First session of Sorcerer! Allowing for a little more time to finalize the characters and one of the demons. As discussed in the previous post, the starting statements are Demons are pets and Ancient ruined cities, and our first meeting resulted in a strong Nordic Noir vibe as well. Pedro is playing Ingmar, a Swedish police detective, and Aybars is playing Ahmet, a Turkish police captain.
You are here
"Demon pets," I told them, and "Ancient cities." After this meeting, we're starting up with one sorcerer maximizing the first and the other maximizing the second, and with a fine mix of the components in this post's title.
This is Sorcerer, with me, Pedro, and Aybars. There is an almost physical impression of commitment among us.
The Games and Education podcast series by Keenan Kibrick is no small thing! I am very happy to be invited for a conversation there, and even more so about morality, explicit content, real-world emotions, and boundaries. That's what my 2003 publication Sex & Sorcery was all about.
A conversation with Jonathan Tweet!
... Has This Been Goin' On? Alternative equally music-meming title: My Only Friend, the End. Or, wait, how about, Stop! In the Name of What?
This is about how long we play, in real time. It can refer to the length of a session, how many sessions relative to a given fictional situation, how long
Intent, Initiation, Execution, Effect - fictional things, probably the single most direct fictional content to be interfaced with real-people speaking and using rules, in the hobby. In a recent dialogue with Zac Porcu, he called it "the beating heart of role-playing."
"Everyone knows" what a relationship map is, but they're definitely not all the same thing, especially with these variables exposed:
It is crazy how common and how widely-developed craziness is, in role-playing. As much as world-building, as much as combat options, as much as magic systems, this is a definite feature of the hobby with its own schools and aims. It is clearly a primary path toward characterization, character development, player agency (through its managed lack in many cases), and emergent plot.
The question being, what is the anchoring procedure for playing Tales of Entropy? When it is so easy to go awash and awry when one's character twists into what you didn't anticipate, or when one is now cast as Narrator with no idea of where to go.
Something has to make sense, to begin, to change, and to end. And that is the Grains. Neither "my character" nor "the plot" will work.