end result of the story which is important. However, on The Forge it came to represent only a subset where the story was directed by the GM -- distinct from Narrativism. In GNS theory, it is considered a problematic term and not included in later discussions.
References:
The Threefold Model
Dramatism, what is it?

The Dream

Within Ron Edwards' GNS theory, the characteristic phrase of GNS Simulationism. It is defined as "commitment to the imagined events of play, specifically in-game cause and pre-established thematic elements".
References:
Simulationism: The Right to Dream
What is the Dream?

Drift

Within Ron Edwards' GNS theory, movement from one GNS mode to another during the course of play, which involves changing or ignoring of the game and rules as written. It can be relatively simple, as in the case of Abashed design. However, it is distinct from Transition which is change GNS mode using rules which are designed for that purpose.
References:
GNS and Other Matters of Role-playing Theory
Simulationism: The Right to Dream

Dysfunction

Common Forge term, meaning simply role-playing which is not fun.

Effectiveness

As Character Components, any quantities used to determine success or extent of an action. In other words, attributes and skills, and many advantages and disadvantages which modify rolls. It does not include things like drama points or hit points that are spent as a result of actions. Term coined by Ron Edwards in his Gamism essay.
References:
Gamism: Step On Up

Egri, Lajos

The author of "The Art of Dramatic Writing" (1946) and "The Art of Creative Writing". An inspiration for the definition of GNS Narrativism. See Premise.

El Dorado

A term coined by Paul Czege for searching for a simulation-like system which will support GNS Narrativism without breaking suspension of disbelief. Since then, other have used it to mean Transition from Simulationist to Narrativist play without noticeable Drift in the rules-use.
References:
Simulationism and Narrativism under the same roof
El Dorado

Exploration

Term invented by Scarlet Jester on the Gaming Outpost as part of GENder Theory, and adopted by The Forge. Broadly speaking, this is the process of establishing fictional events interactively -- i.e. the central process of role-playing. The act of exploration creates a diegesis or Shared Imaginary Space. It can be subdivided into components. Scarlet Jester suggested three components: Character, Setting, and Situation. Ron Edwards suggests five: the previous three plus System and Color.
References:
The Threefold Model
GNS and Other Matters of Role-playing Theory

Fantasy Heartbreaker

Ron Edwards' term for a number of fantasy games, characterized by (1) the basic, imaginative content is "fantasy" using gaming, specifically D&D, as the inspirational text; (2) independently published as a labor of love, essentially competing directly with D&D in the marketplace; (3) the rules are similar to the majority of pre-1990s RPGs.
References:
Fantasy Heartbreakers
More Fantasy Heartbreakers

Fidelity

A term used in discussion of Beeg Horseshoe Theory to refer to verisimilitude/integrity. Within that theory, Fidelity is essentially an overall measure of Simulationism-ness. The Simulationism definition emphasizes internal causality (i.e. "Exploration squared"). In parallel, Fidelity refers to a consistency requirement, but not necessarily realism. This is a minimum requirement -- i.e. you can be more consistent without dysfunction, but dropping below Fidelity requirement that causes problems (i.e. clash of priorities). Fidelity can relate to individual Exploration elements rather than being a single axis.
References:
Beeg Horseshoe Theory Revisited

Firewalling

The practice of not letting Out-of-Character and/or meta-game information which you know as a player affect your decisions in play, which can apply to both the GM and the player.

Force

A Forge term for control over the protagonist characters' thematically-significant decisions by anyone who is not the character's player. It is considered an awkward term by Ron Edwards because of (1) its sense of imposed mandate and strength-in-control, and (2) its parodic Star Wars connotation. Originally called "GM-oomph" (Ron Edwards), then "GM-Force" (Mike Holmes). See also Railroading.
References:
Illusionism: a new look and a new approach
IntCon vs GM Oomph?!

Fortune

Part of DFK from Everway, by Jonathan Tweet. This is using a randomizer to determine the result of an action or conflict.

Fortune-at-the-End

Employing a Fortune mechanic (dice, cards, etc) following the full descriptions of actions, physical placement, and communication among characters. See "Fortune in the Middle" and associated links.

