Here's a thing that the folks of the Feelings First podcast did when setting up for their Under Hollow Hills campaign that I absolutely loved: They talked about medium-specific metaphors for structuring gameplay, like how it has become commonplace for groups and games to borrow the vocabulary of film editing as a way to frame their engagement with the game. Because Under Hollow Hills is a deeply theatrical game, they made the deliberate decision to use a theatrical vocabulary to structure and inform their play, instead of a cinematic one. Spotlights, scenery changes, soliloquies, exit stage right (pursued by bear)...
Lots of games have attempted to formally or mechanically emulate the distinctive features another narrative medium. But I was excited by the possibility of instead approaching the way players talk about the game in play with a lighter hand, as a set of principles or vocabulary to lean on in the moment.
The value of this is the same as any shared language or vocabulary - it lets us communicate more effectively to each other what we are trying to do. What vocabulary you give your players is also part of game design!