#White Wolf Game publishing

[scrivnomancer]

Season's strangeness! For the holidays, I'll feature one of my writings a day. Consider TRAILS OF ASH AND BONE, a sourcebook for Vampire: The Masquerade. I write decadent necromancers in Florence and a spoiler-proof murder mystery.

#Vampire: The Masquerade #vtm #v5 #World of Darkness #WoD #vamily #White Wolf #Onyx Path Publishing #game writing #ttrpg #gothic punk #Joshua Alan Doetsch #Trails of Ash and Bone #Cults of the Blood Gods

[manyworldsofdarkness]

Hey folks! For anyone interested in playing Tabletop games at Anime Weekend Atlanta I will be running games this weekend there. Open to newcomers and veterans alike looking for a taste of more story focused games using the Storytelling system by White Wolf. We’ll be running the following:

Pre-gens: yes

Max players: 5

You are one of the Kindred, the immortal predators that stalk the world. But there's a guy at the top. The Prince. between the streetlights. You are also a vampire, a junkie. Every night, you beg and you borrow and you steal just a little more life, just a few more sweet moments. HE'S GOT EVERYTHING. The money, the secrets, the blood. Tonight, you're going to take it from him. TOMORROW, THERE WILL BE HELL TO PAY! A Modern Gothic storytelling game where you play as a Vampire in this personal horror and political intrigue game.

Time: 10/28/22 6pm - 10pm

Pre-gens: yes

Max players: 4

You were once an “angel” that belonged to a god made of gears and circuits that bleed into this world. You were once it’s slave to its occult matrix, hacking into reality and completing its hidden purposes. But you “fell” and became self aware of what you were, a Demon in human cover. Play as a Unchained, a biomechanical monster in a human disguise working undercover against the God-Machine and its influence in this storytelling game of techgnostic espionage.

10/29/22 1pm-4pm

Pre-gens: yes

Max players: 5

Like every city, Rochester has its ghosts — and like other cities, it has those who prey upon and those who aid the dead. The machinations of a young but powerful Reaper, the Iridescent Maggot, threaten one of the dead patrons of Rochester’s ghost community, and there are none who can stand against it. None, that is, save the Sin-Eaters of Rochester, who will brave even the Underworld to keep their city safe. Play as a Sin-Eater, a person who has made a unholy pact to share a body with a powerful ghost in order to fight back and help the ghosts trapped in twilight in this storytelling game of second chances.

10/29/22 6pm-10pm

Games are inclusive and beginner friendly. Dice and character sheets will be provided. Come and play with us if you like horror movies or are just hankering to try out a new system!

#anime weekend atlanta #awacon #tabletop Roleplaying games #white wolf publishing #onyx path publishing #chronicles of darkness #new world of darkness #Vampire: The Requiem #demon: the descent #geist: the sin eaters #horror

[freefallthelost]

Missed the stream? No worries! Here’s the vod of the first session of Freefall: Chronicles from the Lost! We all hope you enjoy! ~ Madison

#changeling: the lost #c:tl #freefall: chronicles from the lost #freefall sweep #freefallsweep #white wolf #whitewolf #world of darkness #ttrpg #wod #onyx path publishing #ctl #changeling the lost #tabletop games #dnd #changeling the lost 2e #Youtube #hi Lon !

[legionofmyth]

Mage: The Ascension: Nodes - Creating Realities Using Nodes

🌌 Learn how to create realities using Nodes in Mage: The Ascension by White Wolf Publishing! Discover the secrets to bending reality with the power of Quintessence. Elevate your game and become a true mage! Watch now! #MageTheAscension #TTRPG #TabletopRPG

Mage: The Ascension (1E) Mage: The Ascension (2E) Dive into the divine art of creating realities using Nodes in Mage: The Ascension. These sacred places are more than reservoirs of Quintessence; they are the crucibles where new worlds are forged. Learn how to bend reality to your will, crafting new dimensions with the power of Nodes. Don’t miss this enlightening exploration of magickal creation.…

View On WordPress

#advanced mage techniques #arcane secrets #celestial chorus #hermetic magic #legion of myth #Mage characters #mage game master #Mage gameplay #Mage guide #Mage lore #mage nodes #Mage powers #Mage setting #Mage storytelling #Mage The Ascension #mage the ascension overview #mage universe #magical energy #mystical sites #quintessence #role-playing tips #tabletop role-playing game #TTRPG #White Wolf Publishing #World of Darkness

[thecuddlymuffintop]

I'm now streaming Werewolf the Apocalypse: Heart of the Forest over on Twitch. Please feel free to either watch here or join me there with the following link:

Twitch

#cuddlymuffintop #fatty #fat blob #blob #indie game #indie vtuber #plus sized vtuber #vtuberen #vtuber #envtuber #werewolf the apocalypse heart of the forest #werewolf the apocalypse #world of darkness #white wolf publishing #Jacek Brzeziński #different tales #streamer #twitch streamer #twitch affiliate #walkabout games

[songoftrillium]

Werewolf: the Apocalypse 5th Edition and the Anti-Indigeneity in the Gaming Industry

reosted with permission from J.F. Sambrano

Dagot’ee!

Shii J.F. Sambrano gonsēē. My nations are Chiricahua Apache (Ndeh) through my maternal grandmother and Cora Indian (Náayarite) through my maternal grandfather.  I am a mixed race Indigenous person, and through my father my heritage is English and Scottish. I am currently residing and doing work in my community on the lands of Lummi Nation. I use both gender non-binary and masculine pronouns, but prefer the former. I have several published works in the TTRPG industry, and am probably most known for my contributions to Mage: the Ascension 20th Edition, Werewolf: the Apocalypse 20th Edition, and the Transformers Roleplaying Game, as well as being part of the Essence 20 development team. Further, I also work in higher education at an Indian college, both advising and teaching Indigenous students across the United States. My passion is education, and I believe that we all learn through play, and that TTRPGs are a valuable source of learning, especially on personal, cultural, and social levels. This has always been what has drawn me to TTRPGs since I started playing M.E.R.P. with my brother in 1996 (and before that HeroQuest), through to my “graduation” into more story-driven games such as those presented in the Storyteller System, until now, where I author and produce my own roleplaying games.

I was also part of the First Team (in-joke intentional) hired by White Wolf Studios/Paradox Interactive via Hunters Entertainment to develop and author Werewolf: the Apocalypse 5th Edition. After several months of work, Paradox Interactive chose to go in another direction in early 2021 (I believe it was either March or April) and in fall of that year, it was announced that Werewolf would instead be taken in house, with Justin Achilli as the Brand Creative Lead and primary author of the book. Going forward I will be describing my experience while I worked with Paradox Interactive, primarily through Karim Muammar, White Wolf’s Brand Editor, as well as the developmental editor for Werewolf. Although I worked in a team, both with hired authors and in-house representatives at Hunters Entertainment, I will not be speaking for the experience of others, except when specifically noting unanimous consensuses, and specific interactions (which will go unnamed) that are particularly relevant. My hope is that by highlighting some of the anti-Indigenous attitudes that are central to the foundational members and leaders of the White Wolf brand, that I can provide opportunities for growth and healing within the World of Darkness TTRPG community, but also in the broader gaming community, where these behaviors and attitudes are rampant. I also want the community to have a better understanding of what this experience is like internally, and the challenges that Indigenous creators, as well as other marginalized creators, are met with when they try to make positive change within nerd and geek communities clinging to inherited white supremacist values, even if they don’t realize they are doing so.

What I do not want to be doing in this article is creating fuel for edition wars.  I believe that both legacy and Werewolf 5th are rife with anti-Indigenous attitudes, and appalling amounts of appropriation. Both versions deserve criticism, I am not defending one over the other, I am only sharing what my experience was like working on the 5th edition of the book. Further, please understand that I was originally going to wait until I had read the final copy of the book, because I wanted to know how much of my work was used (based on previews I already know some was, just not the extent) and whether or not they decided to credit me for that work, and how I was going to be credited.  My belief is that I likely will not be, but I am genuinely uncertain.  Knowing how they handled that would have reframed how I addressed this. But more importantly, I want it to be very clear that even before Paradox ultimately pulled the plug on the Hunters team, I was preparing to exit working on the project based on the experience I will describe below. Not only did I find it frustrating, and personally disparaging, but I ultimately decided I was uncomfortable with my name being attached to the product based on the direction they wanted to go. So while I wanted to know whether or not I would be credited, because it would teach me something about their internal practices, I do not want or need the credit.

Finally, the reason that I decided to speak about this now instead of after having a chance to inspect the final product, was because my personal experience dealing with anti-Indigeneity coming from Paradox was just that: personal.  But since then I have witnessed a throughline of hateful and xenophobic attitudes wielded against Indigenous people across the globe, and we do not deserve this treatment.  I was outraged over the events that led to the segregation of the Latin American fanbase, which culminated from bottom-up criticism about how poorly their people and countries were being defined through World of Darkness products, and ended up with the firing of their Latin American Brand Ambassador, Alessa Torres, because she chose to stand with her community in those criticisms.  I was further appalled when the likeness of Tāme Wairere Iti was shoehorned into the Werewolf book, a blatant example of cultural theft: not only in stealing the literal physical identity of an Indigenous person, but also his sacred tā moko.  When Paradox Interactive issued an apology for this, it felt incredibly hollow to me in the wake of these events, the hateful attitudes I had personally witnessed coming from the top.

Whether from North America, Mexico, Brazil, Argentina, or Peru, or across the globe in New Zealand, not only do Indigenous people deserve better treatment from such a major company, but their Indigenous and Latino fanbases, who have twisted and worked themselves through difficult representation for decades at this point, deserve better.  Apologies are not enough, especially when they come with next to no real change.

Werewolf: the Apocalypse in Context

At the time that White Wolf Publishing began to produce its World of Darkness line, the TTRPG industry was dominated by white men, both as producers, developers, and authors, as well as the main characters in their settings. White Wolf's World of Darkness made an impact at the time, by defying these Eurocentric, patriarchal presentations, first by defaulting to feminine pronouns throughout Vampire: the Masquerade, and then by focusing on Indigenous representation and values in Werewolf: the Apocalypse, and as a young Indigenous nerd, it had a positive impact on me, as I know it has on some other Indigenous people who became fans of the World of Darkness at the time. This was because before opening the pages of Werewolf: the Apocalypse, I had never seen heroes that I could play who looked like me and my culture. It was off, and often offensive, but it was my first experience in which I could directly play a hero who shared my heritage--and I also had more than one option through two different Tribes to do so. This might sound a little like I was cheering for table scraps, but again, at the time, table scraps was more than I had ever seen before.

Werewolf: the Apocalypse 1st Edition was originally published in 1992 via then White Wolf Publishing (not to be confused with Paradox Interactive's White Wolf). From its inception, the premise was interwoven with what its then-authors believed to be Indigenous praxis and representation.  Like many pop-culture presentations of Indigeneity from this time period (see Fern Gully, Dances With Wolves, Disney’s Pocahontas, or in TTRPGs, the NAN from Shadowrun) it was rife with problematic and even offensive stereotyping. The most obvious examples thereof are within the two "Pure Tribes" Uktena, and W****** who I will henceforth refer to as Older and Younger Brother. However, Indigenous inspiration was at the core of the game's spiritual premise as well, where animism and "Totems" are central to the setting and gameplay. The way these concepts are presented is trivializing and dehumanizing, but it is important to acknowledge that the appropriation present in Werewolf: the Apocalypse goes a lot deeper than the two Brother Tribes (even the term "Tribe" was meant to invoke a vision of Indigeneity compared to the previous setting in the line's use of "Clan"). Additionally, there is art throughout every generation of these gaming books that represents humans, wolves, and human-wolf hybrid forms wearing Indigenous regalia, including sacred items such as headdresses, or engaged in sacred rituals such as the Sun Dance. The list of problematic representations goes deep, and my examples only scratch the surface, but it is also important for me to note the positive impact that this had, particularly in the 90's.

Even though the primary contributors to these narratives were non-Indigenous authors, or in one case, a Pretendian, and another, a culturally disconnected author, by the time the Revised (or Third Edition) era of the books came around, White Wolf Publishing was actively engaged in cultural consultation.  While I do not believe cultural consultation makes a big difference on its own, it matters that the attempt was made, to a degree: while these efforts fall short of what needs to be seen in cultural representation, this was still ahead of most other gaming companies at this time.

Hired by Hunters Entertainment

In February of 2020 I was approached by one of the co-owners of Hunters Entertainment to be one of the primary authors for Werewolf: 5th Edition due to my work on other World of Darkness projects, and let's be honest, because I was capable of bringing a much needed Indigenous perspective to a gameline that was rooted in Indigeneity and rotting with appropriation and racist stereotypes. I was overall receptive to the invitation, largely because I was very passionate about the World of Darkness setting overall, and Werewolf in particular, due to the impact that 90's representation had on me when I was a younger gamer. I also felt hopeful that with a really hard rewrite of Indigenous aspects of the game that I could shift a lot of really painful aspects of the game into something that was a net positive for Indigenous representation. I will tell you now, more than anything, I was excited to rewrite the Younger Brother Tribe, because when separated from racist authors, their message is very empowering and real to my lived experience.