Fortune-in-the-Middle

Employing a Fortune mechanic (dice, cards, etc) prior to fully describing the specific actions of, physical placement of, and communication among characters. The Fortune outcome is employed in establishing these elements retroactively. This technique may be employed with the dice/etc as the ultimate authority of success or failure (e.g. Sorcerer) or with the dice/etc outcome being potentially adjusted by a metagame mechanic (e.g. Hero Wars).
References:
Ron Edwards' review of Hero Wars
Alyria forum

Fourfold

A vague term for any four-way split, used in multiple contexts for RPGs. (1) On RGFA, this was used for an extension of the Threefold Model which added a mode for Social gaming. (2) A reference to the four player types suggested by Glen Blacow, aka the Blacow Player Types.

Freeform

A common term used for a variety of meanings. (1) In tabletop play, it can means play with no explicit set of rules -- where resolution is improvised with or without dice. (2) Alternately, it can mean play with a simple and loosely-defined set of rules such as Fudge by Steffan O'Sullivan, or Over the Edge by Jonathan Tweet. (3) In Australia and in other LARP communities, this tends to mean a dramatic type of Live-Action role-playing event which has no predicted plot. Instead, the players take a set of predefined PCs and simultaneously interact in a single area with minimal GM intervention or NPCs. Characters in a freeform are usually motivated by pre-set goals, which can be met through investigation, negotiation with other characters, and team-work.

The Gamble

Within GNS theory, an application or type of Challenge, based on high risk relative to predictability. Coined by Ron Edwards in his Gamism essay.
References:
Gamism: Step On Up

Gamism

Broadly, styles of play with an emphasis on challenge and/or competition. Coined in May 1997 on rgfa by Jim Henley. Within the Threefold Model, it is defined as the style which values setting up a fair challenge for the players (as opposed to the PCs) -- which may be tactical combat, murder mysteries, politics, or any other test of player skill. In later versions of Ron Edwards' GNS model, it is defined by the phrase Step On Up. It demands performance with risk, conducted and perceived by the people at the table. The social, real-world risk is usually a minor amount of recognition or esteem.
References:
"Re: Definition of Simulation"
The Threefold Model
GNS and Other Matters of Role-playing Theory
Gamism: Step On Up

GENder Theory

A theory originally proposed on the Gaming Outpost forums by Scarlet Jester in 2001. This was a modification of the Threefold Model from rgfa, and Ron Edwards' original GNS. However, GEN replaces "Simulationism" with "Explorationism".
References:
The Threefold Model

Genre

Broadly, a set of stories which are similar in some ways. A genre convention is anything which that set of stories have in common. This is a tricky term in use, however.
References:
GNS and Other Matters of Role-playing Theory
Understanding Genre in Roleplaying

GNS

A model developed by Ron Edwards at Gaming Outpost and the Forge, an acronym for Gamism / Narrativism / Simulationism. It was influenced by the Threefold Model from rgfa and Scarlet Jester's GENder Theory. However, it has also expanded to be more comprehensive than just the three categories, sometimes referred to as "The Whole Model" or "The Big Model".
References:
System Does Matter
GNS and Other Matters of Role-playing Theory
Simulationism: The Right to Dream
Gamism: Step On Up
Narrativism: Story Now

Group Contract

Originally a term from rgfa, defined as the set of conventions the players and GM agree on: including rule system, but also issues like "The GM will fudge things so PCs won't die pointless deaths", or "Pulp genre conventions take precedence over common sense", or even "Don't let the cat in while we play: she bites legs." A similar concept arose in GNS theory, termed Social Contract.

Hard Core

(1) In general, this means players who are especially dedicated to anything. Thus, hard-core medieval LARP players might sew their own clothes, while hard-core storytelling players might study narrative theory for years. (2) A coin termed by Ron Edwards in his Gamism essay for Gamist play with minimal or even absent Exploration.
References:
Gamism: Step On Up

Heartbreaker

See Fantasy Heartbreaker.

