@Tez said in "My Guy Syndrome":
What do you think this looks like in practice?
I think maybe we’re just using different definitions. I’ve literally never heard of yes-and outside of improv acting. Here are a few quotes that reflect how it’s always been explained to me:
a rule-of-thumb in improvisational theater that suggests that an improviser should accept what another improviser has stated (“yes”) and then expand on that line of thinking (“and”)… one should not reject the basic premises introduced by the other person (Wikipedia)
There are no wrong ideas in improv. Every suggestion, no matter how outlandish or seemingly insignificant, is an opportunity to explore and create. By saying “yes, and,” improvisers open themselves up to endless possibilities and tap into a wellspring of creativity. It’s not just about agreeing with your scene partner; it’s also about building on their ideas, no matter how wacky they may seem. (Backstage)
That is just so far from my experience MUSHing I can’t even.
ETA: This “yes and” thing has probably tangented too far to be useful, but the reason I was brought it up originally is because I really don’t think this is the default MU behavior. Folks will consider other players, sure, but mostly they just do what’s fun for them, within the bounds of what they think their character would do. I think that’s why you get a lot of straying over into “my guy” territory.
