I’ve just been reading an article on alchemy which suggests that the Arab alchemists’ development of mineral acids — that is, acids stronger than the vinegar derivatives which were their predecessors — was far more valuable to civilization than if they had succeeded in transmuting base metals to gold.
It made me imagine an alternate world where alchemists did indeed learn the secret of transmutation, and metals are thus completely fungible, but where the strongest acids possible are highly concentrated solutions of acetic acid.
On the one hand, many technological applications would be eased — there would never be shortages of metals — and if transmutation could be applied to finished objects one could fabricate in a soft metal and then transmute to a hard one. On the other, chemical fertilizers and explosives would be impossible. No batteries, and some plastic would be impossible. Come to think of it, certain metals — aluminum, for example — might be unavailable; sure, they could be achieved through transmutation, but if the alchemists don’t know that a metal exists, they may never figure out how to make it.
It seems like an interesting way to kick alternate-historical industry in the rear right up to the beginning of the industrial age, at which point you’re screwed.
The masquerade aesthetic is an aesthetic of character design, like the cathartic aesthetic. The masquerade playstyle approaches roleplaying as an opportunity for the player to try on new personalities, to be someone that they aren’t. Masquerade play draws its fun from novelty.
Masquerade characters are therefore little like their players, except sometimes in superficial ways. The core of the character — the element around which the character forms — is selected for its very alienness. I, for example, often design impulsive masquerade characters; they make an interesting contrast to the reflective types that are closer to my everyday self.
There can be an escapist dimension to masquerade play; sometimes people design characters as a refuge from parts of themselves of which they’re not so fond.
Many players bring an aesthetic that I think of as cathartic play to their relationships with their characters . The cathartic playstyle approaches roleplaying as a venue for players to take risks or indulge impulses in ways that might have unpleasant consequences in real life. The satisfaction of cathartic play is the chance to blow off steam.
Consequently, cathartic characters are often similar to their players, but with certain traits amplified and certain inhibitions muted. In a more extreme form of the aesthetic, these characters may be wholly designed around the traits to be amplified. I’ve known people who used short-tempered characters to work through their anger issues; I like to play impulsive people from time to time as a break from my usual overthinkery.
More commonly, however, a cathartic character is simply a version of the player who kicks more ass and isn’t afraid to be a jerk. This milder form of the aesthetic is extremely popular — at its root, traditional “hack and slash” gaming boils down to “It’s us, but we’re killin’ orcs and takin’ no guff from nobody.”