That said, I did not agree to join the project without first asking for reassurances. I said that I was not willing to write negative Native stereotypes. I would not use appropriative language, or generally engage in appropriative writing (which meant at minimum that the names of the Pure Tribes would need to change), and most importantly, that I would not not engage in writing that contributed to erasure. While the person who recruited me to work on the project was eager to work with me, he acknowledged that he was not sure he could get everything I wanted to see approved, but also promised to fight for everything I suggested as hard as he could. Additionally, he shared with me that the original setting pitch for W5 involved all of Younger Brother being slaughtered en masse in a massacre. I made it clear that this was exactly the kind of thing that I would not write.  I cannot remember if this was something he suggested to be changed before or after I was invited onto the project, but with some pushback it was changed.  However, I point this out because I want you, the reader, to understand how eager Paradox Interactive was to start with mass genocide and erasure as a foundation to the setting.  All that said, I cannot stress enough that I have had nothing but positive experiences with Hunters Entertainment, and none of the following concerns fall upon them.

The Sword of Heimdall

The first encounter the Hunters Entertainment team as a whole had with problematic guidelines for the W5 draft was the direction that Paradox Interactive wanted to go with the Sword of Heimdall. At the time, the suggestions from Paradox and Karim Muammar were that the Sword of Heimdall was going to represent the new major villain of the Werewolf setting, and that they were to also represent the far-right, fascist direction that Werewolf society so often turned toward. They were meant to be representative of how far the new concept of Hauglosk could take entire communities. However, the Sword of Heimdall was discussed interchangeably with the Get of Fenris as a whole, and more than once Muammar seemed to suggest that every member of this Tribe was guilty of the same attitudes espoused in previous editions from the Sword of Heimdall. Now let's not beat around the bush: the Sword of Heimdall are literal Nazis. They believe directly in white supremacy and don't shy from it. They wanted to cleanse impure elements from the Get of Fenris, including BIPOC people, other non-white ethnicities, women, neurodivergent Garou, and other disabled Garou.

The writing team found this approach problematic for several reasons. The first, and most obvious, was that the direction seemed to want to turn one of the most popular Tribes into a horrific stereotype of its most abhorrent faction. Whether or not Muammar’s goal was to turn them into villains, we could not imagine a world where fans of previous editions would get their hands on this book, and not look for a way to play one of their previous favorite groups, thus creating the issue of making a guide to playing Nazi. Even beyond that, it’s not as if historically there were not players who used the tools of the setting to play Black Spiral Dancers, why wouldn’t this draw people who actually wanted to role-play through these toxic, harmful politics? Further, and while this is less important, it left a bad taste in my mouth, the justification for this major shift in Werewolf lore seemed to change over each pass. At first, Muammar suggested that all Fenrir were Nazis/SoH.  Then, when he was provided with evidence that it was a small faction that was eliminated in the early 2000’s, he started to shift toward the idea that we should not follow the lore. Finally, when every single member of the writer’s team flatly refused to provide what would essentially be “a player’s guide to being a Nazi werewolf” the writing was on the wall about the end of our involvement with this product. More than once, he suggested that we were cowardly social justice warriors for being unwilling to work with this concept, even though there were several attempts to write a heroic version of the Fenrir that were focused on undoing these ills of the past.

Indigenous Erasure in Werewolf: 5th Edition

While the entire Hunters Entertainment writing team was handling the major, glaring issue of Paradox’s fervor to include a major Nazi element in Werewolf, I was personally dealing with the problematic approach to the Indigenous issues in the setting. The largest problem, for me, was in addressing Younger Brother’s issues, the history of non-Indigenous writers creating horrifically racist stereotypes, and what was valuable in the Tribal identity that should be saved and recentered. However, my attempts to do so were thwarted with every approach. I rewrote this Tribe four times, and offered three different versions of it to try to earn approval for a final write-up, but each time there was a lot of negativity directed towards my attempts and all them boiled down to this: Muammar felt that having two Tribes (both Younger and Older Brother) representing the “Indigenous population” was too many, and wanted them to only be focused on Older Brother, and that Younger Brother’s connection to a central, Indigenous identity, was undesirable because “other sources wrote them as having Siberian and European connections” and that future writing on this Tribe would require a lot of sensitivity…suggesting that one, Muammar wasn’t interested in doing the work to handle that level of sensitivity, and further, that he wasn’t interested in including me in future work, since I was involved with doing that at the time.

I want to take a moment to remind you that the work that was put into recovering Younger Brother started with “Let’s Kill Them Off” and at this point, through a combination of convincing and pleading, had been walked back to “They can live, but now they’re not connected to being Indigenous anymore” which is just representative genocide of a different variety. “Kill the Indian in him, and save the man.” It was also explicitly something I said I would not write about going into this project. Ultimately, my efforts did not get much further than this, with some specific exceptions I will cite below.

Karim Muammar’s Anti-Indigenous Positions

Muammar consistently and repeatedly communicated to the team in ways that were condescending and dismissive of our collective accomplishments and capabilities, but from my perspective, no one suffered as much significant derision as I did while discussing the changes I wanted to make to Younger and Older Brother in order to make their representation empowering and exciting.

In the pulled quote from the previous paragraph, I want to point out to you that Muammar, who had the title of Lead Editor on this project, refused to capitalize Native American. Further, he would often redline my work with edits to decapitalize my own uses of Native American, as well as the word Indigenous when referring to Indigenous peoples. While there are plenty of people who might want to argue about this, I will point out that both the AP style guide as well as the Chicago style guide (the one which I am most familiar with in my academic historical work) both call for Indigenous to be capitalized when referring to a people. Further, I challenge anyone to defend the consistent decapitalization of Native American. More importantly, the reason that these are standards in respected style guides, is because the English language has been used historically to oppress and erase ethnic identities, including Indigenous identities. By transforming adjectives into proper nouns, we are declaring that Indigenous and Native aren’t descriptors that can be applied to animals, plants, and soil, but real lived identities and culture groups.

When I was explaining to the Paradox team (which was mostly just Muammar) why it was important to change the names of these two Tribes from the appropriative (and offensive) ones used in the past, Muammar pushed back by defending the previously used Younger Brother name, even after reading my extensive research and explanation about how this would harm Indigenous communities and fans.

While doing so, he also decided that it was appropriate to refer to this entirely Native American tribe by the word “savages” a slur that has been specifically used to dehumanize Native Americans, and then mocked my rewrite that focused on presenting them as stewards of the land using Indigenous methodologies and praxes, instead of the “savage” racist stereotypes they were presented as in previous editions. Further, as in the above quote, even after it was communicated that the use of this term was problematic, he kept doubling-down to use it to refer to the Tribe.

Even though I worked hard to redefine Younger Brother through Indigenous theory, such as place-based theory, relational theory, and communal theory, Muammar either refused to recognize this work, dismissing it as simple, or else simply could not understand the importance of these changes. Either way, the choice is that he didn’t want them to change, or couldn’t comprehend why the change was important because of how entrenched in white supremacist thinking he is. Further, after the massive effort that I put forward to attempt to educate him and the rest of the Paradox team on these issues, the insistence on using offensive terms and belittling my work felt intentional. So let’s talk about the work I did that was above and beyond my job description: free cultural consulting work.

“Sensitivity” and Consultation

I have seen several misunderstandings of my role working on this project going around, so I want to make something very clear. I was hired to work on this project as an author, and nothing else. I was not ever hired to be a cultural consultant. I do not do cultural consulting work. While I feel that there are many creators and companies who hire cultural consultants with the best intentions in mind, their responses often fall short of what is needed, as no one is ever obligated to actually follow the advice of cultural consultants. Further, I think there are also many companies who choose to hire cultural consultants only to say “we did this minimal step, and that is enough” in order to ward off naysayers.

However, anyone who hires me gets some level of cultural consulting for free, because it comes out in my writing–in both what I won’t write and what I choose to center my writing around. In the case of Werewolf 5th Edition, however, it was far more involved than this. I came with a plethora of “I will not write X” because I knew the setting was so problematic.  A short list of my demands besides not being willing to write Indigenous erasure, was that we needed to change the names of the Pure Tribes (and the term Pure Tribe itself), we needed to change the word Totem to Patron, and also the Patrons of the Pure Tribes. We needed to move away from the term Metis for obvious reasons, and we needed to move away from the term Skin Dancers. I also specifically noted that there was a lot of cultural theft happening from the beginning of Werewolf until now that I wanted to address. The only way these issues were going to be addressed was to convince Paradox they were actual issues on the level of PR concerns, because nothing else was likely going to be considered. So in order to achieve this, I put in weeks worth of research, writing, and meetings with top level administrators with Hunters Entertainment so that they could bring this information to Paradox.  I never documented my hours, but I would guess that I did approximately 80-100 hours of what I could only describe as cultural consultation work for free that was outside the contract work I was hired for. Let’s be clear: I did this willingly because I was passionate about the positive changes I wanted to see in this product, because I believed that Werewolf’s historic ills could be turned toward non-toxic representation.

Besides my actual words, such as naming the Ghost Council, and arguably the name Gale Stalkers came from a combination of names I pitched to Paradox after Winter’s Teeth was denied, and several sentences and paragraphs that I have seen so far that appear so close to what I originally wrote that you could imagine they were just edited versions, my largest contribution toward the final version of Werewolf: 5th Edition was this work. The only reason the offensive, appropriated names were changed were because of hours of my work to convince them it needed to happen. The reason that the Gale Stalkers aren’t just dead and gone: again, I pushed against this. The reason that Skin Dancers, Totem, and Metis will not appear as canonical titles? I pushed against their unwillingness to alter these things (see Karim’s defense of Wen**** Tribe name above).

Further, and this is the biggest reason I decided to write this article before seeing the final version of the book, I want to mention that I was also included in discussions with Hunters Entertainment to potentially be part of the art direction team, especially to oversee depictions of Indigenous characters, regalia, and art, to ensure that it would be represented either respectfully or not at all. I decided I needed to speak as soon as possible after the artistic portrayal of Tāme Iti appeared in the Glass Walkers preview without his permission. There are many arguments surrounding this issue and I am not going to address everything, but ultimately, I can tell you that had I remained as part of the art direction team, and saw that, I would have questioned it immediately. Even if I didn’t recognize Tāme Iti immediately, I would have asked what the source was on the depiction of moko in that piece, because I am aware that this is a sacred form of art–and I had already discussed wanting to make sure things like Crinos in headdresses didn’t appear in the book (as had often happened in previous editions, particularly on a certain white-skinned character whose name rhymes with Steals-the-Past).

As time working on this project went on, and I went through rounds and rounds of trying to convince Muammar and Paradox that it was important to not steal Indigenous identities, art, and stories, and that a greater effort needed to be put in powerful and empowering Indigenous representation, and I constantly ran into refusals and criticisms that were clearly hateful toward Indigenous identities and peoples, not to mention the push to represent Nazism as a major part of the game setting, I grew increasingly frustrated and restless with feeling like I was trying to work on a challenging project while also defending my right to exist as the person I am at every turn. Eventually I turned to another Indigenous TTRPG and game creator to ask for advice, and after a long and difficult discussion, I came to the conclusion that I was going to talk to the Hunters administration team and tell them that if Muammar kept using slurs and other anti-Indigenous language and attitudes, I was going to need to step off of this project, because it was harmful to me on a personal level. In furtherance of this point, I have been avoiding doing any contract work at all where I can tell that I am wanted for my specific cultural perspective ever since, because this situation was so harrowing for me.

Unfortunately, before I could have this conversation, after one final draft of Younger Brother and Bone Gnawers (which had its own issues, but that is not the point of this discussion), before we received any other specific feedback, the Hunters Entertainment administrators announced to the writing team that Paradox had decided to take the book in-house, and would no longer need our services.

The main point I would like to leave you with, besides these few specific quotes (out of dozens and dozens) that Muammar made that were anti-Indigenous, is that there is often a big call to have more BIPOC voices in various entertainment industries, so that both our stories, perspectives, and unique views on how the universe and life works, can be included; so that an industry that is historically, harmfully Eurocentric, might turn toward new, healthier, and inclusive directions. And I agree with this call for change, but I implore you to consider the conditions that BIPOC creators often have to work under: doing cultural/identity work and consultation for free as part of being present, being subject to vicious refusals of our experiences and perspectives, and straight-up having slurs lodged against our work. I want to see these changes in the industries we love, including the gaming industry, but currently the people who are in charge, who have the most power, are severely hostile to our work and our perspectives. This is why, for example, works like Coyote & Crow were done with an almost entirely Indigenous group of creators, and led by Indigenous creators, because trying to work for and with this ugly, hateful, and xenophobic group of people is so often exhausting, both mentally and spiritually, and because no good changes end up being made.

I am glad the harmful, appropriative terms were removed from the setting. I am glad I was part of the fight to make that real. I am not so glad that I was treated with hostility and racism by Muammar for the effort and love I put into this work, and I am not so glad that I will certainly be reviled by one of the two communities I did this work for–the gaming community, and certainly the people in power in this industry–and I am also not so glad that I didn’t have the opportunity to properly acknowledge how much of Werewolf’s base themes and setting are twisted and tied-up in Indigenous appropriation without giving the proper acknowledgments.

More than anything, I hope that this story will help you, the fans, realize that there is a lot of darkness in these communities, and they won’t change unless you hold their feet to the fire.

