Once upon a time I wrote about railroading: https://thanuir.wordpress.com/2007/12/02/defining-railroading/ and https://thanuir.wordpress.com/2007/12/05/24/ and even https://thanuir.wordpress.com/2007/12/07/to-not-railroad/ . Jonne Arjoranta responded http://users.jyu.fi/~joolarjo/forge/role-playing/theory/by-train-for-a-change/ , but I learned of it only recently. Jonne did not link to any of my posts and so there was no pingback or other notification.
Jonne states the definition of railroading as someone restricting the diegetic (fictional) contributions of others, and concludes that this is too broad, since it is necessary for choices to have consequences, or for any roleplaying to coherence. Jonne would rather use the language of Markus Montola http://ropecon.fi/brap/ch14.pdf (in Beyond role play http://ropecon.fi/brap/practice.html ), involving integrative and dissipative actions in play.
My definition of railroading had three conditions: That someone restricted choices of others, that the others assumed they could make the removed choices, and that the action had no fictional (diegetic) reason. As such, the criticism of Jonne does not apply to the definition I stated, since my definition is much more specific than the one Jonne criticises, and the criticism is based on the large scope of the definition.
I should mention that my definition is meaningful when one consider making decisions and observing the consequences to be the central to play. If one think of something else as central to play – for example, causing a particular experience to the players as in Fastaval games http://alexandria.dk/english I read in Unelma keltaisesta kuninkaasta http://pelilauta.fi/index.php/topic,2184.0.html (forum thread in Finnish), then this definition might not be as meaningful.
This is also the reason why Will Hindmarch’s recent texts have not had much of an effect on me ( https://medium.com/gameplaywright-presents/sword-fighting-on-a-roller-coaster-railroading-for-the-best-in-rpg-play-547333c80359 , https://medium.com/gameplaywright-presents/the-illusionists-lament-dramaturgy-and-illusion-for-the-best-in-rpg-play-97d348bcb16 ). Based on a quick read (please correct me if I have interpreted them inaccurately) Will consider the game master as an artist or entertainer more than the facilitator of play who lets other participants make decisions and enforces their consequences.
I started an Amber game. One of the players was okay with playing but not too enthusiastic, one was very enthusiastic, and three others something in between. One of them was going too leave at some point.
One of the players, the enthusiastic one, wanted a political game with secret actions, players against each other and also against environment. Why not, for does not the rulebook also suggest that? He suggested playing between games by email, and so I implemented that. To make things even more interesting, I decided to recruit some background players who would play non-player characters of their choosing or design. This would also happen between sessions.
It turned out that not one of the players actually contributed substantially between games, in any way, not even the one who had suggested this. The organisation of the game was geared towards making this kind of game happen, and it became quite cumbersome and unmotivating when the players were not engaging with the game between sessions.
The background players did their jobs better than I could have hoped, and they did contribute. For a game of political scheming and plotting I will in the future consider similar implementations. I could have tied them more closely to the player characters and each other.
Also, in retrospect it is easy to see that the players, though enthusiastic at the table, were not generally very comfortable with using email for long messages, or responding promptly. Maybe some other players in some distant future will show more interest towards this kind of play.
There is Amber, the only real place, of which other worlds are but shadows. There are also the courts of Chaos, ever changing, easily molded. Then there is Abyss, from which (almost) nothing has ever returned.
One way to think about it would be to take Pattern as the center of order and stability and lack of change, while have Logrus represent change and instability. But Abyss clearly is emptiness, which is totally unchanging, and still Abyss lies close to the Courts, which seems suspicious.
So I would have Abyss be emptiness while Logrus is everything. They are very close to each other, since neither can separate things from each other: None lie in Abyss, while all of them are in Logrus. Pattern, then, is structure – very far from nothing and everything. This is how an Amberite might see the situation.
But what of the Chaosite perspective? Certainly nothing is the ultimate in structure, for it (vacuously) has all the structure imaginable, and so Abyss must lie somewhere behind Pattern and Amber, if looked at from Chaos.
What of the Abyssian point of view? Well, it is empty, so there must be nobody looking, and so the issue is moot.
And what of Corwin’s pattern? Suppose it is another center of order. Is it compatible with the pattern of Amber, or do they simply not interact at all, or are their conceptions of order constantly struggling? And how does all of that look from whichever perspective one takes?
This all reflects on the use of powers when moving through Shadow. By Pattern-walking both Abyss and Logrus are distant from Amber, but maybe for the Chaosites, however they move, both Pattern and Abyss are distant places. Or do some Chaosites wield the powers of Abyss, or do some other entities? Then, for them, both Logrus and Pattern would be far, however they move.
Yet, as a further complication, it is tedious to shift Shadow near Amber. What of the other powers, and how well does Pattern work near the other centers of power? What of Corwin’s pattern, and initiates to it?