Apocalypse World - the original. Passionately and intelligently written, it's got a compelling vision of who its protagonists are, clear instructions on how to ensure player characters decisions are the beating heart of events, and GM advice which distills decades of good practice into clear and digestible principles.
The playbooks are wonderful - every character starts scary and capable. And while they're not all instantly recognisable archetypes, there's artistry in them - from the can't-take-your-eyes-off-them compulsion of the Skinner to the charismatic high-wire act of the cult-leader Hocus.
The call and answer of fictional action and move resolution gives the game a deceptively simple rhythm which everyone can grasp. But the fact the characters are each independently capable allows every player to do their own thing without needing to find artificial ways to co-operate for every minute of every day. And, as the game develops, it will become clear that there are uneasy alliances between characters, or marriages of convenience threatening to fracture and split and then be healed in the face of the ever greater scarcity that the game uses to create pressure.
The only controversy I can think of is the inclusion of sex as a move. It's a game for grown-ups, which includes the idea that in a post apocalyptic landscape companionship and intimacy will be scarce and valuable. The game represents that mechanically. I've run more than one campaign where they've not been used by anyone and it doesn't affect the game one bit. They stay exactly like any other move that doesn't get used - a non-event which doesn't affect play.
I have several of the PbtA titles, including Vincent Baker's latest Under Hollow Hills, but AW remains the reference point for me. I've run a lot of games of it, probably more than anything else since its release, and wouldn't hesitate to recommend it to anyone of an open mind.
The playbooks are wonderful - every character starts scary and capable. And while they're not all instantly recognisable archetypes, there's artistry in them - from the can't-take-your-eyes-off-them compulsion of the Skinner to the charismatic high-wire act of the cult-leader Hocus.
The call and answer of fictional action and move resolution gives the game a deceptively simple rhythm which everyone can grasp. But the fact the characters are each independently capable allows every player to do their own thing without needing to find artificial ways to co-operate for every minute of every day. And, as the game develops, it will become clear that there are uneasy alliances between characters, or marriages of convenience threatening to fracture and split and then be healed in the face of the ever greater scarcity that the game uses to create pressure.
The only controversy I can think of is the inclusion of sex as a move. It's a game for grown-ups, which includes the idea that in a post apocalyptic landscape companionship and intimacy will be scarce and valuable. The game represents that mechanically. I've run more than one campaign where they've not been used by anyone and it doesn't affect the game one bit. They stay exactly like any other move that doesn't get used - a non-event which doesn't affect play.
I have several of the PbtA titles, including Vincent Baker's latest Under Hollow Hills, but AW remains the reference point for me. I've run a lot of games of it, probably more than anything else since its release, and wouldn't hesitate to recommend it to anyone of an open mind.
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