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Apocalypse World / Re: A bunch of moves for knowing stuff
« on: February 06, 2011, 05:13:13 AM »
I'm pretty sure it isn't. Is that how you play opening your brain? If that's what you mean, I'd say they're very different.
If you mean the other sharp moves, again, very different. They are about assessing people or situations based on what you can see right now and they have radically different mechanics.
Say I dive past a woman in a broken down car, clearly stranded and carrying a huge rifle, I could open my brain and find myself seeing washed out pictures of the person taped up in the trunk and row upon row of skulls in a shack somewhere, or maybe hallucinate her turning into a monster. Hell, I could wake up in a chair and have a conversation about her with my long dead mother for a couple of minutes.
If I try reading her, I might get told that her motivation is to get moving without having to fuck anyone for it or pay too much, or something like that. Things about what she's feeling or currently attempting.
There might not even be a charged sitch, since she's not really trying to hide that there's a person in there and she's got no designs on me just yet. If I do read the sitch, I'll get information about what to do right now.
If I remember though, there's always future danger and opportunity. If the MC didn't have a danger and an opportunity, he makes them now. He might give her a distinguishing feature, like a beard, or a fancy hat, and tell me I've heard all about her; She's a cold fucking contract killer. Inexpensive, talented, professional and keen, when before, in his plan, she was a pure and simple psycho. If I get her potential danger too, I might be told the last time I heard anything about her, business had dried up, but she didn't stop killing. Instead she let off a poison bomb in the holding she lived in and moved on. They say she's been doing this for years, gradually moving south, doing her best to leave nobody behind.
If I open my brain about the salt flats, I might get something about them and I might get something about the building I'm in when I first hear them mentioned. Could be anything, useful information or otherwise, so long as it's interesting. If I remember about them, I get something almost like a gig. I can expect to start digging for old tech, or using their maze-like cracks as a trap for my group's bastard gunlugger to die in. Or get warned specifically about a danger they pose to me.
The cost of that is, there will be a danger beyond the blindingly obvious. It's not going to be "They are hot and you might die of thirst". It should be more like "Oh, and there are poison gas vents in the part you're talking about. Go buy a mask." and if I roll poorly, I won't get told.
If you mean the other sharp moves, again, very different. They are about assessing people or situations based on what you can see right now and they have radically different mechanics.
Say I dive past a woman in a broken down car, clearly stranded and carrying a huge rifle, I could open my brain and find myself seeing washed out pictures of the person taped up in the trunk and row upon row of skulls in a shack somewhere, or maybe hallucinate her turning into a monster. Hell, I could wake up in a chair and have a conversation about her with my long dead mother for a couple of minutes.
If I try reading her, I might get told that her motivation is to get moving without having to fuck anyone for it or pay too much, or something like that. Things about what she's feeling or currently attempting.
There might not even be a charged sitch, since she's not really trying to hide that there's a person in there and she's got no designs on me just yet. If I do read the sitch, I'll get information about what to do right now.
If I remember though, there's always future danger and opportunity. If the MC didn't have a danger and an opportunity, he makes them now. He might give her a distinguishing feature, like a beard, or a fancy hat, and tell me I've heard all about her; She's a cold fucking contract killer. Inexpensive, talented, professional and keen, when before, in his plan, she was a pure and simple psycho. If I get her potential danger too, I might be told the last time I heard anything about her, business had dried up, but she didn't stop killing. Instead she let off a poison bomb in the holding she lived in and moved on. They say she's been doing this for years, gradually moving south, doing her best to leave nobody behind.
If I open my brain about the salt flats, I might get something about them and I might get something about the building I'm in when I first hear them mentioned. Could be anything, useful information or otherwise, so long as it's interesting. If I remember about them, I get something almost like a gig. I can expect to start digging for old tech, or using their maze-like cracks as a trap for my group's bastard gunlugger to die in. Or get warned specifically about a danger they pose to me.
The cost of that is, there will be a danger beyond the blindingly obvious. It's not going to be "They are hot and you might die of thirst". It should be more like "Oh, and there are poison gas vents in the part you're talking about. Go buy a mask." and if I roll poorly, I won't get told.