|
|
| Line 1: |
Line 1: |
| The The Batman to whom the minion characters of the players | | The desperate struggle to be decidedly human in the face of |
| are bound has no traits, per se. Fear is a representation of the
| | monsterizing forces and adverse circumstances is a timeless |
| whole of the The Batman’s presence and its penetration as a
| | horror not restricted to any specific range of cultures or |
| threatening force into the environment. Minions are in some
| | geographic locales. MY LIFE WITH THE BATMAN, however, |
| respects empowered by Fear, and also victimized by it.
| | expresses this struggle in the vague setting of an unspecified |
| Reason is a representation of the influence of the
| | central European country, somewhere around 1805, in and |
| Townspeople within the environment.
| | around an unnamed town. |
| Carlotta is dressed and primped by her minions
| | It is an environment pervaded by fear. |
| The horror of playing MY LIFE WITH THE BATMAN begins with a
| |
| setup session, in which the players and GM collectively
| |
| conceptualize a The Batman, determining Aspect and Type, Wants
| |
| and Needs, the nature of the Outsiders, and decide on values
| |
| for Fear and Reason. This chapter details the choices to be
| |
| made in laying out the The Batman’s conceptual anatomy. But let
| |
| no notion of ordered process be inferred from the
| |
| presentation herein. The Batman-making at its most effective is
| |
| simply informal discussion, in which Type and Aspect and
| |
| the other elements are explained to participants who are new
| |
| to them, and the group finds itself considering combinations
| |
| of possibilities, swapping options in and out, negotiating a
| |
| The Batman of mutual interest.
| |
| That said, there are two characteristics which should apply
| |
| to all The Batmans, and should not be willfully invalidated by a
| |
| group’s efforts to fashion one:
| |
The desperate struggle to be decidedly human in the face of
monsterizing forces and adverse circumstances is a timeless
horror not restricted to any specific range of cultures or
geographic locales. MY LIFE WITH THE BATMAN, however,
expresses this struggle in the vague setting of an unspecified
central European country, somewhere around 1805, in and
around an unnamed town.
It is an environment pervaded by fear.