I don’t know what this image is, but I want my next game to be based on it.
So I’ve decided to abandon social media. But I still want to share/save links I find on the web. Considering the destruction of Google Reader, and wanting to preserve the social media networks I have, I wanted to find a blogging platform that could feed automatically to Twitter and Facebook with…
Hi all. For those of you who still read this tumblr, I’m going to be sharing links over at this new tumblr, memexprime. Thanks.
You guys know this story, right? If you don’t, you should.
Well, this is the beauty of gaming: your alignment doesn’t have to be the same from game to game. In this way it’s more like actual life than identifying with one crest/banner/house/etc: you go through different phases, you go out on different campaigns, sometimes you’re who you most want to be and sometimes you gotta be honest about where you’re actually at. Sometimes you’re not actually focused on the quest, you just wanna get in fights. I relate to lawful good these days, but I spent my time rocking chaotic neutral. I believe in growth, so I don’t think there’s a single alignment one holds throughout life. I also think it’d be cool if there were room for blended alignments like “lawful/chaotic good” because lawful good dudes still sometimes wanna break a couple windows someplace while yelling “Come to the Sabbath!” in a totally wicked voice
This obviously needs to be reblogged onto my gaming tumblr, no question.
A post on my blog announcing the beginning of a new holiday series on Dürer’s Melencolia I.
The idea is sometime in 2015-ish to run this as a four-“season” DramaSystem game. Each of the four “seasons” will cover a different half-decade period in California, each with a different setting and a different cast of characters. The seasons would be comprised of the following:
1964-1968: Set at a defense think tank inspired by the Stanford Research Institute, most likely in the Bay Area. Young up-and-coming game theorists, fringe social scientists, computer engineers, and other bright intellectual postwar lights unwittingly chart out the technological and cultural destiny of the next half-century in the West. Thematic inspirations: Mad Men, Dr. Strangelove, and especially The Worlds of Herman Kahn: The Intuitive Science of Thermonuclear War by Sharon Ghamari-Tabrizi.
1969-1973: Set in the Bay Area around the beginnings of the Human Potential Movement. Cults inspired by est, Scientology, the Peoples Temple, the Process Church, the Manson Family, the Children of God, etc. The promise of the Age of Aquarius gone sour. Serial killers, cult leaders, San Francisco after the Summer of Love and the slow fall into the 70s. Thematic inspirations: Zodiac, The Men Who Stare at Goats, Jonestown: The Life and Death of Peoples Temple, Helter Skelter by Vincent Bugliosi, and especially Season of the Witch by David Talbot.
1974-1978: Set in Southern California in a beach community during the long malaise of the mid-to-late 70s, centered around skate kids and surfers. Or maybe in the Valley during the Golden Age of Porn. Whatever the case, it’s the drugs and crime and sleaze and exhaustion of, say, mid-70s New York City transplanted to the Southland. Thematic inspirations: Dogtown and Z-Boys, Boogie Nights, Philip K. Dick’s late-70s output, especially VALIS and A Scanner Darkly.
1979-1983: Set in Southern California, in the television industry, during the rise of Reagan, of the satellite and cable industries, and of deregulation, the heating up of the Cold War, the and the coming of hardcore punk. Thematic inspirations: The Americans, Argo, Z Channel: A Magnificent Obsession, Repo Man, To Live and Die in L.A. and especially memories of my own childhood in front of the cathode ray tube.
Overall thematic inspirations: Above all, the California “trilogy” of Thomas Pynchon: The Crying of Lot 49, Vineland, and Inherent Vice.
The overall thesis of the game is to posit California as the place where the future of the Western World is born, and California indeed *as* the West distilled to its essence. The postmodern frontier. Future shock. California as birthplace of all things new: new culture, new technology, new faiths, all frequently taken to preternatural extremes.
The game will certainly have a tinge of the Weird but whether that includes actual sojourns into the impossible or the supernatural I am not yet certain. Certainly the intention is to give the game an overall unsettling mood of time and place and life out of balance.
Characters, organizations, and plotlines will persist indirectly across all four series. This game will consist of a linked and persistent universe but not include direct plotlines leading from one series to the next. An organization — say, the think tank setting of the first series — will appear again in oblique references throughout the next 15 years of game time Individual PCs or NPCs may appear in a later series, but direct interaction with the organizations, people, and plots of other series is strictly to be limited.