Ánaagodzįįhł

J.F. Sambrano

#decolonization #ttrpg #werewolves #writing #world of darkness #werewolf: the apocalypse #werewolf the apocalypse #mage: the ascension #vampire: the masquerade #changeling: the dreaming

[monstersandmaw]

Male orc x gender neutral reader (light nsfw)

Disclaimer which I’m including in all my works after plagiarism and theft has taken place: I do not give my consent for my works to be used, copied, published, or posted anywhere. They are copyrighted and belong to me.

Commission number two folks!

Content: Gender and body neutral reader who’s autistic deals with sensory overload while at a funfair, stimming includes rocking and pressure on the hands. Male orc offers a way out so the reader can catch their breath. Very brief mention of the orc losing a close friend in the past year, and of deciding to live more in the moment because of it. Light-ish nsfw at the end with a bit of a fade to black. 

Wordcount: 7562

Three hours ago, you’d been sure you could handle this. How could you not? It was a day out with your friends for Lily’s birthday, but of course, the orc had chosen the modern equivalent of a jousting tournament to show off her skills to her girlfriend. Still, you and Luke and Ellis had met up and made your way through town, collecting Lily and Maggie outside a gelateria, where naturally you all paused to buy the most amazing ice cream in town. With a start like that, how could things possibly go wrong?

After a leisurely walk to the fairground on the outskirts of town, you’d watched Luke win a fluffy white rabbit toy that was almost as big as he was on the coconut shy, despite the way the game was obviously rigged, but the werewolf had wagged his shaggy grey tail and howled his victory to the sky and clutched his new friend to his chest like it was his own goddamn child, and you’d clapped and cheered along with everyone else at the soppy wolf.

You hadn’t noticed the way you'd started to grip one hand with the other, squeezing tightly with finger and thumb just to give a little release to the steady buildup of pressure inside you as the atmosphere of the fanfare closed in around you. You also didn’t notice that you were gently rocking from side to side on the spot while you waited for Ellis to decide if he was going to go and say hi to the girl he’d been crushing on for a while, so when you found a teenager staring openly at you from the queue for the paintball stand, you assumed their attention was on Ellis.

Ellis usually attracted looks, not only because he was a goblin — a species that was relatively rare in your part of the world — but because his storm-grey skin was mottled all over with pale patches from vitiligo. He wasn’t bothered by the attention for the most part, but when you saw exactly where their gaze was directed instead — at your twisting hands — you felt an ugly stab of something bitter go through you. Carnivals may not offer the outdated and heartless ‘freak show’ elements anymore, but boy were you made to feel like one sometimes by other people.

“Hey, look!” Ellis exclaimed, his scratchy, reedy voice cutting through the maelstrom of noise and crush of people easily enough. “There she is! I’m gonna go see if she’s up for a ferris wheel ride. You think she’ll say yes?”

Your nod came out jerky and a bit stilted, but you mustered a smile of encouragement for your friend and he grinned back at you, all his sharp teeth glinting in the sunshine. Then something shifted in his expression and he frowned. “You ok?” he asked as his completely black eyes went a little wider with concern.

Again, you nodded and tried to look a little more convincing. After weeks of dancing around each other, he was finally going to shoot his shot, and there was no way you wanted him to miss because of you. “Fine,” you croaked. The word came out like a cat hocking up a hairball, but at least you got it out.

“Ok. Text me, alright?” he said. “Text me if you wanna go.”

You nodded. No way were you going to be the reason everyone left. If things got bad, you’d just… bail. Somehow. If you could find your way out of the crush of people without imploding first.

Glancing right, you saw Lily raise the hammer on the high striker and watched her muscles bunch and flex in her arms, shoulders and back. She was wearing a black tank top that said, ‘If lost, return Butch to Femme Fatale’ and beside her stood pint-sized Maggie in her denim hot pants and white t-shirt that read ‘Femme Fatale’. It was adorable, honestly, but as you stood there alone in the stream of people coursing and jostling down the avenue of grass between the smaller stands and side-shows, over-stimulation swamped you completely and you found yourself drowning silently.

Flashing lights, blaring funfair music, screaming, children running this way and that, rides rumbling and rattling on all sides, electronic bleeps and jingles mingling into a cacophonous mixtape in the air and reverberating in your head, cartoon pistol noises on the laser gun range sounding over and over and over, more screaming as the pendulum ride swung overhead once again…

The sensory overload raked its claws across your skin and left you with white noise in your head and cotton wool in your mouth.

The scent of candy floss grew chokingly thick in the air as you just stood there, paralysed.

Out of nowhere, a small and extremely solid lizardfolk kid barrelled into you, nearly knocking you flying. His horned head collided with your thigh and it hurt, but you didn’t cry out. His father scooped him up by the hand and apologised to you, but when he saw you rocking from side to side, he snatched his kid away and shot you another look, as if you were contagious or dangerous and not just struggling to kick start your brain again so you could get yourself the heck out of there and find somewhere safe to process everything.

Struggling to catch your breath, you gripped one hand with the other, squeezing as hard as you could but it wasn’t enough. There was just too much, inside and out, and you had nowhere to put it — nowhere to park it all until you could deal with it.

Someone ducked in front of you, their huge form blotting out the searing light of the afternoon sun.

Blinking, you looked up, still rocking, and tried to focus on their face.

He was an orc, you realised when you saw the huge, jutting tusks in his lower jaw and the expanse of sage green skin. A long, thick plait of black hair hung forward over his left shoulder, and through it ran a streak dyed a dark, vibrant red that was really attractive; it complemented the green tone of his freckled skin beautifully. Wearing a white, sleeveless tank top that had the logo of the fairground company on it, he wasn’t built like he spent every spare minute in the gym, but he looked like he could have lifted the ferris wheel right off its supports with no trouble at all.

Someone snickered nearby and you flinched, but you didn’t break the steady rocking motion of your body while mentally you tried to fend off all the unending stimuli around you. The orc’s expression darkened when he caught the sound of  laughter, and he stepped pointedly a little to the left. The movement served to block you from their sight and to refocus your attention on something that was quiet and solid and steady in front of you.

Yeah, he was solid alright. You blinked and watched the corners of his mouth twitch upwards just a little behind his colossal tusks, both of which bore silver caps over the tips to indicate that he had reached full maturity in the eyes of his culture. It probably meant that his tusks were filed to sharp points beneath the caps too. It was rare for orcs who lived in the city to stick to the older ways, but as you continued to stare up at him and move side to side while you ran your hands over your forearms, you noticed the beads in his braid of different materials: wood, copper, steel, glass, stone, and even bone. He’d lost someone close to him then at some point. Gods, now was not the time to be fishing everything you knew about orcs out of the depths of your brain.

For another few seconds, he continued to shield you from the staring judgement of the people in the queue for the nearest booth, but when you didn't seem to be able to settle, he jutted his chin to the side of the grassy avenue between the stalls.

“My name is Rhokann. You wanna step this way for a second? Catch your breath where it’s a bit quieter?” he said.

When no words came to your lips, he tilted his head just a little and then beckoned you with a big hand. “There’s a quieter spot over by that oak tree and the river. You want to come with me for a minute?”

You did. You also wanted to say thank you, but the words got glued up on their way from your brain to your mouth, so you just nodded.

He stuck out his arm and halted the flow of people for a moment to usher you between the candy floss stall and something else that was painted a thousand lurid colours so you didn’t look too long at it. Only when you saw the bole of a huge, old oak and a wide patch of un-trampled grass around it did you let out a shaky breath and turn to see him standing a little way off. A couple of people peered after you down the gap between the stalls, and he looked back at them with a very articulate and animalistic growl. That done, he stepped a little to his right, obscuring the view of you down the small alley with his body.

“Forget about them and look out over the river for a minute,” he suggested.

His dark brown eyes slid from you to the railings behind you, and you turned to see the river gushing in a white foam over the weir that controlled its flow through the city beyond. The sounds of the funfair behind you faded slowly, dissolving into the steady stream of white noise from the river, and you took a deeper breath and gradually released the death-grip you’d had on your own hands.

You let your gaze unfocus a little, but your body kept on moving as it tried to help you dissipate all the tension that had been building in your muscles and your mind ever since you’d first arrived at the fair.

A shadow moved in the corner of your vision, and you found Rhokann approaching slowly. He cast a pointed look at the metal railing to your left and said, “You mind if I join you for a moment?”

You shook your head. The word ‘no’ didn’t want to come, but he didn’t seem to take it as rudeness.

“Cheers,” he said. “Carnival gets intense, huh?”

This time, you nodded and he smiled when he saw it. You liked the way it hitched his mouth up around his tusk on the right, and it brought a twinkle to his coffee-brown eyes.

“Take your time,” he said. “You here with your friends?”

You nodded.

“They know where you were?”

You shook your head, but reached into your pocket and drew out your phone. Shaking it a little, you hoped he’d get the idea that they could contact you if they wanted to find you, or the other way around, and he smiled again in understanding. Your heart skipped a beat. He may have been seven and a half feet tall, but he had a gentle demeanour that you hadn’t really realised was possible in someone that big. He had a paunch too, which he clearly wasn’t trying to hide with his close-fitting, sleeveless top, and you could see from the scoop of the neckline that he had an attractive swirl of dark hair across his pecs that made you wonder what the rest of him looked like without clothes on; a fact that was startling enough in that moment to make you flush hot and look away.

“You want me to keep you company for a bit, or do you want some space?” he asked after another couple of minutes floated past.

You shook your head and then struggled to find the words to make him stay just a bit longer. When he saw you floundering, he smiled and asked, “Stay?”

You nodded, exhaling in relief, even as you fought off a rush of disappointment in not being able to form the words.

“You’re good,” he said with a wave of a huge hand. “Don’t stress talking.”

He took a deep, luxuriant inhale and leaned his massive forearms on the metal railing, easing his weight forward and gazing out at the river. His braid went all the way to the small of his back and it made you want to wrap it around your hand and tug just to see what kind of sound he’d make, and again, you had to look away before he caught you lusting after him. Just because you’d been rescued by a heroic stranger, didn’t mean you had to go falling in love with him in the following five minutes. It didn’t hurt that he hadn’t batted an eyelid at your stimming, or that he didn’t seem bothered by the fact that you’d been rendered almost completely non-verbal by the whole experience.

Your phone buzzed in your pocket a while later and you drew it out again to see that Lily was looking for you.

‘Where are you, Titch?’ she’d texted and you smiled when you saw the nickname. The massive orc had given it to you back in college, and it had stuck ever since. Even Ellis called you ‘Titch’ sometimes, despite the fact that he was nearly a foot and a half shorter than you. ‘We turned around and you’d gone!’

Rhokann was watching you from the corners of his kind eyes, and you waggled the phone again before typing out a message to Lily. ‘Needed to step away for a second. Got rescued by a super hot orc guy. More at ten.’

Lily texted back immediately. ‘Super hot orc guy, huh? I’ll be the judge of that. Where are you?’

‘Big oak tree on the edge of the park near the river. Don’t embarrass me please.’

‘As if I’d ever…’

‘You spend every spare minute you’re not kissing Maggie trying to embarrass me and El and Luke.’

‘Fair play. We’re nearby. I can see the tree’

You locked your phone and swallowed thickly, feeling a bit more able to talk. “Friend’s coming…” you faltered. Wow. Nice and articulate, you sneered at yourself with your usual sarcasm.

“That’s good,” Rhokann smiled back. He made no move to push himself back upright from the railings though, and shifted his gaze back out to the city that sprawled over the other side of the river. He gave another sigh.

You stepped a little closer and looked up at him. “You… ok?” you asked.

“Mm,” he hummed. When he looked back down at you, his dark eyes were strangely sad. “Just… thinking,” he said with a gesture of his hand near his temple. “I’ve been working here all summer, and it’s been amazing, but I’m starting a full time job in a week. I’m just thinking about what’s coming next.”

“Doing what?” Words were starting to come back a little quicker now, but it wasn’t great.

He turned his head over his shoulder to look at you, but before he could answer your question, you heard Lily’s voice coming from behind you.

“Hey Titch!” she called, and then she eyed the other orc ostentatiously up and down.

She raised an eyebrow when she saw the beads in his braid and the cuffs around his thick tusks, and you watched Rhokann deflate a little. Lily was not a traditional orc. For one, she was dating a human, which wasn’t exactly frowned upon but humans weren’t normally seen as suitable partners for her kind, and for another, she had cut her black hair short in a style shaved close to her skull above her pointed ears and left a little longer on top. She wore no cuffs on her tusks, and she’d filed them to softly-rounded points. “As much for Maggie’s pleasure as my own damned convenience,” she’d once told you.

Lily disdained orcs who stuck to the old ways, thinking them brutish thugs stuck in the past, and she folded her arms as she stared Rhokann down. “You wanna head home?” she asked in a low growl.

You turned your attention to Rhokann and he offered you a tiny, sad smile and a shrug of his shoulder. You wanted to stay and get to know him, but you also desperately wanted to be away from the fairground now. Your body felt drained of life, like you were running on fumes, and all you wanted was the quiet of your apartment, a pair of noise-cancelling headphones, and a good book.

In the end, Rhokann decided for you. He offered you a broader smile, and said, “It was nice meeting you. Take care.”

You’d never regretted your tendency to go non-verbal more than watching him walk away and not being able to say thank you.

