I somehow managed to post my rough draft and notes to myself for a future article.
Sigh.
Moving on.
Sunday, April 29, 2012
Thursday, April 26, 2012
[RPG][WOD] Playing with people smarter than yourself
I’ve been playing WOD for a while, and depending on the genre, done very well or been totally overwhelmed. Right now, I’m having fun, but I’m petrified that I will mess things up.
I completely admit that while Werewolf SEEMED fun at the time I was playing it, and it offered me a sense of liberation and freedom, it was wrong for the kind of player I am.
Werewolf relies a great deal on the ability to make decisions, and expects a strong sense of self from the player. At the time I was playing Jak, I was emotionally lost and had no idea who I was personally. Jak certainly knew himself, but I as the player squashed many of his impulsive choices for fear that indulging them would be doing something “wrong” or due to a lack of confidence in my own decisions.
(example: Jak was without an alpha or direction for a very long time. In that time, he took two new Uratha into his home and taught them Uratha rules and culture, offered them spiritual advice while providing them shelter and food. Jak’s patience was wearing thin and he wanted to push to be declared alpha. I didn’t pursue this because I didn’t want to be “too aggressive” or too demanding of my ST. My ST later revealed to me that he responds well to decisiveness; and especially so when that decisiveness comes from a werewolf player.)
Changeling was much more my speed- it was very oriented towards a social personality, which is definitely more like my own self. Eile was an intensely social creature, dependent on interactions and emotions to survive and prosper. At the time, I was playing with people who were easy for me to be social with, and with whom I had many ties that helped me touch on emotional responses. Despite playing a character that was “disconnected” and without a home or family, I was able to build those elements inside the game for her, based on my personality and understanding of how the system was supposed to work for Changelings. Changeling seemed “natural” to me, and I strongly miss playing in that environment.
Vampire is a system I played previously and strongly enjoyed. I felt confident based on previous experience and general interest that I would do well as a Vampire this time around. I found out through trial and much error that the NPC Vampires in this makebelieveland are the power brokers, movers and shakers; and thus, are MUCH smarter than myself.
I have discovered that I don't think in the same way as my ST. He thinks in very divergent ways, and I think pretty directly. My ST's ideas and imaginations are far more creative, hidden and agenda-oriented than mine, and I "miss" many of the hints and plots that exist in the game.
I have been kind of lucky, because I have been playing with a guy who has incredible knowledge, wisdom, insight and understanding of both the game and the themes in it. His talent has shielded me (and my character) from my own lack of anything remotely like ability. This was made obvious during our last game session, when a ruse that had been perpetrated against all the Vampires for a very long time, and he was the only character (or player) to see through the illusion.
Playing with those smarter than yourself is a tricky thing. You have to be able to offer enough "something" to be seen as worth keeping around, but you have to (and should) use their preeminence to your advantage (mostly so you don't die).
Making allegiances in game is usually direct (except as Vampires, who are strongly encouraged NOT to trust each other) and easy. Not so with Vinnie, who has an agenda and isn't telling anyone about it. This game is full of consequences, and the consequence of not directly making allies is you don't have the support network that other players might.
The events of last session were a culmination of several sessions' worth of back work; and a lot of hammering out things in character so that the PCs involved would not kill each other. There was a time when Vinnie actually had very strongly worded suggestions to kill another PC, and he had the plan to do so, but that time has passed. Getting Vinnie to a point where he either had faith in or trusted said PC took a lot of roleplaying; with a guy that is a million times smarter than me.
I forgot to take notes for a lot of it, which stinks, because I know he gave me information I can use. I also forgot to do any kind of defensive work (plausible deniability is a wonderful thing) and it will come back to haunt me very soon.
But that's the joy of playing with (and sometimes against) those that are just more talented at the game than you; you learn what your failures are and maybe learn how to grow past them.
Any of you out there have people in their groups that are smarter than you? If so, how do you deal with, learn from and encourage them? How do you fail? What helps you not feel so bad?
Making allegiances in game is usually direct (except as Vampires, who are strongly encouraged NOT to trust each other) and easy. Not so with Vinnie, who has an agenda and isn't telling anyone about it. This game is full of consequences, and the consequence of not directly making allies is you don't have the support network that other players might.