Hybrid

Within the GNS model, either a system or game with elements facilitating multiple GNS priorities. Hybrids of two GNS modes are widely well accepted as part of the GNS model, with The Riddle of Steel often being cited as an example. However, three-way hybrids are not. See also Congruence.
References:
Ron Edwards' review of The Riddle of Steel

IIEE

Short for Intent, Initiative, Execution, and Effect, referring to the relationship between announcements of action by real people and the establishment of those actions into the shared imaginary game-world. How actions and events in the imaginary game-world are resolved in terms of real-world announcement and imaginary order of occurrence.
References:
The four steps of action
What is IIEC?

Illusionism

A term for styles where the GM has tight control over the storyline, by a variety of means, and the players do not recognize this control. Coined by Paul Elliot on the Gaming Outpost in January 2001. See also Participationism.
References:
I am a 13th Level Illusionist (!)
What is Illusionism?
Illusionism: a new look and a new approach
Illusionism and GNS

Immersion

This is used to mean varying states of being involved in the game. It may refer to close emotional identification with one's PC, and/or narrow focus on the in-game reality (diegesis), and/or actively trying to cut out meta-game information and view things from the Point-of-View of your character.
References:
Feeble attempt at defining immersion
thoughts on why immersion is a tar baby
Immersive Story: A View of Role-played Drama

The Impossible Thing Before Breakfast

A term coined by Ron Edwards for the hypothetical phrase: "The GM is the author of the story and the players direct the actions of the protagonists." He suggests that this concept is widely repeated across many role-playing texts -- but the essence of it is contradictory.
References:
GNS and Other Matters of Role-playing Theory, Chapter Five
Narrativism: Story Now

In-Character

This is a broadly-used term with multiple meanings. (1) Direct in-character speech and action -- i.e. when the player and the PC are exactly one-for-one equivalent. (2) Any described action of a PC which is consistent with the imagined character. (3) Thinking in-character, i.e. In-Character Stance.

In-Character Stance

One of the four stances from Kevin Hardwick's Narrative Stance Model. This refers to the view of the game from within the inside of the game world and its reality, usually from within the mind of a player character living within that reality. The player is thinking as the character -- he doesn't acknowledge Out-of-Character (OOC) information and tries to concentrate on what the character is experiencing.

Incoherence

Within GNS theory, play which includes incompatible combination of GNS priorities. This can mean clash of priorities among players (i.e. one player wants to just live as her character while another wants to defeat his enemies). It can also mean clash within a game design. A commonly cited example is a game like Vampire: The Masquerade which claims to pursue story, but the mechanics (supposedly) do not support this. Abashedness is a term for a minor, correctable form of Incoherence.

Intuitive Continuity

A term coined in the game Underworld. This is a method of GMing RPG sessions where the GM uses the players' interests and actions during initial play to construct the back-story of the scenario retroactively.

Karma

Part of DFK from Everway, by Jonathan Tweet. This is determining the result of an action or conflict by non-random comparison of character ability and the opposing forces.

Kicker

A term from the game Sorcerer: "The Kicker is an event or realization that your character has experienced just before play begins. It catalyzes him or her into action of some sort." See also Bangs.
References:
Rethinking the Kicker
Using Kickers & Bangs
What makes a good Kicker?
Odd Kicker Question
The Hell is a 'Kicker'?
Prescribing the kicker

LARP

Acronym for "Live-Action Role-Playing". This label typically includes a wide variety of games -- including "boffer" games which allow contact with padded weapons, as well as verbal LARPs such as Mind's Eye Theater which have no touching but allow players to move about freely. These generally have more players and are spread over a wider area than tabletop games. The action is primarily in real time and the location of the player represents the location of the character. The players are able to interact in real time with each other without having a moderator present (although a moderator may be called in for certain exceptional functions).
References:
LARPs
Comedic Narrativism and the Arabian Nights LARP
Team creation / social contract questions
LARP and GNS: Narrativist techniques?

Lasersharking

A tongue-in-cheek term on the Forge for the presence of over-the-top cool powers or other extreme features to game elements. From a comment and subsequent discussion on the Forge, "If a gamer had made Jaws it would not have been a shark but a shark with a laser on its head." (a reference to the movie, Austin Powers).
References:
Sharks With Lasers On Their Heads!!

