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6 mos ago
Current Fuck yeah, girlfriend. Sit on that ass! Collect that unemployment check! Have free time 'n shit!
4 likes
2 yrs ago
Apologies to all writing partners both current & prospective. Been sick for two weeks straight (and have to go to work regardless). No energy. Can't think straight. Taking a hiatus. Sorry again.
3 likes
2 yrs ago
[@Ralt] He's making either a Fallout 4 reference or a S.T.A.L.K.E.R.: Clear Sky reference i can't tell
2 likes
2 yrs ago
"Well EXCUUUUSE ME if my RPs don't have plot, setting, characters, any artistry of language like imagery/symbolism, or any of the things half-decent fiction has! What am I supposed to do, improve?!"
4 likes
2 yrs ago
Where's the personality? The flavor? the drama? The struggle? The humanity? The texture of the time and the place in which this conversation is happening? In a word: where's the story?
2 likes

Bio

Most Recent Posts

Hi, I'm pug. I've been GMing freeform RP for eight years, and motorcycling for three. (Current ride is a 2020 Royal Enfield INT650.) I've been tossing around the ideas for this RP for probably about two years now, but it just so happens the riding season is just coming to a close as the cold weather moves in. So my fellow bikers and I can motorcycle vicariously for a while.

Along the way we can also do slice-of-life stuff including turf wars, police chases, school hijinx, romance/relationships, and whatever you guys want.

Being a motorcyclist, or being interested in motorcycling and the bōsōzoku culture isn't necessary, but it'll help. I hope it might even inspire someone to take an MSF course and start riding for the first time.

This RP might also be for you if you like James Dean movies, Akira, Cool Hand Luke, Great Teacher Onizuka, or any other fiction which deals in disobedience and social estrangement as core motifs.



Now, technically this is an historical game, as the goal of VERGE will be to tell a small, character-driven story about delinquency and belonging within the zeitgeist of boom-era Japan. However there will be some historical discrepancies, mostly to improve play by placing greater emphasis on things like character design and player agency. These are:

  • IRL most bōsōzoku motorcycles were between 250cc and 400cc. In my version of the setting you can ride any make/model of bike you want, from the years (say) 1960 to 1982. Although anything foreign is rare, you can own a CBX1000, a Z1, or whatever domestic super-sport you fancy with relative ease.
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  • Well over 90% of real bōsōzoku (and criminals in general) are male, but our cast will have roughly an even split between guys and girls.
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  • Most gangs are gender-segregated, so to explain why we have girls and guys all riding together, our gang is actually an alliance (rengō) between an all-male gang, called Gekokujō ("Overthrow from Below"), and an all-female gang, called Akushitsuna Kīsu ("Vicious Kiss").
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  • We're using a fictional version of the Tokyo metropolitan area, so we are not beholden to IRL geography; in fact you're encouraged to invent your own landmarks for the city, like an Ame-mura, favorite hangout spots for the gangs, reform schools and youth prisons, etc. However the geographic features of Hizuwa City's Yamashin Ward do broadly follow IRL: suburbs sandwiched between metropolis and snaking mountain roads. (If you need IRL reference, see the town of Niiza in Saitama.)
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  • This setting's gangs have invented their own system for distinguishing friend from foe in the throes of battle: most of them (at least those from the same prefecture) should know which gang you're from simply by noting the secondary color of the lettering and symbolism, stitched onto the primary color of your tokkōfuku. This almost works like pre-Norman heraldry, in that your uniform's basic color scheme is exclusive to your "clan" and immediately belies your allegiances. (Gekokujō's colors are red on cream; Akushitsuna Kīsu's are pink on navy-black.)


That's mostly it, then. Here's to the scream of the engines, the taste of the exhaust, and the sting of the wind in our eyes. Hope to see you on the road.
1983. Anri and Junko Yagami serenade the nation through its affordable and high-quality cassette decks. Japanese exports (cars, electronics, anime, porn) have suddenly conquered an unsuspecting foreign market. The yen is high, and unemployment is low. For those with disposable income, life has never been more convenient, indulgent, or luxurious.

And for those without,—well—



By day they're cashiers and waitresses. Sons and daughters. Students. Earning and spending, earning and spending. Just like everyone else. But by night, the shadows shudder with the roar of their engines, and the din of battle floods their quiet, suburban streets. They don the colors and unfurl the flag.

And violence reigns.