The events of last session were a culmination of several sessions' worth of back work; and a lot of hammering out things in character so that the PCs involved would not kill each other. There was a time when Vinnie actually had very strongly worded suggestions to kill another PC, and he had the plan to do so, but that time has passed. Getting Vinnie to a point where he either had faith in or trusted said PC took a lot of roleplaying; with a guy that is a million times smarter than me.
I forgot to take notes for a lot of it, which stinks, because I know he gave me information I can use. I also forgot to do any kind of defensive work (plausible deniability is a wonderful thing) and it will come back to haunt me very soon.
But that's the joy of playing with (and sometimes against) those that are just more talented at the game than you; you learn what your failures are and maybe learn how to grow past them.
Any of you out there have people in their groups that are smarter than you? If so, how do you deal with, learn from and encourage them? How do you fail? What helps you not feel so bad?
Monday, April 23, 2012
[Review] GW's How to Paint Citadel Miniatures Book/DVD
I am probably the perfect customer for this product. I'm a casual painter with absolutely no real training. I taught myself, but I have a notoriously heavy hand and I find my work to be sloppy, grungy and just plain messy. If anyone needs help learning to paint, it's me.
I love products like this, with step-by-step PICTURES of how those guys behind the curtain accomplished their magic. I bought the Privateer Press DVD as well, and watched it several times in the vain hope that talent would be transmitted through the screen to my feeble self.
I really enjoyed the P3 video, but I thought it went a little fast and missed some vital "up close" materials a NEW painter would want to see. Not so with the GW book. I've only browsed through it a few times and quickly gone through the DVD, but I can tell you that I will be checking both out over and over again.
So here's a look at the actual book:
It's got a "kickstand" or easel that's intended to help the book stand up right in front of you was you paint. The pages are magazine thickness and glossy, and spiral bound to make flipping to a specific page a breeze, with no worries about breaking your binding or pages falling out.
There are several sections of the book that I found super helpful, and others were "meh". The only issue was sometimes these were on the same page!
This example is from the "Shades" page. They show 3 examples of using their shades products. Example 1 is super clear about what they used and where. Example 3 is also perfectly clear- what shade was used, how much, and why. Example 2? VAGUE AS HELL. It also had a small box of text about "how much is too much" that I found to be counter-intuitive for a beginning painter, advocating a "laissez-faire" attitude on washes. For a beginning painter, this was not helpful. However, it's countered by two great samples, so it works out to be a "meh" for me.
 |
| A sample of my work. |
I love products like this, with step-by-step PICTURES of how those guys behind the curtain accomplished their magic. I bought the Privateer Press DVD as well, and watched it several times in the vain hope that talent would be transmitted through the screen to my feeble self.
I really enjoyed the P3 video, but I thought it went a little fast and missed some vital "up close" materials a NEW painter would want to see. Not so with the GW book. I've only browsed through it a few times and quickly gone through the DVD, but I can tell you that I will be checking both out over and over again.
So here's a look at the actual book:
It's got a "kickstand" or easel that's intended to help the book stand up right in front of you was you paint. The pages are magazine thickness and glossy, and spiral bound to make flipping to a specific page a breeze, with no worries about breaking your binding or pages falling out.
There are several sections of the book that I found super helpful, and others were "meh". The only issue was sometimes these were on the same page!
 |
| Warning! Blurry Pic. |
This example is from the "Shades" page. They show 3 examples of using their shades products. Example 1 is super clear about what they used and where. Example 3 is also perfectly clear- what shade was used, how much, and why. Example 2? VAGUE AS HELL. It also had a small box of text about "how much is too much" that I found to be counter-intuitive for a beginning painter, advocating a "laissez-faire" attitude on washes. For a beginning painter, this was not helpful. However, it's countered by two great samples, so it works out to be a "meh" for me.
I have only checked out two sections of the DVD so far. One was the "Basecoating" section, and the other was the "Glazing" section. The Basecoating section has been super, super informative for me already. Just by watching the demonstrated watering down technique, I can see where I have room to improve. (Uh, that would be everywhere, folks!) I also saw how OTHER people hold their brushes and their approach to the model that has given me a hint that maybe more is NOT better after all.
The glazing section was incredibly cool for me. I truly enjoyed seeing ways to add depth and intensity to models- it was sort of like watching someone get their hair glazed... but with models. (Dudes, ask your lady people about hair glaze. It's awesome.) I want to try it (someday).