Layering

The relationship between the initial numbers derived for a character (e.g. attributes) to the numbers eventually used most commonly in play (Effectiveness Values; e.g. combat to-hit values). The more steps of derivation, the more the system is said to be layered. A term coined by Ron Edwards.
References:
Character currency
Traits + Skills
Simulationism: The Right to Dream

The Lumpley Principle

"System (including but not limited to 'the rules') is defined as the means by which the group agrees to imagined events during play." The author of the principle is Vincent Baker, whose Forge username is "Lumpley".
References:
Vincent's standard rant: power, credibility, and assent
Player power abuse

Metagame

A broadly-used term with multiple meanings. (1) Most commonly, this means dealing with concerns of the players and GM, as opposed to the characters in the gameworld. Examples of metagame concerns could include spotlight time, plot scripting, and who brought the munchies. i.e. External to the diegesis. (2) Within GNS theory, this is a Character Component including all positioning and behavioral statements about the character, as well as player rights to override the existing Effectiveness rules. (3) Within Ron Edwards' layered model, all aspects of play that concern non-Explorative matters or priorities -- i.e. Social Contract and GNS mode (aka Creative Agenda).

Metagame mechanics

Traditionally, mechanics which are not representative of in-game reality. For example, plot points or Drama Deck cards would be examples. In Ron Edwards' Big Model, this is termed as "where System and Social Contract meet, without Exploration as the medium."

Metaplot

A widely-used term for an overarching plot which appears in published RPG books, such that over many published books (including several game series from White Wolf) you can read about the adventures of these characters. How this is supposed to apply to ongoing games is a matter of considerable debate.

Method Actor

A common term for players who immerse heavily in character (cf. Immersion). This corresponds to the "roleplayer" type of the Blacow Player Types, which was later renamed by Robin Laws as the "Method Actor" in his seven player types.
References:
Robin's Laws of Good Gamemastering
Player Types (from Glen Blacow and Robin D. Laws)

Munchkin

Broadly, a small or immature person (from The Wizard of Oz film). In gaming, it is a derogatory term which can suggest various behaviors considered immature, such as Power Gaming or Gamism or Hard Core play.
References:
The Munchkin's Guide to Power Gaming

Narrative Stance Model

This is the term for a model originally proposed by Kevin Hardwick on rgfa in July 1995. It proposes four 'Narrative Stances', namely: in-character, audience, actor, and director (which was later re-named "author").
References:
Kevin Hardwick's "Narrative and Style"
John Kim's rgfa FAQ, Part 0

Narrativism

One of the three modes (or Creative Agendas) of the GNS Model, defined as play "in which Premise is addressed through play". It's defining phrase is Story Now.
References:
GNS and Other Matters of Role-playing Theory, Chapter Five
Narrativism: Story Now

No Myth of Reality

A term coined by Fang Langford on The Forge (often simply "No Myth") for a style of play where all setting and situation are left undefined until necessary for the story. i.e. There are no maps, but rather places are invented when needed for the storyline. Instead of background, play is guided by genre expectations.
References:
I Have Seen El Dorado!
No Myth playing
No Myth PCs

Open Play

A form of Threefold Simulationist play which is primarily directed by the players. The GM responds to the players with what would logically happen given the background, but does not force prepared adventures on the PCs. It is unclear or undetermined what this corresponds to within GNS terms. The term was coined by Mike Holmes on the Forge.
References:
Plotless but Background-based Games
Open Play for the Soul

Ouija-board role-playing

A term coined by Ron Edwards in his Narrativism essay for: "a form of Illusionism practiced among all the participants upon one another to conceal both Step On Up and Story Now priorities from one another."
References:
Narrativism: Story Now

Out-of-Character

Generally, the opposite of In-Character. This is a common term with multiple meanings.

