Posts Tagged ‘Montsegur 1244

26
Aug
12

A Beautiful Reality

Fabricated Realities is a story game convention in Olympia where games are played inside art installations. Last month I attended for the second year running. It was, once again, one of the richest, most socially bonding and energizing experiences of my life.

It’s hard to describe why. I mean, the art was delightful. And the games played were rewarding and emotionally resonant. And the folks at the convention are some of the sweetest, most thoughtful and wildly creative folks I’ve ever known. But it’s more than the sum of its parts. All those factors combine in an indescribable alchemy to produce something truly wonderful.

How does this alchemy occur? What’s the process? Well, let’s start with the most obvious ingredient: roleplaying inside FREAKING ART INSTALLATIONS. Seriously, from the moment I first heard of the concept, I knew this alone would be worth the price of admission. Even if nothing Olympiaelse was altered from my usual play culture and tecnhiques, it would be wonderful to play games inside art. Self-evidently.

Continue reading ‘A Beautiful Reality’

16
Jul
10

Reading the signs, Part 1: Montsegur

At Go Play Northwest I played Frederick J. Jensen’s Montsegur 1244, facilitated by John Aegard. The game is about a French castle that has taken in a band of heretical Cathar refugees and is besieged by the Inquisistion, with the bitter end predetermined but each character’s physical and spiritual fate still very much at stake.

It was an intense, personal game experience, with rich storytelling and painful human tragedy. It affected me deeply in many ways, but I didn’t at first realize that it was trying to tell me something important about my own life.

You see, in the game I played the landless knight Pierre Roger, captain of the defense of Montsegur. He’s married to Philippa, eldest daughter to the Lord of Montsegur, but also dallies with Arsende the Harlot (all this is part of the pregenerated situation of the game, not created by players, but it’s up to the players to interpret and flesh out). And there was a theme that kept emerging, partly from my portrayal of Pierre (he was ruthless and decisive in martial matters, but bewildered and hesitant in family affairs), and partly fellow player Susan’s portrayal of Philippa (she spent a lot of time arguing with her parents and sister, and barely addressed her husband), and partly the way scenes were framed (many crucial scenes for Philippa were framed with Pierre absent, or else his presence a mere afterthought). The result was, Philippa was in crisis but estranged from Pierre; he felt for her but knew not what to say or do on her behalf, and she in turn shut him out of all major decision-making in her life. Continue reading ‘Reading the signs, Part 1: Montsegur’




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