The DVD comes right IN the book- no weird sleeve or taped in envelope to lose.
I've had a couple people in the store balking at the price. I can understand the concern, as it IS spendy. I did (and will) point out to those that are concerned on cost that I GLADLY spent $25 for the P3 video, used it over and over and over; and find the GW Guide to be FAR superior. It is well worth the money to me, especially with the well designed format and obvious THOUGHT that was put into how someone might want to use something like this.
The breakdowns and sections on each step of the modeling process inside the book are full of tips that I found very helpful (along with an interesting outright admission that FINECAST products are prone to warping and bubbles from the injection process), making the book more than a "painting guide". It's a great primer and starting point for a beginning or inexperienced hobbyist.
For the more advanced model enthusiast or painter, this product is a little tougher to see as useful. I didn't see anything "to write home about" unless the start-to-finish army guides are your thing.
Just having this book out and open ALMOST makes me want to break my models out again to start painting... which could well be worth the $50 price tag if it means my procrastinating streak is broken and I get SOMETHING done!
So there you have my take on it- I found it useful and will use it a lot, assuming I get back to painting. It is intended for a starting or inexperienced painter, but it's a well made product with thoughtful touches throughout to make a good, solid and useful tool for someone without a good painting background.
The glazing section was incredibly cool for me. I truly enjoyed seeing ways to add depth and intensity to models- it was sort of like watching someone get their hair glazed... but with models. (Dudes, ask your lady people about hair glaze. It's awesome.) I want to try it (someday).
The DVD comes right IN the book- no weird sleeve or taped in envelope to lose.
I've had a couple people in the store balking at the price. I can understand the concern, as it IS spendy. I did (and will) point out to those that are concerned on cost that I GLADLY spent $25 for the P3 video, used it over and over and over; and find the GW Guide to be FAR superior. It is well worth the money to me, especially with the well designed format and obvious THOUGHT that was put into how someone might want to use something like this.
The breakdowns and sections on each step of the modeling process inside the book are full of tips that I found very helpful (along with an interesting outright admission that FINECAST products are prone to warping and bubbles from the injection process), making the book more than a "painting guide". It's a great primer and starting point for a beginning or inexperienced hobbyist.
For the more advanced model enthusiast or painter, this product is a little tougher to see as useful. I didn't see anything "to write home about" unless the start-to-finish army guides are your thing.
Just having this book out and open ALMOST makes me want to break my models out again to start painting... which could well be worth the $50 price tag if it means my procrastinating streak is broken and I get SOMETHING done!
So there you have my take on it- I found it useful and will use it a lot, assuming I get back to painting. It is intended for a starting or inexperienced painter, but it's a well made product with thoughtful touches throughout to make a good, solid and useful tool for someone without a good painting background.
Tuesday, April 17, 2012
[RPG][Wonderland] Creating Opposition
I have finally decided on a system to use for Wonderland. I'm going with Risus.
After considering about 6 systems (including Savage Worlds and Mutants & Masterminds) and talking to TheDude about running something I can't "sell", I decided to do what I wanted and worked best for my game idea, and stop trying to do what I "should".
The map has been made (although it needs serious cleaning up) and the setting(s) are defined fairly well, with a lot of room to breathe and change if the soon-to-be players mess things up, confuse me, or otherwise X+1 me.
The next thing I am working on is the "opposition"- the things the players will face in the environment, and decide motivations, mannerisms and so forth for them. Because as much as this game is ultimately intended to be a "players vs. the world" sort of idea, there will be things to Deal With.
Most of what the players face will be much like themselves, but maybe with different beliefs, reasons for doing things, or understandings of the fundamental rules of the world. At some point there will be conflict; or at least I expect so given this is a game and there is an underlying want to "kill orks for beer money" in many gamers I know.
Coming up with those beliefs, values and reasons is a lot harder than coming up with "what they look like". GM's, what is your take on making opposing forces?
How do you make them, what do you consider important, all those things- please share!
After considering about 6 systems (including Savage Worlds and Mutants & Masterminds) and talking to TheDude about running something I can't "sell", I decided to do what I wanted and worked best for my game idea, and stop trying to do what I "should".
The map has been made (although it needs serious cleaning up) and the setting(s) are defined fairly well, with a lot of room to breathe and change if the soon-to-be players mess things up, confuse me, or otherwise X+1 me.
