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Started by Ron Edwards, September 09, 2003, 05:26:51 PM
QuoteHumanity = expiation through grief, "letting go," and honoring memory over existence. Therefore losing Humanity is not about failure to care, but caring too much and refusing to accept loss.... "Demons" in this game are the dead have not proceeded past the Ninth Gate, for whatever reason – and who have found a means (or are forced) to interact with the living world. They are no longer the living beings they were; do not think of them as people. Memory, to them, is nothing but obsession, and they know nothing of life or its priorities, not even as memory.Without sorcerers, even the returned dead are almost entirely powerless. In this game, demons gain their abilities and Power scores through the Binding process. This idea has many implications both for the setting and for your options during play, so consider it carefully.
Quote... there's something really visceral about the whole thing, with the demons as echoes of the dead it leaves me with this sort of dirty feeling. Sorcerers seem to be the ultimate abusers in this context, almost raping the memory of the dead.
QuoteQuite a bit of the games I've played lately require a certain among of "the story thus far" in the prep stage, and I get really tired of that. I like playing Sorcerer to include the pre-creative phase of story-making, such that the first session might seem to wander a bit, but also such that the emotional priorities for the shared-created plot arise directly from playing the characters under stress (i.e. the Kickers).
QuoteSome of my thinking about this comes from our game of Le Mon Mouri last year, when I realized (via my character's "actions") that the player-characters' existence actually desecrated their previous mortal lives rather than preserved them.
QuoteHelp me out with what you mean by 'pre-creative phase,'
Quotea demon is the result of someone very tortured, very depressed, or very evil dying without resolution to the extreme issues in their lives. They are literally the living manifestations of the "emotions" of a deceased human or humans...the tortured poet, the starving artist, the scorned lover...perhaps twisted in some way since, now dead, the issue cannot be resolved. ...To me, the word means a spirit, an entity of semi-malignant nature. Perhaps not meaningfully malignant (no more than a chipmunk means to be cute), they just happen to be, they may not even actively work to cause pain, harm, suffering or etc. Those are just the effects they produce when they are around...so make no mistake, they are corrupt beings. That's the word I'm looking for...corrupt.
Quote from: Ron EdwardsBeing more experienced, confident, and skilled at the Narrativist mode, though, I can back way, way up and take it from the top. This means that I, as GM, really don't have any idea what the story is about aside from what's on the one-sheet, and the story can really be said to be created, lock stock and barrel, through the medium of all of us role-playing together.
QuoteHow the heck do you successfully start with a full blown premise? It sounds like a much more difficult task than having it come from playing. I'm not familiar with the storymap concept in Alyria, but it seems to me that trying to get a group all on the same wavelength in regards to premise before the start of play is taking a big leap, given the amount that characters (via player choices) evolve through play.
Quote"Blood opera" was coined in discussions between me and Jake, if I recall correctly, before it started showing here as a term at the Forge. It's perfect for most con demos. The idea is that the group as a whole comes up with a locale and a set of Setting-based concerns that have reached a point of crisis. They pose a whole bunch of characters who are deeply embedded in the situation, and then the protagonists are chosen from that list, often in opposition to one another. Play begins at the point of lots of morally-heavy choices for each. Imagine coming into the middle of John Woo's The Killers, when the cop has gone rogue and the hit man is being hunted by his own people, and both are in love with the same woman. We know it's all going to end badly for everyone, and the best anyone can hope for (and maybe one character finds it) is a scant moment of knowing he's doing what he thinks is right.
QuoteI always have a number of relationship maps kicking around, based on books I'm re-reading at the moment.
QuoteYou know about the Art-Deco Melodrama threads, right? If you haven't, see the Actual Play page at the Sorcerer website, at the bottom of the page, for the links.
QuoteThe "meeting on the river" business is taken from the Nix novels, because I really liked the idea that sorcery implied, or even facilitated, sorcerers' paths crossing. In fact, we treat Contact very radically: the sorcerer's real body freezes almost solid, and the sorcerer perceives himself or herself to be standing hip-deep in the river. Say some sorcerer in Timbuktoo is doing the same thing at the same time - and that guy will be there too! They'll be standing in the river, looking at one another.