With Lily on one side, you were joined by Luke a few minutes later, still hauling around the giant fluffy bunny he’d won, its ears flopping comically with each of his bounding steps, but you kept scanning every face for Rhokann. You saw an ogre with green skin that was a similar shade to Rhokann’s, but disappointment bit deep when you realised it wasn’t him, and when a flash of red hair up ahead drew your attention, you barely contained a sob when you saw it was a troll with multiple streaks of red in their black hair.

The walk back home passed in a daze, and you spent the rest of the day buzzing in the worst way possible.

A week later, Luke texted and asked if you wanted to grab breakfast on your way to work, and since you only had stale cereal in your cupboard, you practically leapt at the chance. ‘You mind if we drop my car off at the garage on the way?’ he asked with a subsequent text. ‘There’s an amazing little cafe just around the corner and we can get the metro from there afterwards.’

When his sputtering old deathtrap wheezed onto the garage forecourt though, your heart practically sputtered out as well. There, in oil-stained overalls, was Rhokann.

He didn’t spot you to start with, but when you climbed out of the passenger side and closed the door, his eyes flickered to you and then away again. Then back in a huge, obvious double-take, and his face split into a hearty grin. “Hey,” he chuckled once he’d taken the keys from Luke. “I didn’t think I’d get the chance to see you again.”

“Neither did I,” you admitted, and Luke shot you a look. He was in his human form this time, but he was no less intimidating than he looked as a shifted werewolf. For all that he was happy to haul a fluffy, cartoon rabbit around a funfair all day without a lick of self-consciousness, he was a dedicated gym-rat and had the body to match, but while his commitment was certainly admirable, he wasn’t your type. Rhokann, on the other hand, with his strongman physique and solid layer of fat to soften the strength that lay beneath… unfff… It was hard to look at him for long without feeling your skin start to prickle with heat.

“Wait, you two know each other?” Luke asked you and you nodded.

“He came to my rescue at the fairground last weekend while you were showing that white rabbit the time of its life,” you grinned.

At that, Luke flushed. You weren’t the only one who liked Rhokann’s build, but the orc wasn’t looking at Luke’s incredibly toned arms, which were currently being deliberately shown off to amazing advantage by his tight, black t-shirt. No, Rhokann was looking at you like you were the most interesting thing he’d seen in a year, and it was enough to make a cloud of butterflies erupt in your chest.

“Damn,” Luke hissed down at you, smirking. “You weren’t kidding about the ‘super hot orc guy’ thing.”

At that, your eyes went wide with horror and you smacked him in the chest with a wild flail of your hand. “I can’t believe Lily told you I said that, but you didn’t have to fucking repeat it!” you hissed around a strangled yelp. “In front of him,” you added through gritted teeth.

Rhokann chuckled quietly from a few feet away, and you turned quickly back to look at him. He raised one thick, black eyebrow and you rolled your eyes.

Turning to Luke in desperation as a mild panic seeped across your brain, you blurted, “Didn’t you say they were super busy at breakfast? Come on, we’d better go…”

And with that, you bolted from the garage without waiting for Luke to follow.

You weren’t proud, and you were sorely disappointed in yourself for chickening out, but in your defence, your friend had just embarrassed the hell out of you in front of your hero of the day. What if Rhokann just thought you were some human with a crush now?

Luke caught up with you, looking back over his shoulder at Rhokann for a second, and then trotted down the road at your side. “Hey, wait, I’m… I’m sorry,” he said. “I didn’t mean to embarrass you.”

“It’s ok,” you groaned. “I know how it feels when there’s a gorgeous guy standing there looking like… that… In your case, stupid stuff falls out of your mouth. In my case, I clam up.”

“Fair, but still,” Luke groused, holding the door of the cafe open for you and letting you step in ahead of him. “I’m sorry.”

The scent of coffee and sweet icing sugar wafted around you and you forgot your embarrassment for a bit, but the way you’d scuppered your chances haunted you for the rest of the morning at work.

By the time you got home, you were fractious and stimming and in need of some space to slough off the day on your own terms. When your phone chimed a little while later, you assumed it would be one of your friends, but it was an unknown number, and your heart skipped a beat.

‘Hey, it’s Rhokann. I hope this isn’t presumptuous of me. Your friend Luke gave me your number and said it was an apology, but he didn’t say what for. Anyway, if you’re not interested, just ignore this and block my number, but I’d love to see you again. Let me know if you’re up for that, and maybe we can figure something out soon. If not, I’m glad I met you all the same and I won’t contact you again.’

No one had ever said anything like that to you, and you stared at the text for a full five minutes.

The first person you texted though was Luke to yell at him affectionately in all caps. He called you back, and you accepted the call with a little huff that made him laugh with quiet fondness. “I’m sorry, Titch,” he said. “But I fucked up, and I figured he’d been about to ask for your number before you bolted…”

“Yeah, but I would have had the chance to say no…” you said.

“True, and I’m sorry I interfered again,” he sighed, and then after barely a beat had passed, “So are you gonna meet up?”

You rolled your eyes and flopped down onto the sofa. “I haven’t texted back. But probably.”

“Yes! He’s stunning. You saw those caps on his tusks though, right? He’s old school… He’s probably gonna go all-out to impress you…”

“So long as he doesn’t literally hunt and catch dinner for me, I don’t mind. Lily told me about orc courtship, and I am not interested in a whole fucking elk on my doorstep or something…”

“Nah, but he might challenge the chef to a death match for the honour of feeding you…”

“Oh please don’t even joke about it,” you groaned, and Luke did laugh, long and loud. “I’m hanging up now, you bastard.”

“Love you too, Titch,” he said, and hung up for you.

It took a while to figure out how to reply to Rhokann, but eventually you came up with something that you hoped didn’t sound super desperate and strange. ‘Sorry I bailed earlier like that. Luke has no shame, I swear, but I’ve told him off for going behind my back and we’re friends again now. You free this Friday evening?’

Before you could chicken out, you sent the message and sat back on the sofa, wringing your hands quietly in your lap and breathing steadily.

His reply came five minutes later. ‘If it helps, he was really awkward about broaching the topic with me when he came to collect his car. And yes I am free this Friday. What were you thinking?’

‘All on me then?’

‘I have suggestions but I wondered what you wanted. Cocktails at ‘IceCube and Henbane’? Catching that new movie they’re advertising all over town? Dinner somewhere? A walk along the river and takeaway from one of the food trucks? Any combination of those?’

Realising he was probably letting you decide on something that wouldn’t be as overstimulating as the funfair had been, you decided to keep being playful first. ‘You know henbane is poisonous to humans?’

‘They serve human-safe cocktails too, and non-alcoholic ones too that are just as good. Steer well clear of the naga-specific menu though because that shit could clean out a drain. Or strip the rust off your buddy’s car.’

You barked a laugh that echoed off the walls of your apartment. ‘I’ll tell him you said that.’

‘Go ahead, I said as much to him already.’

His texts had a cocky kind of confidence that he’d not really exuded on the day you’d met him at the fair, but then you remembered how he’d drawn himself up to his full height to shield you from those artless onlookers and flexed his shoulders just a fraction to make them back off, and you figured the two sides of him could probably sit well on his bulky frame after all.

‘Oof, I bet his ego took a hit with that. Let’s do cocktails and then maybe walk them off along the river afterwards?’

‘Sounds perfect. Shall I meet you somewhere first or meet there?’

You looked the place up online, which you probably should have done first in case it was out of your price range, and hit the map on the website to see where it was. Having arranged to meet him there, you signed off for the night and tried to get your mind to stop spinning. Somehow, despite two missed chances, the universe had thrown you a gift and a third chance in the form of Luke’s meddling.

That Friday, dressed in what you hoped would be an appropriate outfit for a cocktail bar in a swankier part of the city, you headed out with your heart in your throat.

Rhokann was impossible to miss, standing under the soft, orange light of the lamp outside the cocktail bar, and wow did he look good in black dress pants and a white shirt. His twin silver tusk-caps caught the light, and you noted that this time he had his hair tied back off his face in twin braids that melted into a single rope that hung down his spine.

He spotted you and turned to watch you walk towards him, but he didn’t make any kind of move towards you until you came to a stop in front of him and looked up into his softly smiling face.

“Hi,” you said awkwardly.

“Hi. You look gorgeous,” he added, eyeing you up and down in a way that made his gaze feel like a physical presence against your skin, and it was all you could do to repress a shiver.

You swallowed thickly. “Likewise.”

“Shall we head in?”

“Lead the way,” you said, not really wanting to walk into the unfamiliar space first. Rhokann just nodded and pushed the door open, holding it for you to enter behind him before heading into the softly-lit, wood-panelled bar.

It had the cosy, secretive air of a speakeasy, and as you wove through the tables behind the server who had looked Rhokann up and down and licked her lips in a very unsubtle display of interest, you spotted someone playing an upright piano in a far corner. Rhokann thanked the server politely and let his eyes drift back to you a moment later, the woman apparently forgotten. Something warmed in your chest and you took your seat opposite him.

He was one of those people that had real presence, and it wasn’t just his size that conjured it around him like a tangible aura. There was something about him that made people look at him, but his eyes never left you. After two menus had been set down before you, he said, “Tonight’s on me, if that’s alright?”

“You’re sure?”

Rhokann inclined his head and you caught sight of an earring dangling from his right ear. It looked like a piece of jet shaped like a small fang, polished and set in silver and dangling by a single link to a ball stud in his earlobe. He had silver rings up the line of cartilage to the pointed tips of his ears, and in the lobe of his left he had a simple silver stud. At the artfully-open neck of his white shirt, you could see the hint of an orcish tattoo and a whisper of dark hair that made something thrum through you again.

In contrast to your habit of moving around, he seemed still and calm as a monolith, and you found yourself drawn to that; drawn to his steadiness in a way you’d never experienced with anyone. Over the course of the next two hours, the two of you also talked in a way you’d never found easy with anyone. He listened, and in a measured, easy, back and forth of conversational give and take, you got to know each other.

His family was wealthy and lived in the country for the most part, and yes, they were very traditional by modern orcish standards. “You might think I’m pretty formal when it comes to orcish ways,” he said, looking self-conscious for the first time all evening, “But you should see my parents and my two older brothers…” He took a deep draw of his smoky, whisky cocktail and blew out a breath. The tip of his tongue caressed his lower lip just a little as he savoured the lingering taste, and your eyes tracked the movement hungrily.

To distract yourself, you eyed his silver tusk-caps and said, “I was going to ask about…” and tapped the side of your mouth awkwardly, not sure if you should really be asking about his orcish jewellery and personal tastes so soon.

To your relief, Rhokann smiled and brought his finger and thumb up to the right hand tusk. He lifted the cap off and turned it over in his hand for a second before handing it to you to look at. The tusk beneath gleamed beautifully in the low light, and you had been correct in guessing that his tusks were tipped with wickedly sharp points beneath them.

In your fingers, the cap was practically the size of a tiny shot glass, and you could see the orcish patterns engraved into its surface all the way around. “It’s beautiful,” you said. “My friend Lily told me a bit about orcish culture, but she doesn’t really keep to traditions, so I don’t know all that much. Just the things she personally doesn’t like. Which, to be fair, seems like a lot when you get her started on a rant.”

He laughed and delicately took the silver cap back from you when you held it out to him. He slid it easily back into place and said, “You can ask me anything you like. I figured your friend didn’t like me much when she gave me the once-over at the fairground.”

“She’s protective of the people she cares for,” you said. “It’s the one orcish trait she hasn’t abandoned. That, and showing off her muscles for her girlfriend.” The heady atmosphere and the slight rush of adrenaline that was coursing through you from being so close to him at last was making you bold, and you spoke before you’d realised you might actually be insulting him, but Rhokann only laughed.

“Ahh, those traits are etched into our DNA,” he said. “You’re gonna have to go a long way to find an orc who isn’t protective, and who doesn’t like to show off just a little bit.”

You stared pointedly at his muscles beneath the white shirt and then looked him in the eye. “If you’ve got it, why not show it off a bit.”

“Only if it works…”

You cocked an eyebrow. “Can’t you tell?”

He leaned just a fraction closer and your heart skipped a beat or two as his big, brown eyes seemed to glow softly. “I’m getting some hints,” he purred. “You slipped through my fingers twice now,” he went on, bringing his hand up onto the table and laying it knuckle-down on the wooden surface between your empty glasses. “I’m not going to let a third time pass me by without a proper answer from you.”

“What’s the question?” you asked faintly.

He smiled. “Can I see you again after tonight?”

You nodded.

“You want to get out of here yet?”

Again, you nodded.

His smile returned, and you sat back in your seat while he hailed the server and paid for your drinks. He gave her a tip generous enough to make her blush, and then stood and looked down at you. “Ready?”

A third nod was all the answer you could muster, but he didn’t seem to think you rude.

He walked behind you this time as you led the way out, and when you stepped out into the balmy, end-of-summer evening, you heard him heave a huge sigh. Glancing back over your shoulder, you found him looking at you, and you flushed. “What?”

“I’m just glad I got the chance to see you again. I thought… I thought that was it when your friend bustled you away from me.”

“Why were you working there?” you asked bluntly. You wanted to know why he was working as a mechanic at a tiny garage on the edge of town too, if his family was so well-off, but you didn’t know him well enough to ask something so direct. “At the fair, I mean.”