Participationism

A term coined by Mike Holmes for play where the GM is fudging results behind the scenes to result in story qualities to the play. This is distinct from Illusionism, however, in that the players are aware and active partners in this process.
References:
Looking deeper into Intuitive Continuity
Participationism?
Participation / Illusionism
Does Module Play Equal Participationism?

Pastiche

Within general art, this usually refers to an often light-hearted imitation of another artist's style. More broadly, this can refer to art which uses the style or pieces from an earlier production as central pieces. This can be poor imitation (like much of fan fiction and fantasy literature), but can also be innovative, such as the film Moulin Rouge which used verbatim popular songs in an unusual musical.
References:
Narrativism: Story Now
Pastiche in Roleplaying

Pawn Stance

Within Ron Edwards' concept of Stance, play where the player does not retroactively provide in-character motivation to perform the actions just done. Pawn Stance is often identified with Gamist play, but it is not defined as such and the association is considered false by some.

Pervy

An obselete Forge term for game-play in which the GNS mode calls for close use of non-traditional techniques such as Director stance for playes -- as opposed to Vanilla. This was more generally expressed by the idea of Points of Contact, which concerns the degree to which System is explored.
References:
Vanilla and Pervy
Pervy in my head

Points of Contact

A term coined by Steve Dustin on The Forge, and adopted by Ron Edwards, for the steps of rules-consultation, either in the text or internally, per unit of established imaginary content. High points-of-contact means that the system is involved closely with the process, though these not be numeric or mechanical. Low points-of-contact are bundled into a few conceptual steps, though these can still be strict and binding. Thus, this is not the same as rules-heavy vs rules-lite.
References:
Vanilla and Pervy
Pervy in my head
Cannot stand cutesie-poo terms
Pervy Sim, points of contact, accessibility

Postmodern

As an artistic movement, this is characterized by art which celebrates its own lack of specific and unitary authorship. Postmodern art emphasizes that meaning is created by the reader and the culture, not by the absolute rule of a single author. This brings up interesting issues of what would constitute postmodernism in RPGs.
References:
Hackmaster: The Postmodern RPG
Postmodern? Huh?

Power Gamer

A common term with various meanings, though most are similar. (1) General term for players who seek to make their PCs as powerful as possible, often trying to find ways to manipulate or overcome the GM interference. (2) One of the four types in the Blacow Player Types which was adopted by Robin Laws for his seven player types. (3) Within Ron Edwards' GNS theory, "a potentially dysfunctional technique of Hard Core Gamist play, characterized by maximizing character impact on the game-world or player impact on the dialogue of play by whatever means available."
References:
The Munchkin's Guide to Power Gaming
Robin's Laws of Good Gamemastering
Player Types (from Glen Blacow and Robin D. Laws)
Gamism: Step On Up

Premise

Within GNS Narrativist play, a moral or ethical question concerning human interactions -- adapted by Ron Edwards from the writings of Lajos Egri. Within fiction writing, this starts as an ideological challenge or question. The course of the plot then answers this challenge with a message or theme -- a judgmental statement about how to act, behave, or believe.
References:
Narrativism: Story Now

Prima Donna

A term coined by Ron Edwards in his Narrativism essay, for a Narrativist player who engages in Premise-addressing, but will not share screen time or Premise-significant decision-making time with other participants. An extremely dysfunctional subset of Narrativist play.
References:
Narrativism: Story Now
Chris Lehrich on "Committed Passive Players"

Protagonism

A term commonly used on The Forge with two meanings which unfortunately often mix-up player and character. It can mean (1) the characteristic of the main characters of stories of any type, or (2) power given to the player of a character during role-playing to control his thematic choices, often associated with Narrativist play.

