On why Convo is now a WW2 spy romance, and the myth of psychological realism in fiction.

Short version: I've chickened out, a bit. Long version?

To make some sort of procedural "anything", you have to have an idea of what the building blocks of that "anything" are, or at least what you'll argue they are -- and then either frame your game in those terms or expressly simulate those terms. So if Convo is a game about narrative instead of people, then what's a unit of narrative?

From there, my thinking goes like this...

The Implied Player

So while complaining about "Post Script" and the like, it struck me that these mods heavily rely on a certain notion of an "implied player" -- the ideal player, the one who won't mind walking across long stretches of terrain and who will listen to every voice over and read every note and ponder the deep meaning of everything. (I wish I could do this, but usually when I play I'm trying to pick everything apart.)

The closest comparison that I can think of is how literary criticism has held the notion of an "implied author" and "implied reader" for some time now...