Because empty consumerism is at an all-time high in Japan, so too is the natural backlash: a restless discontent and lack of belonging which Émile Durkheim called anomie. Where society has given them no purpose, over 45,000 teenagers of Japan have decided to create their own, wearing uniforms, shouting slogans, and waging wars all of their own design, each with its own meaning. Territory and conquest, loyalty and brotherhood, customization of a loud, fast machine into a piece of personal expression—these give them purpose where in plastic commodities and brainless pop music they find none.



You are one of the 45,000: a teenager between the ages of 14 and 19; probably working-class; a bully; a reject; in other words, perfect fodder for the bōsōzoku. You've worked hard to get where you are, appeasing bullshit initiation rites and the capricious wants and wishes of your gang seniors. Now you're finally one of them, and the world will suffer in your boredom. Vandalism, assault, theft; how else can you punish the suit-and-tie slaves, the other gangs, and the cops who all want to see you on your knees?



You will fight to claim new turf and defend your own. You will forge alliances and answer betrayal with blood. You'll escape the police, your teachers, your parents. You might attempt to keep your grades up or find a job and a girlfriend along the way. And maybe, maybe, for all your commitment and zeal, this little family will prove tighter than the ones you're so desperate to escape.



The world belongs to you, young-blood ... but only if you have the balls to take it. To fight for what you deserve. So grease your pompadours, roll your R's, stow your bokkens and baseball bats, and get ready to RIDE.
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Khvresh had thought it dusk-time, the vampire's dawn; when they should have been rising, and relishing, and readying for a new, dark hour. He saw now that he was wrong. An afternoon blue still blazed outside; only, as the light sprawled through the mouth of the cave, it bent, and trembled, and shifted to a quivering purplish-red. It grasped toward Shah-Cthaumaphon, and sank into his shape. At his edges he shimmered like a mirage splashed over the distant sands. But past the silhouette, further, deeper, every spark of light disappeared and was devoured, as if the night sky yawned open and drank the stars.

This sentient abyss came in the shape of a man, or its nearest approximation of one. The spirit's hands were too long and spindly for his arms, his arms too long for his torso, and so on, from his vestigial neck to his vestigial feet.

"G-greetings, my lord."

Shah-Cthaumaphon unfurled, patiently filling that whole side of the cavern with his presence. His claws gripped at two opposite walls, and his back arched over the stalactites above.

"What brings you from your travels?" asked Khvresh to the countenance in the ceiling. He dreaded the master's scorching gaze, although the master had no eyes; he dreaded the thunderous resounding of the master's voice, although he had no mouth.

"UUUUUUUUNPAID ... YOUR DEBT, UNPAID ..." This warning shrieked not through the cavern; but through the Caurgasts' own skulls, both of them who beheld him. It bounced off bone and shivered through the pluck encased within, for the spirit spoke without lungs and tongue.

Khvresh wondered where Lornhir slunk off to; what she wished to say but dared not. He, in kind, dared not turn around to search for her.

"Soon!" he cried. "As soon as we can. The time hasn't been right."

Like a flame emits heat, the black flames snaking from Shah-Cthaumaphon's black shoulders reeked of cold as he slithered near. Cold. Centuries of vampirism had deadened flesh which once remembered the sensation. To be reminded now, with such malice that dwarfed even his own ... Khvresh shuddered.

Then the terrible howling returned to his thoughts: "PPPPPPPPPPPPROMISED ... SOON ... ALREADY, SOON ..."

"I know what I said." Khvresh wondered whether, if he were to strike toward the edimmu, he would hit meat, bone, jelly, ooze, anything tangible and concrete; or shadow, nothing more. Whether that evil cold would infect him and crawl up his arm like a blight. Whether Shah-Chthaumaphon could eat a clawed hand like he ate light and warmth. "We will give you everything we owe, and more. But we require your patience, my lord."

"PPPPPPPPATIENCE ... FINITE, PATIENCE ... GUESTS ... SQUANDER ..."

"Yes," said Khvresh. "Patience. You will have what you are owed. On my oath."

"OOOOOOOATH," said the edimmu. "VAMPIRE ... PROMISES. OBSCENE ... HONOR ... BLASPHEMY ..."

But what else could he say? Khvresh only watched, and waited. Was this the end of their bargain? Immortal, timeless, both of them, and yet this restless spirit couldn't wait another forty, fifty years? While the Caurgasts replenished their strength, and gathered their allies? Seconds felt like hours. A minute felt like a century; until finally, Shah-Cthaumaphon decided that he had more pressing business somewhere else—or, perhaps, that his vengeance could wait another year. He drifted toward the mouth of the cave, where the light stoppered and clogged as it was pulled into his darkness; then, he vanished into the sands beyond.

