The third narrative move of the Reds Manifesto (the pamphlet for characters, the game rules for players).

THE DESIGN

This narrative move is inspired by the propagandist works of El Lissitzky, and the film Oktober (1927) by Sergein Eisenstein. The idea of an organized march (Proletarier aller Länder, vereinigt Euch!) shaking everything in their path is present in this design.  Several walks in parallel, marking a rhythmic march that strikes the plot, completely disarranging the letters that make up this word, while still allowing the objective to be clear; to undermine it. It is not a frontal and penetrating assault like the red wedge, its aim is different: to scratch the surface in the moment, without salon discussions, to throw tangential themes, following their own drive, against the Storyteller. This tangents may can undermine the Storyteller capricious authoritarian desire to impose just their fronts of interest, according to their plot written in stone. Of course, this stone is one that exists only in their head.

STUN THE PLOT!

STUN THE PLOT!

When the player or the character go off on a tangent, dumping them out of the plot. When this move is triggered, the player says “Spreading out the plot”, spend 1 black ink or 2 black inks.

OUTCOMES

Bring in as many tangents as black ink you spend: mystory*, unfounded fact, ambiguity, referencing, contradiction, maddoning desinformation.

WHAT FUELS YOUR DRIVE?

When missing four (4) times any other move, choose one (1) between:

• STUN IN THE HEART

To stun their ego with a gibe.

From now on, you go one step deeper on one of the tangents you choose.

• STUN TO THE STARS

To stun their plot… glare!

From now on, you introduce one extra tangent with no extra cost.

STEP OUT! TO THE TANGENTS!

A thousand times of nonsense. Never stop! Petrify! Stun! Stun deeper in the heart! Shuffle a constellation of white stars! The Storyteller is a convict, hear, their head half shaved by the Psalm!

* A pedagogical genre encouraging the exploration of history as an open-minded individual rather than an analytical historian following institutional norms.