I’m of the view that a lot of the work Ron Edwards and other theorists did at the Forge, back when that place had an active RPG theory discussion forum before Ron Edwards declared the theory complete and shut the board down (one of many things Ron has done over the years which convinces me that he’s a really terrible academic), had a net negative effect on RPG discourse. The biggest achievement of the Forge, I think, was to provide the networking opportunities, pooled resources, mutual encouragement and exchange of advice necessary to cultivate a new wave of small press and self-published RPGs, but that has everything to do with logistical and commercial know-how and nothing to do with the RPG theory ideas they popularised.
Whilst some Forge ideas are useful in a very few contexts (usually when talking about the failures of Forge theory, but occasionally for other purposes), equally a lot of it is quite jargon-heavy – and worse, it’s a jargon which is primarily engineered by someone (Ron) who makes it quite clear that there are some types of gaming experience he specifically wants to promote and be partisan towards, whilst there are other (commercially successful, critically successful, and enduringly popular) models of gaming he is actively and overtly hostile towards. This terminology obfuscates a lot of Forge rhetoric, and in addition if you buy into the terminology too much it becomes difficult to impossible to even talk about certain kinds of game.
If you’re using Forge talk to talk about Forgey games, then it sort of works because the designers of said games tended to refer directly to those ideas whilst designing them; you can easily find the Creative Agenda because the designers made damn sure to include it prominently, for instance, In other cases, when discussing games designed by people with an entirely different outlook, using Forge jargon at best it feels like discussing Buddhism using exclusively definitions and terminology from Catholic doctrine (the jargon doesn’t even relate to the material in question), or trying to discuss which variety of socialism is better whilst exclusively using definitions from anti-Communist literature (the jargon is actively hostile to even contemplating the sort of ideas you’re trying to express). This is a shortcoming when you want a terminology to talk about RPGs in general, but I suppose it’s a boon if you want to encourage the development of a particular type of game which isn’t well-served by major publishers (due, in part, to the necessity to go for a big tent approach when you get past a certain scale).
One of the few bits of Forge jargon I think is sometimes useful to use in other contexts is the whole Story Before, Story Now, and Story After deal. For those of you who aren’t aware of it, this is a way of looking at how a roleplaying game offers the experience of a “story”, which is something a lot of people in the hobby say they want but equally is something a lot of people disagree about when it comes to actually defining what it is or how to achieve it. Roughly defined, these terms mean the following (note that this is not a chapter-and-verse quotation of Ron’s definitions, which evolve regularly as he updates some parts of his theories and disowns over parts, but a rough summary of the terms as they are most commonly used):
- Story Before play is exemplified most obviously by prewritten modules and more or less all the refereeing advice White Wolf has ever written: the referee devises a prewritten plot before play commences (whether they do it for the entire campaign in advance, or immediately before each session). Here, storytelling is an exercise in planning out a plot arc for the campaign to follow.
- Story Now play uses overt system methods to drag the process of telling stories into the context of the session itself. People have raging arguments about what this means because they often are working from different definitions of “story”. For example, if you define “story” the way Ron does, it’s “Commitment to Addressing (producing, heightening, and resolving) Premise through play itself”, then game mechanics which hardwire in a premise and steer the process of play towards presenting, heightening and resolving it are Story Now mechanics. (Dogs In the Vineyard was a good example of this, though I confess I sold my copy ages ago so I may be misremembering.) If you don’t agree with Ron’s definition of story, of course, the same Story Now techniques which tickle his pickle will set your teeth on edge and make your palms itch. Games gunning for Story Now generally try to minimise the distinction between “telling a story” and “playing the game” as they humanly can.
- Story After play looks at story in retrospect. There’s no pre-planned plot from the referee, and there are no game mechanics to hardwire in a particular type of narrative. The game session is a series of things that happen; in retrospect, after the session, you can see about piecing together a story by looking at the events of the session in retrospect and identifying a narrative in that. (Note that if your definition of “story” is “a series of things that happen, told in order”, then there’s literally no difference between Story Now and Story After – they’re only two distinct types if you have a particular narrative theory about what a story is that is different or more narrow than “sequence of events”.)
- Since the easiest way to understand the concept is as denoting when the bulk of the work of story construction happens, you could propose a fourth type of play: Story Never. This would be almost indistinguishable from Story After, except the effort to construct a story based on what happened in the game never actually happens: the RPG is approached not as an engine for creating stories but as a simulation for exploring worlds, and the stuff that happens in a session is, like the events of real life, just a bunch of stuff that happens rather than part of a cohesive story. Ron never talked about Story Never, mostly because he was working on the basis that nobody would ever dream of playing an RPG without thinking about story.