Railroading

Broadly-used term for linear plotting in RPGs. (1) GM behavior when the planned scenario requires a particular sequence of events/scenes leading to a particular ending. The GM ensures that it arrives there by a variety of means. This is generally pejorative, but is sometimes defended as valid as long as it is not overused. (2) On the Forge, a purely negative term for GM behavior that breaks the Social Contract via the GM controlling a player-character's decisions or opportunities for decisions.
References:
So... What is Railroading? (Using Illusionism Terminology)
Railroading, Star Wars, and more
Railroading Fun

Relationship Map

In general, diagramming relations between characters by arrows or other lines between them -- a technique from fiction writing. In RPG, it is suggested in "The Sorcerer's Soul" supplement for Sorcerer as a technique to help with scenario preparation. That recommends creating a map with only bonds of family relationship and sexual contact. See also Storymap
References:
Relationship maps
relationship maps and all that jazz

Resource

As a Character Component, any available usable pool upon which Effectiveness or Metagame mechanics may draw, or which are reduced to reflect harm to the character.
References:
Gamism: Step On Up

Reward System

Enjoyability payoff that prompts further play, usually expressed in Explorative terms but not restricted to Exploration.
References:
Gamism: Step On Up

RGFA

Short for rec.games.frp.advocacy, a Usenet newsgroup where much RPG theory discussion took place particularly from 1996 to 1999. This forum was the origin of the Threefold Model and Narrative Stance Model.
References:
RGFA at Google Groups
John Kim's rgfa info

Role Levels

A concept suggested by Ron Edwards for levels of player involvement: (1) The player's social role in terms of his character -- the mom, the jokester, the organizer, the placator, etc. (2) The character's thematic or operational role relative to the others -- the leader, the brick, the betrayer, the ingenue, etc. (3) The character's in-game occupation or social role -- the pilot, the mercenary, the alien wanderer, etc. (4) The character's specific Effectiveness values -- armor rating, weapon attributes, specific skills and their values, available funds, etc.
References:
The class issue

Scene Framing

In general, the technique of skimming through time in the game to a particular time and place of interest. This is ubiquitous in tabletop role-playing, though not completely necessary. Some systems specifically address Scene Framing, such as Trollbabe, which has mechanics for how a scene is established.
References:
Scene Framing
Scene Framing and octaNe
Scene Framing

Screen Time

How much attention is paid to a player's actions by the GM and other players -- analogous to how much time a movie character spends on-screen. Also known as "Spotlight Time".

Setting

In general, the fictional game-world within which a game is set. Within Ron Edwards' Big Model this is one of the five components of Exploration.

Shared Imaginary Space

A Forge term coined by Fang Langford for the fictional events which occur during play. Synonymous with diegesis and exploration.
References:
Railroading, Star Wars, and more
Beeg Horseshoe Theory Revisited
Clarifying Simulationism

Simulationism

A term used in the Threefold Model, the GNS Model, and GENder Theory. In the original Threefold, it is defined as the style which values resolving in-game events based solely on game-world considerations, without allowing meta-game concerns to affect the decision. In GENder and later GNS articles, it is instead defined in terms of prioritizing Exploration and The Dream.
References:
The Threefold Model FAQ
GNS and Other Matters of Role-playing Theory
Simulationism: The Right to Dream
Threefold Simulationism Explained

Simulationist-by-habit

A term from the Forge coined by Jesse Burneko for a form of synecdoche which defines "role-playing" according to certain historically-widespread Simulationist approaches to play. A good example is: "The system's job is to provide the physics of the game-world".
References:
Questions About How To Read The Descriptions of Demon Powers
Deadlands and Trial

Situation

In narrative theory terms, this is the circumstances of the main characters of a narrative. Within Ron Edwards' Big Model, this is one of the five components of Exploration.

Social Context

How role-playing as an activity relates to one's social life in general. In particular, it concerns whether you game with people who you would not otherwise spend time with -- or whether you game with your close friends and relations.
References:
Social Context
Self-image
Gay culture / Gamer culture
What does role-playing gaming accomplish?
Christian gamers and self-esteem
Sexism in gaming

Social Contract

Within GNS theory, the sum of all interactions and relationships among members of the role-playing group. All role-playing is a subset of the Social Contract. This is similar to the earlier definition of Group Contract from rgfa.

