Thanks, Erik!
I really enjoyed that moment, too: it was a fun way to apply the rules to create an unusual and bizarre situation. Given the way the move works, it still leaves room for many different outcomes in the future: for instance, if I roll failures in the next few attempts to use the move, from the "audience perspective", we could say that it's not something the Quarantine Messiah is capable of doing at all, but was just some kind of weird coincidence. Lots of different ways to interpret what happened there!
Some other stuff, vaguely organized:
1. The list of questions is excellent! If I were writing it, I would love to add something to your list: what was the deal with the protest/resistance movement during the Apocalypse itself (as hinted at during one of our "flashbacks" to the Quarantine's memory)?
I'm also really curious to see how Bloodhound perceives what happened to him. Did he see "the other side" while he was dead? How does he see the Quarantine's intervention into his... soul?
Is he talking to Newton's people (or whoever is taking care of him)? How are the people of Fort Scott reacting? (Heck, maybe Newton and her people want to keep it quiet for some reason, and then they wouldn't be reacting at all, but if it gets out *and* it was being kept quiet, it'll have a very different impact later...)
2. The "wonky" use of moves, in my opinion, could become an issue in the future. I'm just pointing it out: if you like the way you're running the game, then please continue doing so. But, in my opinion, we're applying some of the basic moves a little too freely.
For example, remember the scene where Widow was talking to Newton (session 2), and wanted to touch her? You had her roll to "seize [the moment] by force". I think that's interpreting it way too loosely: the design of the move is such that it should only be used in situations where actual violence is being perpetrated by both sides. Otherwise, it just doesn't make sense: we have to narrate in harm retroactively instead of it coming from the fiction we're creating.
Likewise for some use of the "reading" moves (for instance, when the Savvyhead was trying to examine the equipment in the space station or whatever the Quarantine's space vehicle is). "Reading a person" is designed to take place in conversations; "reading a charged situation" means feeling out a situation where there is a potential threat of violence of something similar between people.
There are a lot of things happening in Apocalypse World that are, simply, not moves. I think we have gamer instincts that say, "It feels like we should be rolling something right now..." But the AW rules are often silent in those situations: I think stretching them to try take the place of, say, perception rolls could lead us astray a bit. (I'm thinking of an instance where we had a character roll to read a charged situation because they were lost in the storm, for example.)
None of these were game-breakers, but I feel they're kinda... wonky! We'll get further if we talk about this in person, though, so feel free to hit me up for that next time.
(Have you read John Harper's post about how "seize by force" is like a peripheral move? I agree with that.)
3. Erik has been assembling this amazing "atlas" or scrapbook of maps, notes, and various photos and drawings of our Apocalypse World, and it's AMAZING. We've got it open at the table, it's all scrawled in pen, and it feels like we have a book right there at the table that's a window into this fictional world, like a traveller's diary or something like that.
That's really cool! I was tempted to pick it up and just read through the whole thing, except I didn't want to be rude.
Similarly, Erik's made this huge map out of the "first session" worksheet (with the scarcities in a circle and all that stuff), and instead of doing the typical "GM" thing and hiding it behind a screen we just have it out on the table. There's a cool effect on play, where we can look at the notes and not only get an insight into the MC's prep, but also reminders of what this world is like, since the characters know more about it than we do: a sort of snapshot. Nice!