I'm intrigued by what Moreno had to say here: GNS and making meaningful choices
This part in particular:
The right way to learn GNS, is to play a lot of games of the kind that move you screaming and kicking into a Creative Agenda you never experienced before. "A lot" of games because (1) not every one will works, you will be able to play most of them with your old CA, "forgetting" half of the rules and "remembering" rules that aren't there. But if you stick with it, you'll find some games that will shock you, and (2) because if you try only one, you will mistake all his techniques for "the CA". With a lot of different games you'll be able to see that the techniques are not the CA.
What kind of experiences have other folks had with what Moreno's talking about in point #1
My initial post got eaten by S-G, but here goes:
My friend Allison and I played a game of Storming the Wizard's Tower set in the Iron Age Etruscan civilization. I was an old sailor, father of a shepherdess. Allison was a blacksmith's apprentice. We went, with a priestess and a Greek, to fight pirates who were raiding our shipping lanes. We found out that the pirates had captured a Siren and were forcing it to lure ships to their hidden island lair, and when we got to the island we sent the pirates packing.
Somewhere between setting sail and reaching the lair, Allison and I started arguing about my daughter. See, my daughter was pregnant. This happened because: we were having a heated in-character conversation and decided to tweak the rules for, well, Charged Conversations.
It was a slight change. I rolled Perception against Allison, got some hits, and then, during a scene between her and the baby-daddy, she told him that the shepherdess was pregnant.
Horrified, I spent a hit to ask Allison, Is your character lying?
She thought about it, noted that she was required to answer truthfully, and then said, "No, my character is not lying."
Turns out, she had come made up with the pregnancy on the spot - - and, as soon as someone said it was true, so it was. Immediately, it became much more important to arrange the facts of my family situation than to continue the adventure.
We basically rocked out an awesome debate-through-characters centered on the question, "What is a father's role in a woman's reproductive decisions?" Straight-up premise exploration.
Things wrapped up with me talking to the baby-daddy, who performed admirably on our mission, telling him, "You've proved yourself, boy. If you want my daughter for your wife, you have my blessing." Of course, in-character I had no idea about the pregnancy, or the paternity; the dramatic irony was really awesome.
As the other players got involved in our conversation, the question kind of broadened into "Should women be subjected to men in any way?" It was really neat to watch my character, a staunch traditionalist, having no idea what was going on around him.
Anyway, the whole thing took long enough that when we reached the Siren's lair, the GM had to go home for the night, so he announced that the creature had fled the island and gave himself an out.
Basically, afterwards, we had taken a Step On Up game and moved it in an entirely different direction by changing a couple of lines in a sub-system. It was awesome. I've always found the Starting Relationships stuff to be really tantalizing, like they contain a Story Now sort of bent, and this particular adventure showcased that theme beautifully.
In my experience, the centrality of those Relationships positively correlates with how much "grip" you can get when trying to explore a moral dimension or ethical conflict in play. If it's just the party going into the wilderness or the dungeon to do a thing - not much of a personal or emotional angle to the experience. But when you have those relationships, and then apply pressure to them through the danger and imperatives of the adventure, there's some really badass dramatic material that emerges.
Who else has Drifted for great effect?