He smiled. “I wanted to?” he shrugged. “I’ve always been the dutiful son — I went to a good university and got a respectable degree and got a sensible job, but I felt… choked.”

Rhokann sighed again and checked the street for traffic before gesturing with his hand for you to start crossing. You walked by his side as the pair of you headed towards the river, where a long, flat promenade stretched, and you listened to him talk. His beautiful, rumbling bass carried easily on the still evening, and it made you feel steady again amid the noise of the city behind you.

“I’m not on bad terms with my family or anything, but… after a close friend of mine passed last year, I decided that I was going to live my life on my terms, and not anyone else’s. My heritage is very important to me, but it’s not everything I am. My family doesn’t understand why I quit my career and got a summer job working at the fair of all places, or why I turned my love of cars and fixing things into a job as a mechanic.”

“If you’re happier now, that’s all that matters, right?” you said.

He grinned. “I’m happy tonight, that’s for sure.”

“You’re such a charmer.”

“If it works, right?” he chuckled. You got the impression there were depths to him that would slowly unravel to you over time, and you found yourself looking forward to it already.

“Yeah, it works,” you mumbled.

You walked along the embankment together for a while until his footsteps faltered and he asked, “Would you let me hold your hand?”

“Sure,” you smiled, hoping you didn't have sweaty palms.

His hands were rough and huge, but you made it work, and it was wonderful to have a physical connection with him after clicking over chat and drinks already.

In the lea of the oldest bridge that spanned the wide river, the two of you slowed and came to a natural halt to lean against the wall in easy silence, staring out at the water as it slid past in an inky, glittering ribbon.

Rhokann turned away from the view and the movement caught your attention, drawing your gaze up to his handsome face.

“Can I kiss you?” he asked in a hoarse murmur.

“Yes.”

Leaning down, Rhokann placed his palms on your jaw and angled your head gently upwards, but he didn’t kiss you right away. He bit his lower lip and although his eyes narrowed, you saw the way his pupils widened hungrily. “You’re stunning,” he exhaled. “I… I’ve wanted to kiss you all night.”

“Stop talking about it then, and do it,” you teased.

His eyes flashed and he closed the distance between you, hunching over and pressing his mouth against yours. His tusks framed your mouth beautifully, the silver caps nudging into your cheeks a little as he kissed you senseless. You’d never been kissed like that. His hands left your face and wandered down to your waist, where he tightened his grip and picked you up, setting you down on the wide, stone wall that bordered the river. At that height, it was much easier for him to reach you, and he stepped closer, parting your knees to stand even nearer to you. You hooked your lower legs around his hips and let him kiss you over and over until your body felt like it was on fire.

Your fingers found the intricate plait of the braids on the side of his head and he moaned when you ran your fingertips over the pattern. “I want you,” he said. “Not tonight if you don’t want it, but I need you to know I want you. However you’d like…”

“I want you too,” you breathed back in the scant space between you, foreheads touching. It felt more intimate than any words you’d ever spoken, but it also felt true.

Your hands moved to grip his huge, rounded shoulders and you squeezed before running your palms across his pecs. His chest heaved and he sounded out of breath when he said, “My place isn’t far from here. You want to come back to mine?”

You nodded.

He lifted you down and took a moment with his eyes closed to breathe carefully. In the light of a nearby street lamp, you could see the impressive tent in his trousers, and you bit back a smile.

“Told you I want you,” he said when he caught you looking. “Come on.”

Flattered and a little intimidated, you walked with him back to his apartment. It wasn’t anything showy like a penthouse overlooking the city, but it was in a nice part of town, and it felt secure and homely as you followed him into the lift. In a small rush of bravery, you placed your hand at the small of his back and you felt as much as heard the groan of pleasure he let out in the small confines of the elevator. His skin radiated heat through the fabric, and you splayed your fingers, feeling the solid muscle and the slight softness there too that made you ache inside and out for him.

By the time you got to his front door, he was taking deliberately steady breaths, but the moment you were inside, he lost a little of that composure. “I’d offer you a drink, or —” You silenced him by reaching up and pressing your thumb along his lip before drawing him down to kiss you again. Part of you wanted him to take you right there in the hallway, but you had hoped for something a little more comfortable.

Rhokann undressed you carefully but insistently, and between the front door and his stylish, modern bedroom you left a trail of your clothes and his, until you were both in only your underwear by the time you were standing beside his massive bed.

Dark sheets stretched neatly across its huge expanse, and he let you push him down to sit on the edge of the mattress, gazing up at you with his hands resting at your hips, thumbs drawing idle lines across the fabric of your underwear. The evidence of his arousal was obvious, and a darker wet patch had started to seep into the material at the tip of his cock.

His body was soft but strong in the kind of way that you’d always adored. His paunch was evident, but his arms were like anchor cables, and while he might not have had the lean look of a social media gym-junkie, he could outlast any of them in a show of strength.

“I never thanked you,” you said, reaching around to the back of his head for the plait that you’d wanted to feel in your hands since the first time you’d seen him.

“For what?” he asked breathlessly. His pupils were huge and the light reflected in his warm eyes like a cat’s in the dark. Desire swept through you in a heady rush.

Slowly, taking your time about it, you straddled his lap and sank yourself down to grind your hips decadently against his, and when his hard cock moved against your body, he let out a long, broken moan.

You tightened your hold on his braid and the sound he made would stay with you forever. The deep, guttural groan rumbled from his chest and his eyes rolled back behind fluttering eyelids. Beneath you, you felt his cock twitch.

“Please,” he gasped. His grip tightened on your hips and he shuddered like he was losing control of all his strength, fighting to keep from having his way with you. The jet earring dangling from his right ear glinted softly as it swayed like a tiny pendulum in the void between his earlobe and his shoulder.

“I never thanked you for taking such good care of me,” you said.

The orc responded exactly as you’d expected he would, and gave a throaty hum of pleasure.

“When I needed you, you protected me… got me out of there…”

You’d chosen your words very carefully, and Rhokann arched his spine, jutting his hips up and practically begging to fuck you without uttering a word.

You twisted his braid around your hand one more time and he tipped his head back, following the direction of the force you put on his head. The lick of red in his forelock looked perfect in the warm light of his bedroom, and you had been right about the orcish tattoos that covered his chest, right down to his hips. He also had the most delicious chest hair and the dark trail that ran down from his navel to the waistband of his tight boxer-briefs was gradually making you lose your mind.

“You were patient and understanding, and you didn’t mind that I didn’t have my words then,” you went on. “But I have them now, don’t I?”

“You do,” he choked. “You do. Please… Please…”

“Let me thank you properly then,” you said, and climbed carefully off his lap. You looked pointedly at his underwear and said, “Off.”

“Only if you do to,” he said, and you knew you’d met your counterpart in him.

He gave and took in equal measure, and as the two of you lost yourselves tangled in his sheets that night, you knew he was going to be the best thing that could have happened to you. The two of you moved in perfect synchrony, and you came apart within a heartbeat of each other. Rhokann made a mess of the sheets and you made more noise than you’d ever made coming in your life, and when the two of you lay back, sweaty and satiated at last, he wrapped his arm around you and pressed a kiss to your temple.

“You’re perfect,” he whispered.

“Thank the gods for third chances,” you smiled and he laughed quietly. “And meddling werewolves.”

“Indeed. Come here.” He tugged you against his body so that you were lying half-propped against him, with one arm draped over his soft middle, and you trailed your fingers up the centre of his chest. “You staying the night?”

You nodded, and hoped it would be the first of many.

__

I really hope you enjoyed this. If you did, and you made it all the way to the end, please consider showing your support by reblogging. It really is the best (and totally free!) way to help the artists and writers whose work you enjoy.

Masterlist | Ko-fi (tip jar)

#orc #male orc #gender neutral reader #body neutral reader #gn reader #male orc x gn reader #orc x reader #male orc x reader #orc boyfriend #monster boyfriend #exophilia #monster lover #monster romance

[theresattrpgforthat]

Hello! Do you have any recommendations for ttrpgs like Kentucky Route Zero?

THEME: Kentucky Route Zero

Hello, I looked up Kentucky Route Zero for the first time thanks to your ask and I understand why you’d want to find a game that replicates it to some degree. Let’s establish what elements of KRZ I’m focusing on when providing recommendations.

The game is modern, and feels transient in some way.

The game offers a subtle or unsubtle critique of capitalism.

The game allows for magical realism, in that odd things are accepted by the characters as fact, or disregarded entirely. This is used to draw attention to the strange and might even highlight abuses of power.

The game allows you to contribute to the lore, but characters still feel to some extent that their choices won’t take them where they want to go.

Now, the games I’ve got for you don’t necessarily have all of these elements written in, but I’m suggesting them as avenues that are more likely to point you in this direction.

Over the Edge, by Atlas Games.

During your stay with us, please remember that Liberty is Job One, Disarmament Means Peace, It's Polite to Speak English, and, of course, Paranormal Activity is perfectly legal.Thank you for your consent.

The Edge is the weirdest city in the world. Get into trouble. Question your place in the crazed multiverse. Transcend mortal limits. Join a cult. Fight a baboon. Along the way, you might find out who really controls humanity. Unless, of course, you've been working for Them all along.

Over the Edge describes itself as an alternate reality; there are otherworldly entities, large conspiracies, psychic powers, etc. Characters follow “Hollywood” reality: they exist at the culmination of plot-relevant world elements, interacting directly with the conspiracies existing underneath the surface. You are playing a typical protagonist. This means that while playing this game, you are likely to run into pulp-action territory, which might not be exactly what we’re going for here, but what I think this game might really do well is place you in a setting where things are just a little bit off from normal. One of the pieces of art in the Quickstart is of a lady walking her pet hyena: that tells me that we’re probably going to have hefty amounts of Magical Realism in this game.

Midnight Roads, for World of Darkness, by White Wolf.

The roads are lovely, dark and deep…

There are things in the world that no laws account for – things that bestow blessings no man remembers or curses for slights long past. But the things, they do not forget. They wait for the right hand to fall upon them, the right eyes to see their glory, the right heart to recognize their power.

World of Darkness is a long-standing horror roleplaying game originally published by White Wolf. Currently the system Midnight Roads is built for is actually obsolete - having been replaced by the newer Chronicles of Darkness - but the advice and guidance in Midnight Roads is still solid. It focuses on tying real-world fears to supernatural phenomena, and includes a number of example antagonists that make the blank stretches of open road across the United States feel alien and terrifying. Even if you don’t run a game in this system, I highly recommend checking out the supplement for inspiration.

Apocalypse Roadtrip, by Mynar Lenahan.

Apocalypse Roadtrip is a 34-page Forged In The Dark game for 2-5 players about normal people finding their way after the world has ended. Navigating their way past roaming Kaiju, military bombings, otherworldly cryptids, UFO fleets, and other survivors (friendly and not), the characters work hard to achieve their goals and, ultimately, make some changes in their world.

This game is great if you’re looking for that perpetual on-the-road feeling, for transient characters who don’t have a good place to call home. It’s less about the horrors of late-stage capitalism, and is more suited to stories that embrace oddness, especially in a settings where Kaiju, cryptids, and aliens all exist.

If you want to make the weirdness normalized, push the timeline forward from what is established in the book, to a point where all of these events have become old hat for folks - if the aliens and cryptids aren’t weird or strange, perhaps what is weird is how one specific Cryptid keeps entering the chicken coop and doesn’t seem to eat any of the chickens. Or perhaps the government has confiscated a piece of alien technology, but the business owner who found it isn’t acting the same anymore. Your characters will probably find themselves doing odd jobs as the move from one place to another - whether or not they uncover a larger story is probably up to you.

Absurdia, by Quinn Majeski.

Absurdia is an absurdist modern fantasy roleplaying game about the inane hilarity and understated horror of everyday life. Inspired by works of absurd humor, surreal horror, and literary nonsense like Welcome to Night Vale, Alice in Wonderland, Gravity Falls, and the Twilight Zone, Absurdia is an opportunity to indulge in the surreal and outlandish while subverting the absurdity of modern society.

This game takes place in a strange and surreal town of your own making. It's Powered by the Apocalypse, which means much of the direction of the story will unfold as you play, with staggered successes on anything that requires you to roll - this means that any given action is likely to give you a little bit of what you're looking for while also providing obstacles that you didn't expect. It's also well primed for a magical realist kind of atmosphere, since the abnormal and supernatural might be part of the everyday, such as it is for the residents of Night Vale. The designer, Quinn, is excellent at running games that always keep the play group on their toes, and I expect this game designed by them is much the same.

Liminal Horror (and supplements), by Goblin Archives

Liminal Horror brings adaptable modern horror to TTRPGs. It is a rules-lite, fail forward system that leverages creative problem solving in order to create memorable experiences at the table. Players act as 'investigators' navigating a modern world full of terrible and unknowable horrors.

I’m recommending Liminal Horror not just because it does an excellent job of building suspense and making your characters feel less-than-powerful, but also because it’s got a lot of modules and add-ons that help you customize your game. Swineheart Motel, by Kill Jester, is a cosmic horror adventure set in a roadside motel. Tunnels in White, by MeatCastle GameWare, places an old corporation front and centre as a suspicious entity disappearing locals. The Bloom, by Goblin Archives, is about a small town that is hiding something, and seems to be losing people at an alarming rate. You can also tweak the premise of the game if you want to make your characters indentured to their employer, or freelancers just trying to make ends meet.

