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Interview: Fummelpodden at Lincon

This is the very kind interview with Lucas Falk, including Peter Malmberg as fellow guest. Late in the evening during Lincon, Lucas found a corridor which seemed quiet, pulled some interesting high-backed, well-padded chairs into a curiously intimate small circle, and commenced to interview there. We did not expect that most of Linköping would then gather in that exact area and make noise, so the interview is more "naturalistic" than it should be, but that clears soon.

The pictured item is the famous bilar ("cars") candy that we mention at the very end. Yes, I know they look like futuristic mutant rat babies. I am fairly certain that they are cleverly repurposed leftover material from making tires or perhaps insulation for spacegoing vehicles, but also that they are irresistible.

The interview audio alone doesn't quite capture the interaction among us. It sounds as if I'm monologuing a lot, but at the time, we took nonverbal cues from one another about who was speaking next, or to continue, or for reactions which then received verbal responses. So it's not just a speech or riffing. I'm hoping to see some comments from Peter and Lucas that extend some of what was said into more detailed exchanges.

The context also matters, and it doesn't get articulated until partway through: that Lucas and Peter have been conducting a dialogue for a while about "what is role-playing" and "we do need a theory, but what is it, and why." So the stated goal of this interview was to place the Big Model where it "belongs" relative to what they've been discussing.

Here's the Fummelpodden link!

Comments

Lucas Falk's picture

Yeah, that's always the problem with audio only. You can't see me and Peter nodding along enthusiastically, wide eyed and captivated like children. :)

I had a great time talking to you (again) and during our chat, I mostly did my best to wrap my head around everything that was said. Now that I've listened to it again, I think I'm a little bit more up to speed.

I think it's really important to nail down and agree upon the foundation: why system does matter and how much the social aspects of the group affect play. Then you can start moving on to discussing more specific play styles or certain rules and games.

I think this conversation could serve as a nice intro for someone who is curious about roleplaying theory.

Ron Edwards's picture

I hope so! My plan is to re-produce the Phenomenology videos, then create a companion set that's called Play. In that one, people would easily see "themselves" in terms of experiences, but also framed in the less-accessible but necessary concepts in Phenomenology.

However, it's also clear to me that understanding is reached much more thoroughly when the process includes conversation. That's why I'd like to get as many strong responses as possible to any details or points in this conversation. Not hypothetical "how about" "what about" responses, but genuine points of needed clarification, disagreements, or suggested examples.

First of all; Fantastic conversation guys! Really liked it.

It occurred to me when you discussed the sort of, "counter reaction" some people expressed back when and stopped talking about these things in favour of "just playing" runs parallel to a certain movement in Christian Theology that started sometime around late 80's early 90's called "Unapologetic Theology".

Without boring you all to death, I can assure you that the parallel is spot ON.

A large group of people trying to have a discussion about a phenomenon of play/religion or any subject for that matter that is big, ambiguous or definition-defying enough to run the risk of ending up in semantics and relativism, will sooner or later spawn unapologetic movements.

People who say, "less talk, more play/pray". For better or worse. The irony is of course that this in turn spawns it's own discussions and theory and pretty soon can become part of the discourse or library of thought, just like any other theory.

That being said, on a more personal note, I took a long break from discussing play in this way myself, in part because it was ruining my experience of play itself. I found myself being unable to enjoy the playing of these games without constantly filtering it through some sort of analytical filter that criticized every aspect of the thing. I can imagine that film-critics might suffer from something similar. I also found that I spent more time talking about games than playing them, which was not something I really appreciated. Apparently, this was also true amongst some Theologians. wink

So, I can relate to that, but I also think the discussion is an important one to have, and that we can learn much from it. I just need to manage my “critical filter” better and make sure it’s only switched ON when I actually want it to be. Tricky as that sounds.

Final note, I think the musical instrument or playing in a band analogy is a really good one! But I think maybe it can be taken one step further. Let’s see if you agree:

Musicians meeting up to play a jam/jazz session, where no one listens except themselves, where no particular song is decided before hand except the key to play in and what instruments to use, where the creative process is bare naked in front of them all, taking turns to do solos etc. Wouldn’t that be a perfect replica of the “thing” we do?

Ron Edwards's picture

I'm glad you liked it! I want to follow up both of your points, but this weekend has attacked early and appears to be winning. Look for replies in a couple of days.

Ron Edwards's picture

Response #1: Someone was just telling me about this same phenomenon they'd experienced, in that talking and thinking about play was interfering with their engagement. I think I've managed to avoid it mainly by playing intensively and continuously, practicing relatively strict boundaries not to deconstruct or debrief at all until later. (You may recall that I didn't mention a word about "how to play" or "how this game works" during our D&D session; that's pretty typical for me.)

I hit a successful point in doing this by the late 1990s and have somehow continued to do so, saving the experience for reflection or comparison only afterwards. I've noticed that a lot of playtesting sessions suffer from - basically - failing to play because people aren't maintaining that boundary.

Response #2: Music has been a major role-playing topic for me for a long time, so my first reponse is "yes!" You can see it in a couple of my texts, especially Sorcerer & Sword and Spione, and this site has at least one discussion dedicated to it, and several which develop those points. As someone who enjoys your guitar playing, I think we'd really be able to investigate the topic in a Seminar conversation some time!

 

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