So we’re playing our final session of Apocalypse World. At least we think it’ll be the last. We’ve all agreed that we’ll either end the game tonight or next session, depending on how things go. And I’m feeling the pressure.
See, I’ve become intensely invested in Burdick’s future. Burdick is my character, a Savvyhead with a greenhouse trying to get the earth to yield a bounty like she used to, rather than the weak, halfhearted crops she produces now. Burdick’s had her hurdles, including clashes with her Hocus brother, Always, who leads his people in a fire and brimstone, will of the gods manner, with ecstatic visions and draconian pronouncements.
Now Always is gone, disillusioned with his leadership and living alone in the woods somewhere. Burdick’s got the Battlebabe Kickskirt at her side, and a gaggle of scared people looking to her for fresh leadership. And the warlord Barbecue has moved in, threatening our territory and our way of life.
Continue reading Finding Burdick
I’ve had some experiences recently with explicit sex in roleplaying games that I’d like to explore with you. To start with, I’d like to share a set of short erotic stories written from the fictional events of three roleplaying games I played: respectively, Ben Lehman’s Hot Guys Making Out, Paul Czege’s Bacchanal, and D. Vincent Baker’s Apocalypse World.
Because these stories are so intensely personal, and out of deference to loved ones, I’m presenting these stories in a password-protected PDF. If you’re a friend or blog regular, email me for the password at Storybythethroat AT Gmail DOT com. Adults only, please!
The stories aren’t necessary to understand the post, though. If you don’t read the vignettes, their summaries are:
1) The orphan Gonsalvo and his inscrutable benefactor Honore share a moment of smoldering tension as the lad emerges from his bath.
2) While the Bacchanalia rages in Puteoli, the incestuous twins Appius and Livia make love one last time as a current sweeps them out to sea and they blissfully drown.
3) After the village gardener Burdick discovers her assistant Thuy has been keeping the other gardeners as drugged and brainwashed slaves, she gives the injured Carna a brew to flush the drugs and makes love to him to break Thuy’s hold.
Continue reading Intimate details
I talk a lot about raw, emotionally vulnerable play on this blog, and whenever I have a roleplaying experience that scratches that itch, I gush about it here. But I haven’t very thoroughly explored the issue of how to achieve a safe space for that kind of vulnerability. I’d like to examine a recent case to see what comes to light.
I’m preparing to play in an Apocalypse World campaign. I, along with Hans, my friend and MC, have been looking forward to it with relish. We both feel that we’ve had fun with past AW games, but never really gotten at the emotional core of apocalypse world play. for my part, following my initial, very moving experience over a year ago, I’ve had a string of one-shots that were mostly just fun, casual and diverting, without a lot of emotional investment in the characters. not to knock fun, casual and diverting, but for this game, Hans and I wanted something deeper. When I hit up my friends to play, I emphasized this in an email:
“[We’re] looking for a game that really emphasizes the humanity and desperation of the post-apocalypse, with folks who are prepared to go to some emotionally vulnerable places and aren’t afraid to have their buttons pushed. “I will Not Abandon You” play, as it were. If you’re down for that, you’re welcome to play with us!
Continue reading Vulnerable places
Vincent Baker, author of the roleplaying games Dogs in the Vineyard, In a Wicked Age and more, was the guest of honor at the Portland area’s Gamestorm convention last weekend. I had the opportunity to play a couple of his games, and they provoked a powerful emotional response. Here’s two vignettes:
1) Dogs in the Vineyard:
Sister Eleanor is one of God’s Watchdogs, virginal nineteen-year-olds sent out with a Bible and a gun to solve the problems of religious frontier towns. They arrive in town during a funeral. Brother Charles’ daughter has been murdered, and he’s frantic to have the Dogs marry her to her husband posthumously—the Town Steward refused to bless them, then disappeared–so she won’t have died a harlot. Eleanor yearns to ease the stricken man’s grief, but when she meets prospective husband Brother Ephraim, a pompous elder who doesn’t give a shit, she wavers. The father is aghast and tells them all to just go.
Sis. Eleanor follows him to the graveyard, and helps him dig the grave in silence, then finally asks him to please talk to her so she can bring the killer to justice. Charles asks, “will that make it right?” Eleanor can only answer, “I don’t know. but I can’t let it go.” Bro. Charles tries to storm off, but Eleanor bars his way and insists, and he gives in, telling her what he knows. She leaves, but with a feeling growing in her gut: “I don’t know if I can make it right.”
The rot in the town soon outs itself—Brother Ephraim had the Steward killed to control the town himself, and had the girl killed when she challenged it. There’s a showdown, bullets fly, and Bro. Ephraim is subdued, dying. Sis. Eleanor goes to Bro. Charles and offers forgiveness to his son, who was Ephraim’s pawn. She puts her hand on Charles’ shoulder and the father breaks down weeping. Eleanor stands over him and she too sobs and sobs. Continue reading Tragic Trajectories