The next thing I am working on is the "opposition"- the things the players will face in the environment, and decide motivations, mannerisms and so forth for them. Because as much as this game is ultimately intended to be a "players vs. the world" sort of idea, there will be things to Deal With.
Most of what the players face will be much like themselves, but maybe with different beliefs, reasons for doing things, or understandings of the fundamental rules of the world. At some point there will be conflict; or at least I expect so given this is a game and there is an underlying want to "kill orks for beer money" in many gamers I know.
Coming up with those beliefs, values and reasons is a lot harder than coming up with "what they look like". GM's, what is your take on making opposing forces?
How do you make them, what do you consider important, all those things- please share!
Sunday, April 15, 2012
Quick Internet Hobby Fix....Aaaaaah. Good.
Hey, folks, SinSynn here.
A buncha stuffs has happened over the last couple of months that has led me to get significantly LESS hobby time than I'm used to.
 |
| *Writing a murder/suicide pact and going to find Lucy* |
Here's a list:
- A gentleman driving his car down the Ultimate Rival's street has a seizure, and crashes into the gaming garage, wrecking it.
Insurance companies are still bickering about it. Estimated time until repairs begin: two months.
Seriously, this happened.
-The weather has gotten good, and the lure of 'hanging out on the block' has been too great.
Shaking out the winter doldrums is a time honored SinSynn tradition. Combine this with the above, and not a lotta 'hobbying' is getting done.
-I had three FoW tournaments scheduled for this month, but two of them were mid-war.
After spending some time reviewing the books, potential lists, etc, I came to the conclusion that mid-war doesn't really interest me, and bowed out.
Late war tournament on the 28th...Let's see if I can stop flitting about the neighborhood long enough to paint stuffs.
-The Crazy Lady I Live With is on her 'spring cleaning' trip, and I pretty much hafta follow her around and rescue my stuffs from disposal.
Should I leave for any extended period of time, I'm pretty sure everything I friggin' own would be 'cleaned.'
-_-
Despite all of this, and some other annoyances like having to re-format my computer after a meltdown (all my tentacle porn! Noooooooooooo!), I'm a hobbyist, and I have an addiction.
...Good thing there's the Internet, where I can grab a quick fix.
The thing is, I don't have a hobby store to bum around in. Also, I don't have a single friend that games other than the Ultimate Rival. Not tabletop games, not video games, nuthin.'
Over the last couple of years, I've gotten more social, and I've made many friendly acquaintances via the Hobby. They all live an hour or more away, by car.
How can people live where there are no subways? I cannot unnerstan' dis.
0_o
 |
| *231st and Broadway in da Bronx, NYC. My stop <3* |
The lack of proper 'gaming' in my city, considered by many (especially myself), to be the greatest city in the world (and it is), saddens me. I can walk twenty steps in any direction and get literally whatever I want (legal or otherwise), but I can't play a friggin' wargame.
Excuse me while I make this face:
-_-
Really, New York?
....really?
I buy my hobby stuffs offa da internet, too. I probably spend almost as much of my internet time on the WarStore as I do watching porn or obsessively stalking Megan Fox.
DON'T YOU JUDGE ME!
The porn is free, at least. Nyah.
I suppose we all go through lil' phases, where life grabs us by the boo-boo, and we drift away from our models a bit. Waddayagonnado, amirite? Stuff happens.
Right now, I'm enjoying a bit of quiet time, since the Crazy Lady is out on dog walkies. Maybe if my hobby desk hadn't been 'cleaned,' I would be working on something.
Blah.
So here I am, typing a post (and yes, riffing and sharing my woes), and grabbing a quick Internet hobby fix.
Mmmmm....Dust Tactics unboxing at BoLS....
Delicious.
:D
Dammit, she's back...gotta go.
Until next time, folks- Exit with catchphrase!
-SinSynn
Tuesday, April 10, 2012
[WOD] True Reflection
[lots has happened and I'm not writing it all up. the summary is Vinnie now has the opportunity for power if all goes well and he plays his cards right. At the moment of the following scene, Vinnie is debating what to do with a large haul of cash.]
~A badly lit stretch of road within Austin is seen. Slightly ahead on the left is what appears to be a run down service station. A few lots over is a dilapidated junkyard, crammed with ratty cars, discarded tires, obsolete appliances and twisted heaps of metal. There's strong but quiet sense of emptiness here, lingering like ivy in the night.