If you want to see more Liminal Horror options, you can check out the Tales from The Void, a game jam for Liminal Horror modules!

Hopes & Dreams by Fari RPGS (René-Pier Deshaies).

Hopes & Dreams is a rules-lite tabletop role-playing game where you play as young adults who want to make a difference in a world that won’t let them. Government officials are corrupted, your leaders are broken, and the future looks bleak.  Play in this original grunge industrial fantasy setting where you and your friends haven’t abandoned hope yet. You still have dreams of what life could be, and are willing to fight for it.

Hopes & Dreams has a lot of potential to give you a taste of Kentucky Route Zero, in the hopefulness present as a mechanic. Dreams & Nightmares are goals and tracks that hit off at a certain point and are guaranteed to shift the story in what might feel like moments that your character can’t control. Fill your Dream? The world changes for the better. Fill your Nightmare? The world changes for the worse. The original game is industrial fantasy but I can see you using the SRD to make a game that is cyberpunk, modern dystopia, or an alternative Kentucky where Consolidated Power is buying up your debt so that they can get free labour.

If you want to get a bit of a peek into the bones of Hopes & Dreams from the point of view of the designer, you can check out this review by Junk History, which includes an interview with René-Pier Deshaies.

#tabletop games #indie ttrpgs #dnd #game recommendations #asks #kentucky route zero #magical realism

[kakita-shisumo]

In which I sound off for much too long about PF2 (and why I like it better than D&D 5E)

So, let me begin with a disclaimer here. I don’t hate 5E and I deeply despise edition warring. I like 5E, I enjoy playing it, and more, I think it’s an incredibly well-designed game, given what its design mandates were. This probably goes without saying but I wanted it on the record. While I will be comparing PF2 to D&D 5E in what follows and I’ve pretty much already spoiled the ending by the post title (that is, PF2 is going to come out ahead in these comparisons most of the time), I don’t want there to be any misunderstanding about my position or intention. My opinions do not constitute an attack on anybody. For that matter, things I might list as weaknesses in 5E or strengths of PF2 might be the exact opposite for other people, depending on what they want from their RPG experience.

As I said before, 5E is an exceedingly well-designed game that does an exceptional job of meeting its design goals. It just so happens that those design goals aren’t quite to my taste.

# A Brief History of the d20 RPG Universe #

I’m going to indulge myself in a little history for a second; some of it might even be relevant later, but for the most part, I just want to cover a little ground about how we got here. By the time the late ‘90s rolled around TSR and its flagship product, Dungeons and Dragons, were in trouble. D&D was well over two decades old by that point and showing its age. New ideas about what RPGs could and even should be had taken over the industry; TSR had finally lost its spot as best-selling RPG publisher to comparative upstart White Wolf and their World of Darkness games; the company even declared bankruptcy in 1997. Times were grim.

That, however, was when another comparative newcomer, Wizards of the Coast, popped up and bought TSR outright. Flush with MtG and Pokemon cash, they were excited to try to revitalize the D&D brand and began development on a new edition of D&D: third edition, releasing in August 2000.

Third edition was an almost literal revolution in D&D’s design, throwing a lot of “sacred cows” out and streamlining everywhere: getting rid of THAC0 and standardizing three kinds of base attack bonus progressions instead; cutting down to three, much more intuitive kinds of saving throws and standardizing them into two kinds of progression; integrating skills and feats into the core rules; creating the concept of prestige classes and expanding the core class selection. And of course, just making it so rolls were standardized as well, using a d20 for basically everything and making it so higher numbers are basically always better.

At the same time, WotC also developed the concept of the Open Gaming License (OGL), based on Open Source coding philosophies. The idea was that the core rules elements of the game could be offered with a free, open license to allow third-parties develop more content for the game than WotC would have the resources to do on their own. That would encourage more sales of the base game and other materials WotC released as well, creating a virtuous cycle of development and growing the industry for everyone.

Well, long story short (too late!), it worked like fucking gangbusters. 3E was explosive. It sold beyond anyone’s expectations, and the OGL fostered a massive cottage industry of third-party developers throwing out adventures, rules material, and even entire new game lines on the backs of the d20 system. A couple years later, 3.5 edition released, updating and streamlining further, and it was even more of a success than 3rd ed was.

At this point, we need turn for a moment to a small magazine publishing company called Paizo Publishing, staffed almost exclusively by former WotC writers and developers who had formed their own company to publish Dungeon and Dragon, the two officially-licensed monthly magazines (remember those?) for D&D. Dungeon focused on rules content, deep dives into new sourcebooks, etc., while Dragon was basically a monthly adventure drop. Both sold well and Paizo was a reasonably profitable company. Everything seemed to be going swimmingly.

Except. In 1999, WotC themselves were bought by board game heavyweight Hasbro, who wanted all that sweet, sweet Magic: the Gathering and Pokemon money. D&D was a tiny part of WotC at the time and the brand was moribund, so Hasbro’s execs hadn’t really cared if the weirdos in the RPG division wanted to mess around with Open Source licensing. It wasn’t like D&D was actually making money anyway… until it was. A lot of money. And suddenly Hasbro saw “their” money walking out the door to other publishers. So in 2007, WotC announced D&D 4th Ed, and unlike 3rd, it would not be released under an open license. Instead, it would be released under a much more restrictive, much more isolationist Gaming System License, which, among other things, prevented any licensee from publishing under the OGL and the GSL at the same time. They also canceled the licenses for Dungeon and Dragon, leaving Paizo Publishing without anything to, well, publish.

At first, Paizo opted to just pivot to adventure publishing under the OGL. Dungeon Magazine had found great success with a series of adventures over several issues that took PCs from 1st all the way to 20th level, something they were calling “Adventure Paths,” so Paizo said, “Well, we can just start publishing those! We’re good at it, the market’s there, it will be great!” And then, roughly four months after Paizo debuted its “Pathfinder Adventure Paths” line, WotC announced 4th Ed and the switch to the GSL. Paizo suddenly had a problem.

4th Ed wasn’t as big a change from 3rd Ed as 3rd Ed had been from AD&D, but it was still a major change, and a lot of 3rd Ed fans were decidedly unimpressed. Paizo’s own developers weren’t too keen on it either. So they made a fateful decision: they were going to use the OGL to essentially rewrite and update D&D 3.5 into an RPG line they owned: the Pathfinder Roleplaying Game. It was unprecedented. It was a huge freaking gamble. And it paid off more than anybody ever expected. Within two years Paizo was the second-largest RPG publisher in the industry, only behind WotC itself, and for one quarter late in 4E’s life, even managed to outsell D&D, however briefly. Ten years of gangbuster sales and rules releases followed, including 6 different monster books and something over 30 base classes when it was all said and done. It was good stuff and I played it loyally the whole time.

Eventually, though, time moves on and things have to change. The first thing that changed was 4E was replaced by D&D 5E in 2014, which was deliberately designed to walk back many of the changes in 4E that were so poorly received, keep a few of the better ones that weren’t, and in general make the game much more accessible to new players. It was a phenomenal success, buoyed by a resurgence of D&D in pop culture generally (Stranger Things and Critical Role both having large parts to play), and its dominance in the RPG arena hasn’t been meaningfully challenged since. It also returned to the use of the OGL, and a second boom of third-party publishers appeared and thrived for most of a decade.

The second thing was that PF1 was, itself, showing its age. RPGs have a pretty typical life cycle of editions and Pathfinder was reaching the end of one. It wasn’t much of a surprise, then, when, in 2018, Paizo announced Pathfinder 2nd Ed, which released in 2019 and will serve as the focus of the remainder of this post (yes, it’s taken me 1300 words to actually start doing the thing the post is supposed to be about, sue me).

There’s a coda to all of this in the form of the OGL debacle but I don’t intend to rehash any of it here - it was just like six months ago, come on - beyond what it specifically means for the future of PF2. That will come back up at the very end.

# Pathfinder 2E Basics #

So what, exactly, makes PF2 different from what has come before? There are, in my opinion, four fundamental answers to that question.

First: Unified math and proficiency progression. This piece is likely the part most familiar to 5E players, because 5E proficiency and PF2 proficiency both serve the same purpose, which is to tighten up the math of the game and make it so broken accumulations of bonuses aren’t really a thing. In contrast to 5E’s very limited proficiency, though, which just runs from +2 to +6 over the entire 20 levels of the game, Pathfinder’s scales from +0 to +28. Proficiency isn’t a binary yes/no, the way it is in 5E. PF2’s proficiency comes in five varieties: Untrained, Trained, Expert, Master, and Legendary. Your proficiency bonus is either +0 (Untrained) or your level + 2(Trained), +4 (Expert), +6 (Master) or +8 (Legendary). So if you were level five and Expert at something, your proficiency bonus would be level (5) plus Expert bonus (4) = +9.

Proficiency applies to everything in PF2, really - even more than 5E, if you can believe it, because it also goes into your Armor Class calculation. You can be Untrained, Trained, Expert, Master, or Legendary in various types of armor (or unarmored defense, especially relevant for many casters and monks), and your AC is calculated by your proficiency bonus + your Dex modifier + the armor’s own AC bonus, so AC scales just as attack rolls do. Once you get a handle on PF2 proficiency, you’ve grasped 95% of how any game statistic is calculated, including attacks, saves, skill checks, and AC.

Second: Three-Action Economy. Previous editions of D&D, including 5E, have used a “tiered” action system in combat, like 5E’s division between actions, moves, and bonus actions. PF2 has largely done away with that. At the start of your turn, you get three actions and a reaction, period (barring haste or slow or similar temporary effects). It takes one action to do one basic thing. “Attack” is an action. “Move your speed” is an action. “Ready a weapon” is an action. Searching for a hidden enemy is an action. Taking a guarded step is an action. Etc. The point being, you can do any of those as often as you have the actions for them. You can move three times, attack three times, move twice and attack once, whatever. Yes, this does mean you can attack three times in one turn at 1st level if you really want to (though there are reasons why you might not want to).

Some special abilities and most spells take more than one action to accomplish, so it’s not completely one-to-one, but it’s extremely easy to grasp and quite flexible at the same time. It’s probably my favorite of the innovations PF2 brought to the table.

Third: Deep Character Customization. So here’s where I am going to legitimately complain just a bit about 5E. I struggle with how little mechanical control I, as a player, have over how my character advances in 5E.

Consider an example. It’s common in a lot of 5E games to begin play at 3rd level, since you have a subclass by then, as well as a decent amount of hit points and access to 2nd level spells if you’re a caster. Let’s say you’re playing a fighter in a campaign that begins at 3rd level and is expected to run to 11th. That’s 8+ levels of play, a decent-length campaign by just about anyone’s standards. During that entire stretch of play, which would be a year or more depending on how often your group meets, your fighter will make exactly two (2) meaningful mechanical choices as part of their level-up process: the two points at 4th and 8th levels where you can boost a couple stats or get a feat. That’s it. Everything else is on rails, decided for you the moment you picked your subclass.

Contrast that with PF2. In that same level range, you would get to select: 4 class feats, 4 skill feats, two ancestry feats, two general feats, and four skill increases. At every level, a PF2 player gets to choose at least two things, in addition to whatever automatic bonuses they get from their class. These allow me to tailor my build quite tightly to whatever my idea for my character is and give me cool new things to play with every time I level up. This is true across character classes, casters and martials alike.

PF2 also handles multiclassing and the space that used to be occupied by prestige classes with its “pile o’ feats” approach. You can spend class feats from class A to get some features of class B, but it’s impossible for a multiclass build to just “steal” everything that makes a single class cool. A wizard/fighter will never be as good a fighter as a regular fighter is, and a fighter/wizard will never be the wizard’s match with magic.

Fourth: Four Degrees of Success. 5E applies its nat 20, nat 1, critical hits, etc. rules in a very haphazard fashion. PF2 standardizes this as well, in a way that makes your actual skill with whatever you’re doing matter for how well you do it. Any check in PF2 can produce one of four results: a critical success, a regular success, a regular failure, or a critical failure. In order to get a critical success on a roll, you have to exceed your target DC by 10 or more; in order to get a critical failure, you have to roll 10 or more less than the DC. Where do nat 20s and nat 1s come in? They respectively increase or decrease the level of success you rolled by one step. In practice, it works out a lot like you’re used to with a 5E game, but, for instance, if you have a +30 modifier and are rolling against a DC 18, rolling a nat 1 nets you a total of 31, exceeding the DC by more than 10 and earning you a critical success, which is then reduced to just a normal success by the fact of it being a nat 1. Conversely, rolling against a DC 40 with a +9 modifier can never succeed, because even a nat 20 only earns a 29, more than 10 below the DC and normally a crit failure, only increased to a regular failure by the nat 20.

Now, not every roll will make use of critical successes and critical failures. Attack rolls, for instance, don’t make any inherent distinction between failure and critical failure. (Though there are special abilities that do - try not to critically fail a melee attack against a swashbuckler. The results may be painful.) Skill rolls, however, often do, as do many spells with saving throws. Most spells that allow saves are only completely resisted if the target rolls a critical success. Even on a regular success, there is usually some effect, even on non-damaging rolls. That means that casters very rarely waste their turn on spells that get resisted and accomplish nothing at all. It also doubles the effect of any mechanical bonuses or penalties to a roll, because now there are two spots on a die per +1 or -1 that affect the outcome; a +1 might not only convert a failure to a success but might also convert a success to a crit success, or a crit fail to a regular fail.