Specialist

One of Robin Law's seven player types, expanded from the four Blacow Player Types.
References:
Robin's Laws of Good Gamemastering
Player Types (from Glen Blacow and Robin D. Laws)

Stakes

In GNS theory, what stands to be lost and/or gained during Gamist play; the term may be applied at either or both Step on Up or Challenge levels of play.
References:
Gamism: Step On Up

Stance

Cognitive position of real person to fictional character. This originates from Kevin Hardwick's Narrative Stance Model on rgfa. However, usage on The Forge differs. The original model had four stances: in-character, audience, actor, and director. The Forge refers to only three stances: Author, Actor, and Director. A fourth stance, Pawn, is sometimes separated out from Author.
References:
Is Director Stance Real?
Further on Stances
Making Stuff Happen non-Stance
Stance Theory: The Hegemony of One Character

Step On Up

Within the GNS model, the characteristic phrase of Gamism. It is defined as "social assessment in the face of risk".
References:
Gamism: Step On Up

Story

A tricky term. Most theorists agree that the concept of "story" is more specific than just a fictional series of events. Thus, RPG play may not create a "story" even though it plays through fictional events. However, the qualities of a story are nebulous. It generally has a message -- so a story has a beginning and an ending which resolves a conflict into some sort of moral message.
References:
Story and Narrative Paradigms in RPGs
Narrativism: Story Now

Story Now

Within the GNS model, the characteristic phrase of Narrativism. This is defined as the mode (or Creative Agenda) "in which Premise is addressed through play".
References:
Narrativism: Story Now

Storymap

A technique of scenario presentation in which all participants present situations, locales, problems, and characters -- after which most of the participants choose characters to play individually. A term from the upcoming game "Legends of Alyria".
References:
Legends of Alyria Official Site

Storyteller

A term used for many things. (1) A game system and series of individual games published by White Wolf. (2) A term for the gamemaster used in White Wolf and other games. (3) One of the four Blacow Player Types which was adopted by Robin Laws for his seven player types.
References:
Robin's Laws of Good Gamemastering
Player Types (from Glen Blacow and Robin D. Laws)

Synecdoche

In general English, a figure of speech in which a part is used for the whole (as hand for sailor) or the whole for a part (as the law for police officer). It is cited by Ron Edwards as a frequent conceptual mistake in understanding of the GNS model -- essentially using the three categories to pidgeonhole play, or associating all of role-playing with only one category.
References:
GNS and Other Matters of Role-playing Theory

System

A broadly used term with multiple meanings. It often is used to mean all mechanics within a published game, including character creation, conflict or task resolution, experience, and any other text phrased as a rule to the players. On the Forge, "System" is sometimes defined as "the means by which imaginary events are established during play" (see the Lumpley Principle).

Task resolution

A technique in which the resolution mechanisms of play focus on within-game cause, in linear in-game time, in terms of whether the acting character is competent to perform a task. Contrast with Conflict resolution.

Threefold Model

A concept which arose in discussion on the forum rec.games.frp.advocacy around May to August of 1997. The name was coined by Mary Kuhner, in a July 1997 post. It suggested a three-way split of role-playing styles: Dramatism, Simulationism, and Gamism.
References:
The Threefold Model

Trailblazing

A term coined by M.J. Young on The Forge for a style of play where the GM marks out a potentially interesting storyline, but allows the players to ignore it and instead go elsewhere.
References:
Does module play equal Participationism?

Transcript

An account of the imaginary events of play without reference to any role-playing procedures. A transcript may or may not be a story.

Transition

Within GNS theory, changing from one Creative Agenda to another through the course of play. This is distinct from Drift in that it is in principle supported by the rules rather than requiring changing them. The game Scattershot was designed with Transition in mind. The term was coined by Scattershot author Fang Langford.
References:
Transitioning to Gamism
About what Scattershot's about (GNS yipyap included)
Simulationism: The Right to Dream
Narrativism: Story Now

Transparency

Rules design that does not call attention to the rules in operation. In general, it suggests rules that are intuitive, though different people may find different systems intuitive. It is generally considered a problematic term on The Forge.
References:
Transparency
Transparency again