The mortals called them Balba Yemeq. The edimmu used an ancient, long-forgotten name: Limtulkku. The sands, either way, were no anathema to him; the master wandered freely under the heat and the light, even if they forced him to take a subtler form. But something bound him to the cave. Something made him need the Caurgasts, just as much as they needed the shelter he had provided to them.

But Khvresh would remember these injustices and injuries when he escaped this wretched place. When he had servants and slaves and an army again. When he had reclaimed the estate and restored terror to his realm.

You will get exactly what you are owed, wraith. Oh, yes. Mark my words.

"Brother." Lornhir had rushed to his side, and begun pulling him away. With Shah-Cthaumaphon's departure the afternoon light could leak into the cave once more. The rays had burned Khvresh's hand, and most of his leg, while he nursed old fantasies. Foolish. Foolish. They both looked down at the raw, weeping sores now running down his flank.

"I'm all right," said Khvresh despite the sting. He grasped Lornhir by both her ears. They kissed with heat and with longing; for each other, and for things they had lost along the way. "But I cannot heal without ..."

"Blood," Lornhir remarked. "Right. I'll leave at first dark."

"You are so good to me. Even when I have been so cruel."

"For father's heir—for my prince—anything."

They kissed again.
@gorgenmast 👀💖🥺
I think the first resolution to reach is whether gorgenmast wishes to join us.
I guess this is my way of saying I didn't want it to die.

I had 2/3 of that post sitting in a Notepad++ file and while I was very bored recently I decided ... why not finish it?
Why must the venom of regret pump bitterest in the vein while the heart already suffers to throb? Why, in children's stories, do the ghosts of the past haunt only the most ruinous, the most forsaken abodes—the mansions and attics where their happiness moldered? Khvresh wondered. In this sordid, sleepless place, wondering was all he could do to squander his immortality in some final, desperate pastime. But why not? All hopes for redemption or redress had long fled the hole he now infested. Its ground was salted with the crumbs of old, dead dreams.

These walls, shelter from the sun, sheltered too from the stars. Emerging from the earth, Khvresh found at times that entire seasons had waxed and waned with nary a thought for he; he, who once lorded over death, and rot, and despair, and entropy itself. Desert flowers burgeoned and wilted. Summer storms flooded the roads and swept away their detritus, and the sands drank them up again. And none of these things—indeed, no one in the world—watched for the parting of Caurgast lips, doted on Caurgast decrees, sought Caurgast consent. The world had buried them and forgotten. Though they yet lived, already they were inhumed. Yet, and Khvresh anguished to even acknowledge it, his was not the greatest tragedy to befall one of their race. For even this subterranean hell afforded him three comforts still, three more than some could savor in the ashes of Solomon Kane's holocaust. First—the vampire's boon and his bane—gone was the need to count time, measure the angle of the sun, tiptoe round half-lit dwellings fearing the baleful rays which leaked in.

Second: though scarce and scattered, prey, when it came, was easily felled. In some undutiful belief that they had only brigands and wolves to fear on the roads, or that the western vampires who fled through their lands followed in the same feeding traditions as the native counterparts, caravan bosses still armed their guards with weapons of steel and wood; toys, for all the good they did. There should have been some food left, Khvresh remembered, now that food and humans domineered his thoughts. He rose from hammocks of camel hide, nailed to rock and strung around stalagmites. Blind as an earthworm, but probing the all-familiar surfaces with taloned feelers, he dragged his belly along the clenching clefts like meat wriggling down a throat; he crawled until the cavern yawned high and wide, like he had splashed into the stomach of the earth.

