Thursday, October 12, 2017

Possible Blade Runner Spoilers

Blade Runner 2049 is like someone saw Blade Runner, wrote a fucking massive amazing sandbox setting around it, then the players kept going into hexes that only had like one line of description "Rusting towers rise from the pale plain" "Like LA in Blade Runner but harder to see and now with giant holo girl ads for, like, Apple""An abandoned Jeunet and Caro set" "This is a water hex" .

"Wait you want to go to the Corporation? Fuck, it has....walls? They're....gold?"

You can feel the GM stretch out as the players finally get to the Las Vegas hex, the only one they've prepared in advance. It even has a set piece! "As Harrison Ford punches you, old Vegas acts flicker on and off the stage".

The problem is it's a solo game, the only player is so boring they think they're on an adventure path and the GM is using the worst random tables "Vegas acts? Like what?"
(Randy Newman? Joan Rivers? Don Rickles? Cirque De Soleil???)
"Like...Elvis Presley!"

"Ha Elvis lol memes. What's my girlfriend like?"

"Uh...stepford wife, plus...Amelie, plus..Friends? And also a giant sexy advertisement when she's dead and you're walking in the rain"

"Whoa poignant bro, can my car shoot missiles?"

This movies is so bored of its own future that the best parts were Luv the Replicant being bored of the other characters--scanning the police chief's head then dropping it, bored, summarily kicking Harrison Ford so he didn't have to keep pretending to care about a boring baby, shooting Sean Young because they were too bored to get her eyes right.

And god, that last fight scene, like watching hamsters try to share a dish.

Someone else's hamsters.

Anyway there's a game design or GMing lesson here, I'm pretty sure: you can have all the ideas you want--new ideas, old ideas, stolen ideas, original ideas--but they're useless unless someone at the table slows down long enough to care about one of them.
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Monday, October 9, 2017

What Do These Games Have In Common?

Paranoia
Numenera
The Strange
the Apocalypse Engine games
Delta Green
13th Age
Shadow of the Demon Lord
The One Ring
Cyberpunk 2020
Trail of Cthulhu
?

Answer:

All of them produced charity pdf bundles for Bundle of Holding, and all of them officially did worse than the new Bundle of Lamentations--which has now officially raised more money than any other previous Bundle of Holding.

As of this writing you have 3 days, 1 hour, 24 minutes and 41 seconds to get one.



Monday, October 2, 2017

Roland Barthes: Dungeon Master

From Roland Barthes' lectures, Collège de France, 1977 (from How To Live Together: Novelistic Simulations of Some Everyday Spaces, Tr: Kate Briggs):


Of Games

Novels RPGs are simulations that is to say fictional experimentations on a model the most classical form of which is the maquette. The structure, an outline (a maquette) through which topics, situations are let loose.

More than one language game exists because more than one desire exists.

Take note: the game is normative it wants to resist, prevail over the disorder of the given, it thinks of chance as disorder.

But our method—the one we're adopting here—involves shuffling the cards and dealing them in the order in which they appear. For me now whenever I'm working anything any thematic grouping of traits (of index cards) always makes me think of Bouvard and Peuchet’s question: Why this? Why that? Why here, why there?=An automatic distrust of associative ideology (which is the ideology of the ordered presentation genre.) The card players motto: “I cut the deck”. I react against the fixity of language.

The systematic gradually breaks down, is disappointed—the non-systemic flourishes, proliferates. Yes something direct has to be put in place in order for the indirect, an unforeseeable to emerge.



Of Fantasy

Now the first force I am able to investigate, to interpolate--the one I can see is it work within myself even through the illusions of the imaginary--the force of desire. Of, to be more precise (since it's the point of departure for our research)--the figure of the fantasy.

Let's be clear that a fantasy requires a setting (a scenario) and therefore a place.

Now fantasy=scenario but a scenario and bits and pieces always very brief=just a glimmer of the narrative of desire. What's glimpsed is very sharply contoured, very brightly lit, but all of a sudden it's gone: a body I catch sight of in a car as it goes around the bend before it plunges into the shadows.

I engage in the exhausting strategies of desire.


Of GMing


I truly believe that for a teaching GM relationship to be effective the speaker GM should know only slightly more about the topic than the listener player--sometimes, on certain points, less--this is the process of exchange.