Turku role-playing

A mode of play first presented as a manifesto by role-players in Turku, Finland. They call for in-character feeling and thinking to be given the highest priority, to such an extent that even communicating the experience to others is secondary. Within GNS terminology, this could be described as: Simulationism, Character Exploration, mainly Drama or low Points-of-Contact Fortune mechanics, highly reinforced through an explicit Social Contract.
References:
Turku School Archive
LARP manifesting
Dogma 99

Turnin'

A term from Ron Edwards' Gamism essay for conflict among PCs, short for "Turnin' on each other".
References:
Gamism: Step On Up

Typhoid Mary

A term from Ron Edwards' Narrativism essay for GMs who railroad in the name of "a better story". The GM is trying to address Premise in a Narrativist manner, but is actually undercutting the Narrativist priority.
References:
Narrativism: Story Now

Underbelly

A term coined by Ron Edwards on The Forge for a technique of preparation and play using a canonical setting and storyline, known to all participants, in which the events of play create a "hidden" storyline to enrich and reinforce the primary one, which is treated as a creative constraint. Also called "inverse metaplot."
References:
Metaplots, railroading, and settings
Open/closed setting (Pyron's woes take 165)

Universal

General term for an RPG system intended for multiple settings. The difference between a "universal system" (like GURPS) and a "house system" (like Storyteller) is largely one of publishing -- i.e. do you publish core rules and then modifications to those, or do you publish tailored rule sets with the modifications already applied? This can be a controversial topic on The Forge.
References:
universal vs specific systems
General views on Universal systems?

Vanilla

An obselete Forge term for game-play in which the GNS mode is easily-accessible and requires few if any complex rules-techniques -- as opposed to Pervy. This was more generally expressed by the idea of Points of Contact, which concerns the degree to which System is explored.
References:
Vanilla and Pervy
Pervy in my head

Vanilla Narrativism

Narrativist play without notable use of the following techniques: Director Stance, atypical distribution of GM tasks, verbalizing the Premise in abstract terms, overt rules concerning narration, and improvised additions to the setting or situations. People who typically play in this fashion often fail to recognize themselves as Narrativists.
References:
Abashed Vanilliaism
Dramatism as Vanilla Narrativism
Vanilla Narrativism

Virtuality

A term coined by Ben Lehman on The Forge for "the quality of unity and robustness of the shared imagined space, manifest in both in John Kim's descriptions of RGFA Simulationism and in the structures of Universalis." This is considered essentially a synonym for the original meaning of Simulationism within the Threefold Model.
References:
Subtyping Sim
Virtuality and Ouija Boards

Wargamer

One of the four Blacow Player Types which was adopted by Robin Laws as one of his seven types, renamed the "Tactician". This type of player mainly wants to think his way through complex tactical problems. This is similar to the concept of the Gamist mode of play.
References:
Robin's Laws of Good Gamemastering
Player Types (from Glen Blacow and Robin D. Laws)

Weave

Within GNS Narrativist play, a GM technique of bringing NPC activities closer to the player-characters and to introduce multiple responses among NPC and player-character actions. Coined by Ron Edwards in the "Sex & Sorcery" supplement for Sorcerer.

Wheedler

A term coined by John Kim on The Forge and prior discussion. This is one of two types of power gamers, the other being a "rules-lawyer". A wheedler gets his way by directly influencing the GM and other players -- often by packaging personal power with what the GM wants.
References:
Conflict Resolution and Gamism

Whiff Factor

The effect of a high failure-rate for a given Resolution mechanic, especially when the rate does not accord with the character's expected competence.

Wimpiness

Within GNS Gamist play, a dysfunctional form of Gamism characterized by poor sportsmanship -- i.e. the unwillingness to accept a loss.

Zilchplay

A term coined by Walt Freitag for an instance of play which is not prioritizing any of the three Creative Agenda possibilities in GNS. It is role-playing without doing anything that is unexpected by the other participants. As he defines it, zilchplay has an an agenda: "being told a story while engaging in manipluation of some arcana that makes it appear and feel that you're doing something of greater import than that."
References:
Understanding: the "it" of Simulationism
zplay - liberating Sim and embarrassing Exploration!

John H. Kim <jhkim@darkshire.net>
Last modified: Tue Mar 18 15:19:07 2008