# What About Everything Else? #

There is a lot more to it, of course. As a GM I find PF2 incredibly easy to run, even at the highest levels of game play, as compared to other d20 systems. The challenge level calculations work, meaning you can have a solo boss without having to resort to special boss monster rules to provide good challenges. I find the shift from “races” to “ancestries” much less problematic. PF2 has rules for how to handle non-combat time in the dungeon in ways that standardize common rules problems like “Well, you didn’t say you were looking for traps!” Everything using one proficiency calculation lets the game do weird things like having skill checks that target saves, or saves that target skill-based DCs. Inter-class balance, with some very specific exceptions, is beautifully tailored. Perception, always the uber-skill, isn’t a skill at all anymore: everyone is at least Trained in it, and every class reaches at least Expert in it by early double-digit levels. Opportunity Attacks (PF2 still uses the 3rd Ed “Attack of Opportunity” - but will soon be switching over to "Reactive Strike") isn’t an inherent ability of every character and monster, encouraging mobility during combats, and skill actions in combat can lower ACs, saves, attacks, and more, so there are more things to do for more kinds of characters. And so on.

Experiencing all of that is easiest just by playing the game, of course, but suffice it to say PF2 has a lot of QoL improvements for players and GMs alike in addition to the bigger, core-level mechanical differences.

# The OGL Thing #

Last thing, then. In the wake of the OGL shit in January, Paizo announced that it would no longer be releasing Pathfinder material under the OGL, opting instead to work with an intellectual property law firm to develop the Open RPG Creative (ORC) License that would do what the OGL could no longer be trusted to do: remain perpetually free and untouchable for anyone who wanted to publish under it. The ORC isn’t limited specifically to Paizo or to Pathfinder 2E or even to d20 games; any company can release any ruleset under it and allow third-party companies to develop and publish content for it.

Shifting away from the OGL, though, required making some changes to scrub out legacy material. A lot of the basic work was done when they shifted to 2E, but there are still a lot of concepts, terminologies, and potentially infringing ideas seeded throughout the system. These had to go.

Since this meant having to rewrite a lot of their core rules anyway, Paizo opted to not fight destiny and announced “Pathfinder 2nd Edition Remastered” in April. This is a kind of “2.25” edition, with a lot of small changes around the edges and a couple of larger ones to incorporate what they’ve learned since the game first launched four years ago. A couple classes are getting major updates, a ton of spells are either getting renamed or swapped out for non-OGL equivalents, and a couple big things: no more alignment and no more schools of magic.

The first book of the Remaster, Player Core 1, comes out in November, along with the GM Core. Next spring will see Monster Core and next summer will give us Player Core 2. That will complete the Remaster books; everything else is, according to Paizo, going to be compatible enough it won’t need but a few minor tweaks that can be handled via errata. So if you’re thinking about getting into PF2, I’d give serious thought to waiting until November at least, and maybe next summer if you want the whole Remastered package.

And that’s it. That’s my essay on PF2 and what I think makes it cool. The floor is open for questions and I am both very grateful and deeply apologetic to anyone who made it this far.

#RPGs #roleplaying games #d20 #d20 history #pathfinder #pathfinder 2e #pf2 #pf2e #dungeons and dragons #D&D #d&d 5e

[vickyvicarious]

Another thing I didn't mention the other week that kills me about 'The Plan That Failed' is the way Griffin's name is used. This is following up on a pattern I noticed a little bit ago, but... in a really sad way.

So, Kemp never calls Griffin by name. When they first met, he repeated the name back in confusion, but never actually acknowledged aloud that the person he is talking to is the Griffin he vaguely remembers. Or at least, while he does so by implication, he doesn't do so by name:

“Griffin,” answered the Voice. A younger student than you were, almost an albino, six feet high, and broad, with a pink and white face and red eyes, who won the medal for chemistry.” “I am confused,” said Kemp. “My brain is rioting. What has this to do with Griffin?” “I am Griffin.” Kemp thought. “It’s horrible,” he said. “But what devilry must happen to make a man invisible?”

Kemp goes right to the concept of 'a man becoming invisible' rather than lingering in any way on 'so you are Griffin'. And in the moment, that sort of makes sense. Apparently he barely remembers Griffin from school (if at all), and so there's no particular shock of recognition for him. It's more shock at what's going on. But then after that, a distinct pattern begins to emerge, where Kemp only calls him by name when he's being vulnerable/civilized. When he is afraid of Griffin's violence, or thinking of him as something monstrous, he calls him by some kind of title, usually 'The Invisible Man'. And it's rare for Griffin to get his name used at all.

But even all of that was still just in the narration. Of course, the way this book is written as a sort of adaptation of various peoples' stories of what they remember may mean none of the dialogue has to be taken as exact. But still, even in that case it's notable that not once does Kemp call Griffin by any sort of name out loud. That whole pattern I've been discussing is only in his narration. At no point in any of their dialogue does he call him Invisible Man, but he also never calls him Griffin. The only way he addresses him directly, ever is "you." In contrast, Griffin says "Kemp" to him quite often.

So there's a distinct imbalance there too. Griffin is confiding his past, giving vent to his emotions, hoping for understanding and using Kemp's name often as an interjection which affirms a connection between the two of them. Meanwhile Kemp is walking a fine line verbally between outright either acknowledging Griffin's humanity (by using his name) or totally denying it (by directly addressing him with a title). This of course reflects his thoughts and also his actions, as he's listening to Griffin's story but in large part only to buy time so he can be caught.

But then... that changes.

Kemp’s hand went to his moustache. Was that a movement downstairs? “And it is killing we must do, Kemp.” “It is killing we must do,” repeated Kemp. “I’m listening to your plan, Griffin, but I’m not agreeing, mind. Why killing?” [...] “Humph!” said Kemp, no longer listening to Griffin but to the sound of his front door opening and closing. “It seems to me, Griffin,” he said, to cover his wandering attention, “that your confederate would be in a difficult position.” “No one would know he was a confederate,” said the Invisible Man, eagerly. And then suddenly, “Hush! What’s that downstairs?” “Nothing,” said Kemp, and suddenly began to speak loud and fast. “I don’t agree to this, Griffin,” he said. “Understand me, I don’t agree to this. Why dream of playing a game against the race? How can you hope to gain happiness? Don’t be a lone wolf. Publish your results; take the world—take the nation at least—into your confidence. Think what you might do with a million helpers—”

Suddenly we get Kemp calling Griffin by his name, out loud, several times in rapid-fire. At first, I noticed this particularly because the first time he does so is right after Griffin proclaims that they will need to kill people. Also, every single time he says it, it's paired with his own doubts/refusal to agree to this plan. But while that is all true, it's not the most significant detail here. More salient, I think, is the way that every use of Griffin's name is immediately preceded by mention of people arriving to capture him.

When Kemp finally calls Griffin by name, it's done in a clear attempt to distract him. The only time he grants him the courtesy of reaching out to him as a fellow human in this way is a lie. He's trying to use that connection in order to trick Griffin. He's essentially treating Griffin's name (which after the pattern in narration seems so clearly to me to be essentially shorthand for his humanity) as a tool to arrest him.

Honestly, this entire situation is pretty messed up all around. It's hard to say that either Marvel or Kemp ever really 'betray' Griffin, because they were never given even footing with him in the first place. They certainly didn't choose to help him, they both felt coerced. And yet, this moment... really does feel like a betrayal. It feels cruel, somehow adds insult to injury.

Kemp has been teetering between considering/treating Griffin as a fellow human, or the Invisible Man a monster. Certainly, the scales have been tipping steadily towards the latter, but it's not until this moment that everything comes crashing down. And it feels like such a bitter extra sting of irony that when it does happen, when the moment comes, he calls him by name.

But he's committed to the opposite course.

#the invisible mail #kemp #griffin #my meta

[witheringfears]

Given the situation with the Open Game License going on right now I think it's best if independent tabletop game developers talk to lawyers right away. Whether they have or haven't used D&D related content under the OGL they should still prepare for litigation. Paizo, Green Ronin Publishing, Kobald Press, Ghostfire Games, White Wolf, Fantasy Flight, any and all indie devs should prepare. And if possible they should contact and work together, unite against Hasbro and WotC.

#wizards of the coast #wotc #hasbro #dungeons and dragons #dnd #d&d #pathfinder #paizo #green ronin #fantasy age #mutants and masterminds #kobald press #ghostfire games #white wolf #call of cthulhu #ogl #open game license #opendnd

[manyworldsofdarkness]

What is CURSEBORNE?

This might be of interest to any World of Darkness or Chronicles of Darkness fans or any fans of Onyx Path Publishing and White Wolf in general. We could be getting a new urban fantasy horror game series soon.

On April 10th, 2023 Onyx Path publishing’s blog brought up a hypothetical of making their own urban fantasy game series. Of course this was in response to their lack of any new WoD or CofD products as they do not own the rights to those IPs and must have approval by Paradox before working on anything. Currently Paradox is more focused on supporting their v5 products with their in house studio, Renegade Games and are no longer contracting other studios to right supplements for them for the foreseeable future. Because of this, the 20th Anniversary World of Darkness games and Chronicles of Darkness lines aren’t getting any new releases and what has already been announced and put into production are the only things to release in the near future. The only way for Onyx Path to make more urban fantasy horror games is to make their own and while they only mentioned this as a possibility, the comments section of this blog post exploded into discussions over this new potential game.

The next few blog posts afterwards continued the discussions asking people what they would like to see in a new potential horror game, such as a Masquerade system or signature characters as the comments sections only further spawned more discussion over this new world. Around this time too, Onyx Path announced their new unified version of their in-house system called Storypath Ultra, which should go without saying but will definitely be the system this potential game will be using. Then about a month later, on May 19th, on the official Onyx Path YouTube channel, this video was released https://youtu.be/fL1VPUzoB_Y?si=cR4ZPeb0wf9Kt6mM

A short seven second long animation of a murder of crows flying against a snowy tree line and the word “CURSEBORNE” forming as they all fly away. A short, mysterious teaser? Well for the next eight months Onyx Path would release a total of 30 videos of similar nature as of writing this post. Strange and short vignettes of classic horror tropes such as fog, spiders and recordings of monsters. Some would even be rereleased with minor differences and even text. I recommend watching some for yourself, there is a really eerie vibe to some. These capture more “modern” horror vibes when compared to WoD or CofD, some even feel inspired by analog horror or urban legends, the “Train” short particular reminds me of Japanese urban legends. Blog posts more or less stopped mentioning this potential game as time went on and mentions were then replaced with a strange picture of a moth, the same one at the top of this post.

On January 31st, 2024, 7:00 EST this website appeared https://www.curseborne.com/

CURSEBORNE, the title in all of those videos. The website has no text, just images of the same moth from the blog just posted all over a black background. Some will slowly fade in. Clicking on them will lead to a new page featuring one of the many teaser videos playing in your browser. Going back to the homepage, you’ll see a moth that appears to be glowing when compared to the others. Clicking it sends you to a Typeform quiz asking “Who are you?”. Answering it gives you a strange title such as “Raptor”, “Gaki”, “Archivist” etc. with a description of how you act. If I’d have to guess, these titles could be the names to new monsters or factions in CURSEBORNE. I’d like everyone who’s interested to please take this quiz and post your results on this post to see how many titles, or “paths” are found.

In short, it looks like Onyx Path is gearing up to make a new urban fantasy game using their own system. It’s not going to be World of Darkness with different names, but its own unique take on the concept.

#curseborne #World of Darkness #chronicles of darkness #onyx path publishing #white wolf publishing #TTRPG #Youtube

[hotcheetohatredwastaken]

Ask game!!

flower <3

You managed to pick the most spoiler-y word in the entirety of my drafts, it seems. Every single one I could to pick for BDOR Arc 1 was like

"Ah, yes," said Ravio, handing Legend a flower, "now that the queen of England is dead and Time has delved into deep alcoholism because of Warrior's untimely death because Linkle killed him, what is your next step, heroes?"

Obviously, that's not what happens (or is it 0-0 LIZZY NO), but I shouldn't have been as surprised as I was, given that the title is Blood Drops on ROSES. ANYWAYS, here's ya snippet for the first instance of "flower" from BDOR Arc 2 (since you didn't specify a WIP I get to be sneaky like that lol).

And then came the dreams. They were comforting, at first. He was sitting in an nondescript field under the warm spring sun with Wolf, picking little white flowers from the tall grass. He was climbing a steep cliff, chilly rain battering his face and hot exhilaration racing through his veins. He was crouched over a smoldering fire on the trail, humming to himself as he prepared some surprise for Twilight that included pumpkins and fish, for some reason. Then came the memories.

The word existed about 14 times across both arcs, and about 5 more times in the Prologue pieces. Thank you so much for the ask! In my 15-minute sprint, I got 641 words for a wpm of 41.5! Thanks to you and @unexpectedstormy, the final chapter of The Yiga and The Sheikah is now finally just about ready to be edited for publishing XD.

The Ask Game: put a unique word (and choose between my WIP's Blood Drops on Roses (Arc 1), Arc 2, or the Prologues (Link), if you wish) in my inbox and I'll respond with a three sentence to three paragraph snippet once I've done a 15-minute writing sprint, and I'll give you my wpm too.