What windows are left in the garage are boarded up and the small parking lot is choked with weeds and dried brush. The pole sign is rusty and the lighted section is hanging loosely from the top of the steel pole. Several beat up and crummy looking cars are parked haphazardly in the bays.
A "woody" station wagon pulls into the lot, lights off. It drives slowly around to the back of the lot, where a small one-car garage is seen. This garage is equally run-down, with peeling paint and blacked out windows. Several dingy toolboxes lay around, opened to show decrepitude and neglect. The car stops in front of the small garage.
Vinnie hops out of the car, and twists the knob on the garage door; and it opens with surprising ease. Vinnie jumps back in the car and drives it into the enclosure, and the door shuts behind the car. The camera follows Vinnie inside the garage.
Vinnie sits on a rolling stool, staring at the car. As the camera adjusts to the light, the inside of the car is seen. An exceptionally large pile of money litters the inside of the car. From the looks of things, Vinnie has hit an armored van.
Vinnie takes his gaze off the car and looks around the inside of the garage. One wall is covered in shelves and shelves of books, all very well organized and cared for. In one corner, strapped to a moving dolly, is a suit of armor. The armor's breastplate is painted with insignia implying a religious connection of some sort. The next wall holds a small locked standing tool chest. Next to the tool chest is a workbench with hemostats, tweezers, an engraver's block and chisel set, a brayer block, brayer and several vices.
Hanging prominently by a scarlet ribbon on a pegboard next to the engraver's block is a large pair of stainless steel scissors. The metal is highly polished, and the scissors are the only tools on this pegboard. For the briefest of moments, Vinnie's eyes glint back at him from the reflective surface of the metal tool.
Vinnie's gaze moves back and forth between the money, the suit of armor, and the scissors. He begins talking in darkness in a low voice.
"'There are many paths to ultimate knowledge'; that's what you always said. 'Use the available tools and your surroundings to your advantage.' 'Be aware and think clearly'. 'Disguise your desires in your duty'.
There is a distinct rhythm to Vinnie's speech, a rising and falling with a strange sort of expressiveness; almost a benediction.
"I'm aware that this temptation could be my downfall. Moving past who I was before and making something new is tougher than I ever guessed. Evolution as I truly understand it takes more than just knowledge; it takes application. The question is, do I apply what I know, or do I see what else I can learn?"
Vinnie's eyes linger longingly upon the pile of money in the car and then back to the engraver's tools. He seems to shake off a heavy thought as he gets up from the stool. He opens the car door and grabs fistfuls of money, deliberately handling every piece he can get his hands on. He carefully crawls around the back of the car, grabbing up the cash, counting it into nice; neat stacks. He opens and closes the various doors of the wagon from inside and out, making obvious pains to touch nearly every surface of the vehicle as he does so. He opens and closes the glove box, the console, plays with the radio, and fiddles with the shifter. Vinnie then goes about leaving the garage and locking it up, and drives back towards Austin.
We see Vinnie drive to a well lit Wal-Mart, and park the car under a light. He walks away from the car and continues traveling for several blocks, finally finding a pay phone. Vinnie plunks in the required coins, waits for a connection, and speaks clearly and briefly.
Vinnie's dark eyes briefly glitter in the reflection bounced off the glass of the phone booth as he reports a car full of money in a Wal-Mart parking lot.
~A badly lit stretch of road within Austin is seen. Slightly ahead on the left is what appears to be a run down service station. A few lots over is a dilapidated junkyard, crammed with ratty cars, discarded tires, obsolete appliances and twisted heaps of metal. There's strong but quiet sense of emptiness here, lingering like ivy in the night.
What windows are left in the garage are boarded up and the small parking lot is choked with weeds and dried brush. The pole sign is rusty and the lighted section is hanging loosely from the top of the steel pole. Several beat up and crummy looking cars are parked haphazardly in the bays.
A "woody" station wagon pulls into the lot, lights off. It drives slowly around to the back of the lot, where a small one-car garage is seen. This garage is equally run-down, with peeling paint and blacked out windows. Several dingy toolboxes lay around, opened to show decrepitude and neglect. The car stops in front of the small garage.
Vinnie hops out of the car, and twists the knob on the garage door; and it opens with surprising ease. Vinnie jumps back in the car and drives it into the enclosure, and the door shuts behind the car. The camera follows Vinnie inside the garage.
