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Messages - sully the raptor

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76
I like it! At first I felt it might be a bit too similar to the operator, but the key difference I think is that even though something is always in the works, you're never the one getting his hands dirty. You've got your leverage evenly dispersed in enough places to have a little bit of control over most situations you'll walk into. Now that I think of it it's just the opposite of the operator! You're the guy arranging the shitty jobs and taking the nicer cut.

77
Apocalypse World / Re: The Maelstrom Demands To Know
« on: September 18, 2012, 08:17:06 PM »
Thanks for the feedback, great stuff!

I've been prompting my players to describe the Maelstrom, so I'm starting to figure its intentions out based on that. My savvy head sees the maelstrom as a jungle, green and alive, something she's never seen in real life. My maestro d' sees it as a reminder of the loss he's suffered of the few people he's dared to love. My angel is a little... removed. He sees it as a happy dancing flower in a field surrounded by static. I think Life, Loss, and Chaos are the driving forces at play.

Do you usually list the maelstrom as a threat? I guess It could be an affliction in this case: Condition or Sacrifice?




78
Apocalypse World / The Maelstrom Demands To Know
« on: September 16, 2012, 10:18:01 AM »
Hey All,

I'm trying to brainstorm some questions the Maelstrom might ask my players on missed rolls for different moves (ie the Skinner's move, Lost).

The brainer questions all work great. A couple of others I came up with are:

Who do you love most?
What decision do you regret?
What are you hiding from Dremmer? (or any PC or NPC that the fiction may demand)


I'd love to see what other people have come up with!

79
blood & guts / Re: Vincent: Why stat substitution moves?
« on: September 02, 2012, 02:59:23 PM »
Quote
That said, there are some I don't understand, especially among the limited-edition playbooks. Like the maestro D's you call this hot (using Hot to act under fire? what?) or the touchstone's move that lets them read people with Hard (again, what?)

I think with the Maestro D' it plays out like this. You know people and you know how to get what you want out of them. You're trying to slip out the back door, you know who's going to be looking your way and how to misdirect them. Hell, maybe it's not always about staying cool under pressure. Running your mouth and filibustering might give you all the time and confusion you need to run between two spots of cover in a gun fight.

With the touchstone, you've seen so much battle and death that it's hardened you to the lies and fronts people put up to hide behind. You can look at somebody and tell off the bat that they're lying because you've had the wool pulled over your eyes enough times.

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