Of Foes

Animals=Evil. Demons figured in animal form, a vast theme.  Anthonian theme: demons entering Saint Anthony's cave: snakes, lions, bears, leopards, bulls, wolves, aspic, scorpions: all "the wild beasts." Their figurative profusion in painting. Animality=infranature: aggression, fear, greed, flesh: man without law.
Of The Party

But what's the fascination of the small group (the gang, the sanatorium)? The state of autarky (autarkadia: self-sufficiency) contentedness=plenitude. It's not the emptiness that draws us in its the fullness of or if you prefer the intuition that there's a vertiginous vacuity to the plenitude of the group.

Autarky: strong intradependence + 0 extradependence. Independence marks the boundary and so gives the definition the mode of being of the group.

Bion makes this clear “Leaders who neither fight nor run away are not easily understood”.

Of The Dungeon

Description of the protective enclosure: Robinson Crusoe meticulous almost excessive quasi obsessive set of defenses against others as soon there's a suggestion of the presence of another man on the island (footprints)--> mad defensive measures. A house that's completely buried from view, invisible whole system of fortifications, of hiding places, enclosure as craziness, as an extreme experience.

Already in Robinson Crusoe--a "healthy" "rational" "empirical" subject if ever there was one--panics at the prospect of danger (the footprints in the sand) endlessly reinforces his defenses. Absolute protection is never achieved (mirage asymptotic). Stockade enclosure camouflaged by a thicket, no door--unmistakably the theme of absolute enclosure--just a little ladder that Robinson pushes up behind him. The colonists apartment in the granite wall in the Mysterious Island--a ladder that can be pulled up then in an elevator. The symbolism of burying oneself below ground and walling oneself up is based in the empirical fact of protecting oneself (symbolically speaking, the only absolutely protected space is the mother's womb). To go outside is to be exposed, to be defenseless, it's life itself. Making it impossible for enemy to get in gets converted through access through neurotic exaggeration into the self-imposed impossibility of getting out.

Piranesi: prisons are supposed to be the anti-hut (note that they’re vast, anti-cellular structures demonic capsizing of levels)—> Space of crisis, of drama, of the sublime (Burke= “a sort of delight full of horror, a sort of tranquility tinged with Terror.”)  Piranesi: “out of fear springs pleasure."

The Labyrinth: Symbolizes the paradoxical labor whereby the subjects sets about creating difficulties for himself. Walling himself up within the impasses of a system. It is the archetypal space of the obsessive. The Labyrinth is this space of active enclosure. Endless futile efforts expended on finding the way out. In the subjects effort to find the exit he only acts exacerbates his only his own imprisonment. He walks, constantly changes direction, etc yet remains in the same place. Labyrinth: a system that's hermetically sealed by its autonomy. Example: The system of a love affair--once inside there's no way out, and yet the labor it requires is immense. Finding a way out an almost magical act: the glimpse of a thread of a different system through which you then have to pass--Ariadne's thread. The Labyrinth is a very effective symbol of that state, an inextricable system of walls, but one that's out in the open air graph paper there's no roof...To someone looking on from the outside (looking down from above at their notes) the solution is obvious, in contrast to the person inside it: a situation typical of a love affair.

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P.S.

Check it: Red & Pleasant Land is Reddit /RPG game of the month--and it's not even a game.

Sunday, October 1, 2017

Panic Modes

Panic Modes occur when a Demon City character is at exactly 0 Calm. (Not negative calm--at that point total ineffectiveness kicks in, but since you lose 1 Calm point at a time, you will always pass this point on your way to negative calm.)

How a PC behaves when they panic depends on their role:

Curious

The curious character's panic will come in the form of fascination. In addition to this general role-playing prompt, in the round after they hit 0 Calm they must try to find out something new about the situation they're in.


Friend

When in a panic, the friend character's loyalty will override everything and they'll try to get whichever character they are most loyal to (or one of the characters they are most loyal to) out of the situation. In addition, they must spend the next round after they hit 0 Calm trying to get their friend out of the situation.


Investigator

Used to relying on method, and here for practical reasons, the investigator in a panic is simply less effective. In addition, they must spend the next round after they hit 0 Calm either fleeing or acting with only 1 die.


Problem

The problem will revert to instinct when in a panic. In the round after they hit 0 Calm they must use their special abilities


Victim

The victim in a panic is energized. In the round after they hit 0 Calm they will act with 1 additional die if it is against the entity or entities they believe to have hurt them, and will keep that die for that purpose until the menace is defeated or driven off.
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