#this has been surprisingly helpful today lol #thank you for the ask! #smarmy somer #cheetotalks #cheetowrites #bdor #blooddropsonroses #linked universe #linkeduniverse #wild lu #lu wild #wild linked universe #lu twilight #twilight lu #twilight linked universe #linked universe fanfic #ask game #tbh I did copy and paste some of the dialogue that estelian gave me for impa #i did butcher it up #but that may have added to my speed there

[legionofmyth]

Mage: The Ascension: Nodes - Power on Tap

✨ Discover the mystical power of Nodes in Mage: The Ascension by White Wolf Publishing! Learn how these sacred sites store and channel Quintessence, enhancing your magickal abilities. Don't miss out on unlocking these secrets! Watch now! #MageTheAscension #TTRPG #TabletopRPG

Mage: The Ascension (1E) Mage: The Ascension (2E) Unveil the mystical power of Nodes in Mage: The Ascension, as these sacred sites store and channel Quintessence, the lifeblood of magick. Discover how these potent locations serve as the heart of any mage’s power, thinning the Gauntlet and connecting the practitioner to the very essence of the cosmos. Don’t miss this deep dive into the secrets of…

View On WordPress

#advanced mage techniques #arcane secrets #celestial chorus #hermetic magic #legion of myth #Mage characters #mage game master #Mage gameplay #Mage guide #Mage lore #mage nodes #Mage powers #Mage setting #Mage storytelling #Mage The Ascension #mage the ascension overview #mage universe #magical energy #mystical sites #quintessence #role-playing tips #tabletop role-playing game #TTRPG #White Wolf Publishing #World of Darkness

[pipzeroes]

ALL YOUR BREATH ARE BELONG TO US.

This whole thing is based on the All Your Base Are Belong To Us meme. The warning at the beginning is because a.) the music is a subgenre of hardcore techno known as gabber and kind of loud, in case you are unfamiliar with this kind of EDM and/or the song in the original video, and, b.) concerns such as photosensitive epilepsy (at one point, 16 images appear in just under four seconds).

More background beneath cut.

(Writeup also posted on dreamwidth and post about video also shared on zeroes; video on Vimeo and on YouTube as well.)

A rundown on the content of the vid:

The images of the wolf are from the seventh episode of the fourth episode of The Simpsons, Marge Gets a Job; it is a wolf startled by LOUD NOISES. Then it's Cats from Zero Wing (the video game central to the All Your Base Are Belong To Us meme) with a SARS-CoV-2 virion for a face. And the poster for the 2017 film The Shape of Water (see also on zeroes). Then it's the webcomic Dinosaur Comics! (Thanks, Ryan!) Next a reference to the slipcase for White Town (Jyoti Mishra)'s Your Woman. (Just added a mask to the picture of the cat with the thumbs up; I am afraid I am unaware of the origin of the original cat meme...) Then it's the first page of All's Well, that Ends Well from the First Folio of Shakespeare's plays, published in 1623. And then the scene from the 2022 film Glass Onion when Lionel Toussaint holds up a faxed message from Miles Bron: "Uber for Biospheres". Next, a reference blog/webcomic Hyperbole and a Half and a panel for one comic where the author portrays an initial manic enthusiasm when cleaning up: "CLEAN ALL THE THINGS".

The original Doge photo. (See also: DOGE on tumblr, DOGE on zeroes.)

And The Quest of the Virosols!!! I really appreciate these graphics. (Please note, I am not affiliated with the Aerosol Science Research Center, I am publicly disseminating useful information for educational purposes; All Your Breath Are Belong To Us is a PSA <3)

The record is based on Otis Rush's "All Your Love" and "COVID" was "Cobra" (see also: some images used to construct).

The Sudden Clarity Clarence meme!

An animation of a diaphragm exhaling and inhaling (with the little purple virosols added!)

And then False Knees Comic 296! (Thanks, Joshua!) (I am once again reminding you that I am not affiliated with the Aerosol Science Research Center.)

And the next six images are the only memes I've not made in this vid (and the person who added the masks to pictures of these images has approved the use of them in this video; thank you!)

Fruit by Alphonse Mucha (Source.)

Le Désespéré by Gustave Courbet (Source.)

Autoportrait by Tamara de Lempicka (Source.)

Trop tôt by James Tissot (Source.)

Autorretrato con Collar de Espinas by Frida Kahlo (Source.)

A photo of the models for Grant Wood's American Gothic standing beside the painting itself. (Source.)

Then the poster for the 1994 film The Mask. (See also on zeroes.) Next a scene from Datalore, the thirteenth episode of the first season of Star Trek: The Next Generation.

And a reference to a version of the album cover for Vangelis' 1985 album Mask. (See also: Vangelis' Mask (1985) is not to be confused with Vangelis' mask (Ninjago), which is a face cover worn by King Vangelis of the Kingdom of Shintaro (for like, a moment [while trying to find info about the album cover], I thought the Greek composer and arranger of electronic, progressive, ambient, and classical orchestral music had an alter ego known as the Skull Sorcerer, but apparently not). [mirror on zeroes])

Aaaaand the Original Goncharov shoe!!! (See also.) Then the 1984 film Nausicaä of the Valley of the Wind [風の谷のナウシカ "kaze no tani no naushika"]; the character Nausicaä wears this mask in the original film. Next, an image of a number of risks, originally published by the CDC.

Steamed Hams. (See also: ...and you call for "cleaned hands" despite the fact COVID is obviously airborne... [mirror on zeroes])

(I am once again reminding you that I am not affiliated with the Aerosol Science Research Center.)

GEORDI LA FORGE! (See also: Hand washing as but one component of a "Swiss cheese model" composed of preventative measures including personal actions [such as wearing a well-fitting mask, physical distancing, avoiding crowds, and "staying home when sick"], as well as public measures [such as standards for ventilation and air filtration of indoor spaces, effective messaging on disease prevention, and reliable support for those needing to "stay home sick"], mitigations which, when used in combination, significantly reduce the spread of airborne disease.)

WEDNESDAY FROG MEME! (See also: It is Airborne, my dudes. [mirror on zeroes])

S'CHN T'GAI SPOCK! (See also: logic clearly dictates that SARS-CoV-2 spreads via infected breath [and can remain suspended in the air, travelling inside tiny specs of moisture, floating like smoke or mist]; therefore, COVID is airborne; mask up, live long, and prosper [mirror on zeroes])

The woman yelling at a cat meme.

The Is This a Pigeon? meme. (See also: "Droplets" are basically spittle, falling to the ground not far from the source [the infected person's mouth]. "Aerosols" are pretty much breath, tiny particles of infectious virus-containing-moisture that can remain suspended in the air [able to float distances greater than a metre]. [mirror on zeroes])

Darmok and Jalad at 2 metres! (See also: 2 metres physical distance helps you to avoid droplets [infected spittle] but "COVID is airborne" and floats like cigarette smoke, so even 2 metres still means a risk of airborne transmission [from infected breath]. Like Tanagra, 2 metres from a potential source of infection is still a place of potential danger. [mirror on zeroes])

Napoleon Dynamite (the shirt with "COVID IS AIRBORNE" originally says "VOTE FOR PEDRO"). (See also: I spent last summer making Corsi-Rosenthal Box filters, like, fifty of 'em! The SARS-CoV-2 floating in the air kept trying to attack my cousins, what the heck would you do in a situation like that? [mirror on zeroes])

Pokemon! (See also: if COVID aerosols/breath builds up somewhere indoors that isn't well ventilated, and the air is not filtered well enough, you may get sick even after an infected person has left the room. [mirror on zeroes])

AVATAR. (And yes, the font used for "AIRBORNE" is Papyrus.) (I am once again asking you to remember that I am not affiliated with the Aerosol Science Research Center.)

GONCHAROV!!! GONCHAROV!!! (Thanks Beelz!) (See also: Written by Mattwo JWHJ 0715. [mirror on zeroes])

The Always has been meme. (See also: Aerosols/breath (tiny bits of infected moisture) can remain suspended in the air and are able to float distances greater than a metre. [mirror on zeroes])

(I am once again asking you to remember that I am not affiliated with the Aerosol Science Research Center.) Aside from the images which just are what the are (e.g. the CDC infographic, the ASRC graphics), and the six images related to paintings, all memes were put together by yours truly. <3 The song was, originally, "Invasion of the Gabber Robots" by the Laziest Men on Mars, which sampled music created by Tatsuya Uemura and Noriyuki Iwadare.

Re-writing of lyrics, and the audio and video editing, were also my doing; REAPER for the audio editing, GNU Image Manipulation Program for the meme making, Shotcut for the video editing.

🖖

#COVID #COVID is airborne #COVID is NOT over #covid is ongoing #pandemic #mask up #long covid #gabber #the simpsons #steamed hams #zero wing #dinosaur comics #the shape of water #glass onion #hyperbole and a half #sudden clarity clarence #goncharov #goncharov (1973) #star trek #geordi la forge #spock #false knees #wednesday #frog #wednesday frog #is this a pigeon? #darmok and jalad #napoleon dynamite #all your base are belong to us #ALL YOUR BREATH ARE BELONG TO US

[feith-rikya]

About this blog:

I decided to open this space to share the drawings I've made in the last few years, mainly focused on the Vampire The Masquerade RPG campaign, which I'm currently playing with my friends.

This campaign has been a wellspring of creativity for me, ignited by the enthralling narratives of the game and the camaraderie with my friends. Now, I'm thrilled to extend this creative journey to you, inviting you to explore the intricate plotlines and vibrant characters that have brought me immense joy over time.

Each artwork I present will be accompanied by detailed character descriptions and story insights. However, I encourage your curiosity and welcome questions in the designated section if you wish to delve deeper into this immersive universe.

To kick things off, let's start with a brief introduction to the captivating realm of Vampire: The Masquerade. Conceived by Mark Rein-Hagen in 1991, this gothic RPG transports players to a shadowy world where vampires battle for supremacy and survival. Themes of morality, immortality, and the eternal struggle between good and evil are woven into its fabric.

Vampire: The Masquerade is a pivotal part of the expansive World of Darkness, a fictional universe crafted by White Wolf Publishing in 1991. This expansive realm encompasses various settings like Werewolf: The Apocalypse and Mage: The Ascension, delving into the interplay between humans and supernatural beings. Notably, this universe is characterized by its dark and authentic backdrop, where characters confront their inner demons and grapple with profound moral choices.

Before we embark further, a few critical points must be addressed. The narratives I illustrate may touch upon sensitive topics and include instances of violence, as well as characters navigating morally ambiguous territories. While there are virtuous and uplifting characters, the overarching tone of the setting leans toward darkness, decadence, and tragedy. As such, characters often emerge as intricate figures with both negative and complex traits. It's important to note that no depiction is endorsed or justified – some content might allude to acts of cruelty, including torture and sexual assault. If these themes are distressing to you, I advise you to proceed with caution.

The narrative unfurls in 2013 as a fledgling group of vampires, known as a Coterie, rebels against London's reigning Prince. This rebellion results in the establishment of an independent domain, reshaping the dynamics of power in the city. Amidst whispers of an impending apocalypse (The Gehenna) and its prophetic omens, characters like Danya Vetranov, Luc Gossens, Nathan Black, and Elizabeth de Lacy set foot on a path they are yet to comprehend fully.

Allow me to introduce you to the key players in this intricate saga. Danya Vetranov, hailing from the Ravnos clan, arrives in London with her circus, accompanied by Luc Gossens of the Bruja clan. As the story unfolds, they cross paths with Elizabeth De Lacy, a Ventrue clan member, and Nate Black, another Bruja. Together, they strive to forge a harmonious coexistence between humans and vampires, a stark contrast to the prevailing exploitation and predation of humans. Simultaneously, their quest for a tranquil vampire existence encounters relentless challenges – from other vampires' machinations to the enigmatic force of Gehenna.

Their journey forces them to confront not just external ancient evils, but also enigmatic biblical forces and their own inner darkness. Despite starting as allies, the characters' paths might diverge into adversaries at any juncture. Their responses to the Gehenna differ: Luc embraces a path of violence and vengeance; Danya seeks redemption and transformation for even the most malevolent vampires; Elizabeth aspires to political supremacy while mediating between extremes; Nate's actions oscillate between cruelty and kindness, firmly grounded in his friends' ideals.

Before delving deeper, some groundwork is necessary. Vampire: The Masquerade immerses players in a dark, gothic universe where they embody vampires. This alternative reality intertwines vampires' existence with the mortal world. Players select a clan for their character, each with unique skills that directly impact gameplay. Crafting your vampire's attributes, powers, and personality becomes paramount.

Embedded in this world are essential rules, with La Masquerade taking center stage. This doctrine mandates that vampires keep their true nature concealed from humans, warding off potential persecution. This adherence is pivotal to avoid inviting unwanted attention and the wrath of humanity.

The pivotal element of Clan Warfare propels the game's political intrigue. Vampires vie for power, influence, and advantage, spawning alliances and betrayals that amplify the tension and complexity.

Within this mesmerizing realm of darkness and drama, I hope to offer you a captivating glimpse into my artistic odyssey. Thank you for joining me on this journey, and I genuinely appreciate your interest and presence here!

Feith Rikya

#vtm #vampire the masquerade #rpg #world of darkness #vampires #camarilla #sabbath