The Caurgasts had made of this cavern something like a master foyer, and its lowest corner was their larder. An eons-old drip, drip, drip from the toothy ceiling had shallowed out the rock, while a heap of putrescence had dyed it a maggoty grey-green. Hunching over the bones, Khvresh pried them apart with his hands, and cracked them open against the points of the stalagmites. But scraps of cartilage and crumbs of marrow would not sate any vampire, never mind one who had supped the blood of kings, not so long ago. (How long had it been?) He scooped up more bones, turning them over in his hands, feeling for the slimy, spongy give of flesh neglected in past feedings, missed by greedy teeth. What he found was but a flap, but it was meat, and he swallowed it whole and felt it sliding greasily down his throat, more greasily than he through the craggy tunnels. And what a pathetic meal it made. It barely silenced Khvresh's panting and scraping, the din of some flogged beast. Mustering enough backbone to creep up to the mouth of the cave, and seeing from the reddish and shadow-streaked sands that the sun smoldered in the west, he turned, and, having no other choice, scanned the antechamber for his third comfort, the one he treasured most. Though two others no doubt hid and amused themselves elsewhere in the black, impermeable network of their asylum, the third shivered nearby, also watching the light. She had her knees pulled up against her chin, and she rocked back and forth on her buttocks. She looked terribly anxious, in the way of children guarding a closet door for spooks.

"As the sun rises, so too must it fall again," said Khvresh reassuringly, "my darling Lornhir." He knelt to run his hand through her hair, finding it, like his own, matted and greasy. Under his touch she remained taut, and neither this nor his promise, cooed into a soot-smudged ear, stirred her from her angst.

"Say," Khvresh continued, "what about a hunt? Would that lift your spirits?"

Not even this, however, could tempt Lornhir from her mesmerism. Something in particular—or nothing at all, and the oppressive weight of this absence—kept its clinch over her terrored heart; a corner of the cavern had become fecund, a breeding-ground for her nightmares. But Khvresh could fill the shadows with teeth and talons, too. He could play just the same song over his prey; even when the heart was stagnant, and beatless, and just as black as his.

"Lornhir, your brother hungers. Hunt for him." He reached under Lornhir's skinny, girlish arms, and wrested her up until she had nowhere else to look but at him. "Food! Hunt!" he screamed, spittle now dotting her cheek.

How had it come to this? Khvresh could forgive the mortals and infant races for forgetting his name; the Caurgasts, as far as the world knew, had been vanquished, exterminated, over thirty years ago. But his own sister? Even she no longer feared him?

But just as he moved a hand to strike her, Khvresh swore he saw another shift, far in the reaches of his eye's periphery. Where something in the shadows yawned and stretched, like it rose from a deep, deep slumber. And for a moment, one moment, he and Lornhir were as like in heart as they were in flesh and blood. He understood. He shared her terror.

Lornhir dropped from his hands and scampered to his feet, cowering behind his bare and grimy legs.

"Shah-Cthaumaphon," muttered Khvresh, the name threatening to choke him as it surged up his throat like vomit. "He has returned?"
Expanding on what @Bork Lazer said, I could summarize my view simply by saying: you're allowed to make readers uncomfortable. You have the opportunity, you have the right; in fact, if you're trying to say something important about a real, difficult topic, then, to be honest, you have the duty.

Come and See isn't the best anti-war film ever made because it's polite, it's fair/balanced, and it holds wittle baby's hand through a gentle acclimation into the topic. It's the best anti-war film ever made because it does none of that. It forces you to watch women and children be locked in a church before molotov cocktails and grenades are thrown through the windows. The camera lingers on the church until well after the screams have stopped. You see a man still squirming and writhing when his blackened body has been pulled from the char. You watch a woman be dragged behind a Jeep, then stumble out ten minutes later with blood and semen dripping down her legs. You watch rape, infanticide, desertion, treason, and the expected, comparatively tame act of putting bullets and shrapnel in people. Experiencing human cruelty at its peak is crucial to the film's message.

... or you look away from the screen, which in itself proves its point. Because if you're the type to look away from a movie when it gets uncomfortable then you're also the type to look away when your politicians order the deaths of thousands in combat, and war-criminals have torched an Iraqi village, and hundreds have been reduced to widows, orphans, and refugees. You might even be the type to glorify war when it's clean, convenient, thousands of miles away; when it chases noble abstracts like "honor" and "justice"; less so when you have to face the reality of what devastation war wreaks upon flesh-and-blood people.

Could such a story be told through euphemism, innuendo, trigger warnings, and censorship? Maybe, but it would be a diluted, de-fanged version of the story we ultimately got.

The brutality and the horror need to serve a purpose, though. Violence for the sake of shock value, edge, or worse, popcorn entertainment, is a waste at best, and a travesty at worst, a hollow, meaningless effigy which infantilizes the audience and dehumanizes the people who actually suffer such things all around the world.

TL;DR Dark imagery and themes are good when making the audience uncomfortable serves a greater artistic purpose; bad when they're superfluous or superficial.
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