Vinnie sits on a rolling stool, staring at the car. As the camera adjusts to the light, the inside of the car is seen. An exceptionally large pile of money litters the inside of the car. From the looks of things, Vinnie has hit an armored van.
Vinnie takes his gaze off the car and looks around the inside of the garage. One wall is covered in shelves and shelves of books, all very well organized and cared for. In one corner, strapped to a moving dolly, is a suit of armor. The armor's breastplate is painted with insignia implying a religious connection of some sort. The next wall holds a small locked standing tool chest. Next to the tool chest is a workbench with hemostats, tweezers, an engraver's block and chisel set, a brayer block, brayer and several vices.
Hanging prominently by a scarlet ribbon on a pegboard next to the engraver's block is a large pair of stainless steel scissors. The metal is highly polished, and the scissors are the only tools on this pegboard. For the briefest of moments, Vinnie's eyes glint back at him from the reflective surface of the metal tool.
Vinnie's gaze moves back and forth between the money, the suit of armor, and the scissors. He begins talking in darkness in a low voice.
"'There are many paths to ultimate knowledge'; that's what you always said. 'Use the available tools and your surroundings to your advantage.' 'Be aware and think clearly'. 'Disguise your desires in your duty'.
There is a distinct rhythm to Vinnie's speech, a rising and falling with a strange sort of expressiveness; almost a benediction.
"I'm aware that this temptation could be my downfall. Moving past who I was before and making something new is tougher than I ever guessed. Evolution as I truly understand it takes more than just knowledge; it takes application. The question is, do I apply what I know, or do I see what else I can learn?"
Vinnie's eyes linger longingly upon the pile of money in the car and then back to the engraver's tools. He seems to shake off a heavy thought as he gets up from the stool. He opens the car door and grabs fistfuls of money, deliberately handling every piece he can get his hands on. He carefully crawls around the back of the car, grabbing up the cash, counting it into nice; neat stacks. He opens and closes the various doors of the wagon from inside and out, making obvious pains to touch nearly every surface of the vehicle as he does so. He opens and closes the glove box, the console, plays with the radio, and fiddles with the shifter. Vinnie then goes about leaving the garage and locking it up, and drives back towards Austin.
Roughly counted, there is $11,000. Very rough, considering the sheer volume of change in numerous deposit bags that lay in a couple layers beneath the cash in the back of the Woodson/Woody. A decent haul, but a small, and short-sighted goal if he ever saw one.
We see Vinnie drive to a well lit Wal-Mart, and park the car under a light. He walks away from the car and continues traveling for several blocks, finally finding a pay phone. Vinnie plunks in the required coins, waits for a connection, and speaks clearly and briefly.
Vinnie's dark eyes briefly glitter in the reflection bounced off the glass of the phone booth as he reports a car full of money in a Wal-Mart parking lot.
Friday, April 6, 2012
Interview for HOP- Porky
I wrote a series of articles about designing better games for House of Paincakes over the past 2 months or so. While I was working on the process and developing material for the series, I conducted a good number of interviews with various people across the internet, as well as some real life folks.
I've saved this interview for last. It was the most fun, the most challenging, and the most though provoking. I don't really consider myself much of an intellectual, so plunging these depths caused me to do a lot of intense thinking, spreading out past my normal limits, and enjoying the conversation with a brilliant mind. I find Porky to be an artist of the highest caliber; using words and stretching boundaries for all who listen.
I've saved this interview for last. It was the most fun, the most challenging, and the most though provoking. I don't really consider myself much of an intellectual, so plunging these depths caused me to do a lot of intense thinking, spreading out past my normal limits, and enjoying the conversation with a brilliant mind. I find Porky to be an artist of the highest caliber; using words and stretching boundaries for all who listen.
When you look at a game, is art a factor in buying it? If
so, how much of a deciding element is the art?
I'm definitely drawn to new things by the art, but I'm more
interested in heavily stylised pieces than big pictorial scenes. I want texture
and mood much more, even without action and even in shades of grey, and maybe
better like that, for how soft black and white can be and how much contrast it
can have. There doesn't need to be much art either because the people I hang
out with are very happy to imagine and improvise, do things their own way -
there should be just enough to prompt and trigger, set off trains of thought,
but then cleverly chosen words can do that too.
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